Fred Alexander Jr., Drummer for Funk and R&B Band Lakeside, Dies

Fred Alexander Jr., longtime drummer for Lakeside, sits behind his drum kit in a photo shared by The Original Lakeside - Unfiltered. The group remembered Alexander as “our friend, our family and our band member of over 40 years.” (Photo Credit: The Original Lakeside - Unfiltered/Facebook)

Fred Alexander Jr., the Lakeside drummer whose pocket helped carry “Fantastic Voyage” from the funk era into old-school R&B memory, has died.

Alexander’s death was announced by bandmate Stephen Shockley in a social media post. A cause of death and funeral arrangements were not immediately announced.

“Today is a Very Sad Day for our band Lakeside because we lost Fred Alexander,” Shockley wrote, calling him “The little General” and “The Backbone to all of our Records.”

Alexander’s role in Lakeside went beyond the drum kit. He was the drummer, the timekeeper and, later, one of the people helping keep the band’s business and road life together.

Alexander joined Lakeside in 1977, just as the Dayton-born band was moving into the stretch that would define its recording legacy. Lakeside had come through the Midwest funk circuit, early label stops and industry false starts before finding its place with Dick Griffey’s Solar Records, the Los Angeles label that also became home to acts including the Whispers, Shalamar, Midnight Star and Klymaxx.

That Solar run made Lakeside one of the most reliable self-contained funk and R&B bands of its era. The group’s records were not built only around lead vocals or studio polish. They moved because the band could play.

Alexander was part of that engine.

On “It’s All the Way Live,” the band’s 1978 breakthrough, Lakeside turned a stage command into a groove. On “Fantastic Voyage,” its signature record, the group built a party anthem that became bigger than its original chart moment. The song reached No. 1 on Billboard’s R&B chart and later found another life in 1990s hip-hop when Coolio used it as the foundation for his own “Fantastic Voyage.”

Alexander’s role also extended into the group’s survival after its main chart years. A 2025 Truth in Rhythm interview described him as Lakeside’s general manager, and Shockley’s tribute pointed to the administrative weight Alexander carried inside the organization.

Talay Riley, British Hitmaker Who Toured With Usher and Wrote for H.E.R., Dies at 35

British R&B singer and songwriter Talay Riley smiles in an undated photograph. Riley, 35, who helped bridge the gap between 2000s R&B and the modern streaming era, died Friday following a stabbing in East London. (Photo: Family Handout)

Talay Riley, a British singer, songwriter and producer whose real name was Mark Orabiyi, died Friday after a stabbing in east London. He was 35.

The Metropolitan Police said officers were called around 9 a.m. Friday to reports of a stabbing on Pankhurst Avenue in Silvertown. Riley was found with stab wounds in the garden of a nearby property on Rayleigh Road. Police said he was pronounced dead at the scene.

Another man in his 20s was taken to a hospital with multiple stab wounds. Police said his injuries were not believed to be life-threatening.
Three people were arrested on suspicion of murder. A 27-year-old man has been released on bail pending further inquiries, while a 24-year-old man and a 25-year-old woman were released with no further action after police questioning, according to British news reports. The investigation remains ongoing.

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Riley belonged to the part of R&B history that often hides in the credits. Before some listeners knew his name, they knew the records: Khalid’s “Young Dumb & Broke,” H.E.R.’s “Lights On,” Kehlani’s “Out the Window” and Chip’s “Oopsy Daisy.” Riley’s work moved through the writing rooms and vocal sessions that helped shape the sound of R&B, pop and hip-hop after the 2000s arena era.

Riley’s death drew grief from across the British and American music worlds, where he was known as both an artist and a writer whose reach extended well beyond his own recordings.

His brother Michael Orabiyi, the producer and songwriter known professionally as Scribz Riley, confirmed the loss in an Instagram tribute.

“My heart is shattered! This doesn’t feel real. It feels like a bad dream,” he wrote.

Scribz Riley said the brothers had spoken before Talay went to sleep about the future, staying positive and everything they still had left to do.

“I never imagined that would be our last conversation,” he wrote.

He described his brother as “a friend to many, a mentor, an inspiration, and a light in so many people’s lives.”

“He loved deeply, gave freely, and touched countless people through his talent, kindness, and spirit,” Scribz Riley wrote.

The tribute drew condolences from artists who understood the reach of Riley’s work. Stormzy wrote, “I’m sorry bro.” Khalid wrote, “I’m so sorry bro … I’m sending you so much love.” Kehlani wrote, “Big hugs Scribs I’m so sorry.” Wretch 32 called Riley “a gem” and said he would be “missed + never forgotten.”

In a family statement reported by British news outlets, relatives remembered Riley as “a beloved son, brother, uncle and friend.”

“We will always cherish his kindness, beautiful spirit and remarkable talent,” the family said. “His presence touched many lives, and his memory will remain in our hearts forever.”

Riley’s career connected several eras of R&B and pop. He signed his first major publishing deal at 18 and later wrote Chip’s U.K. No. 1 single “Oopsy Daisy.” He also worked on records connected to Tinie Tempah, Jessie J, Britney Spears, Craig David, Khalid, H.E.R., Kehlani, the Chainsmokers and others.

For listeners who came up on the Usher and Trey Songz era, Riley also belonged to the bridge between 2000s R&B showmanship and the global songwriting economy that followed. He toured with Usher, while his later credits placed him inside the streaming-era sound of artists such as Khalid and H.E.R.

Riley received a writing credit on H.E.R.’s “Lights On,” which appeared on the singer’s self-titled album “H.E.R.” The album won Best R&B album at the 2019 Grammy Awards.

Lauryn Hill to Receive Living Legend Icon Award at BET Awards

BET will honor Ms. Lauryn Hill with its Living Legend Icon Award this month.

The network announced Thursday that Hill will receive the award during the 2026 BET Awards. The show is scheduled to air June 28 from the Peacock Theater in Los Angeles, with Druski as host.

BET said the award honors artists who “mastered their craft and never let go of the culture.” The line could drift into award-show excess. For Hill, it lands close to the record.

Hill first became a generational voice with the Fugees, whose 1996 album “The Score” moved across hip-hop, soul, reggae and pop without sounding designed for any one lane. Two years later, “The Miseducation of Lauryn Hill” made her a solo force on terms almost no other artist could have demanded at the time.

Released in 1998, “The Miseducation of Lauryn Hill” blended rap, soul, gospel, reggae, live instrumentation and diaristic writing into a record that felt both intimate and public. It explored love, faith, motherhood, self-worth and Black womanhood. The album sold more than 10 million copies and became a model for artists who wanted reach without softening their point of view.

Connie Orlando, BET’s executive vice president of specials, music programming and music strategy, said Hill “never chased the moment; she has shaped it.”

“Her artistry redefined what was possible in our music and gave a generation permission to be fearless, spiritual, and free,” Orlando said in a statement.

The honor follows a rare televised appearance from Hill. In February, she returned to the Grammy stage for an In Memoriam tribute honoring D’Angelo and Roberta Flack, opening with “Nothing Even Matters” before moving through a broader tribute to two artists whose work helped shape the vocabulary of soul and R&B.

Hill has often been discussed through absence — the long wait for another studio album, the uneven touring history, the distance between public demand and the artist’s own terms. But the BET honor is a reminder that her legacy has never depended strictly on output.

It is defined by what that output changed.

“The Score” remains one of the defining albums of the 1990s. “The Miseducation of Lauryn Hill” remains a landmark in modern Black music. Nearly three decades later, Hill’s influence is still heard in artists moving between rap and melody, confession and critique, spirituality and edge.

That makes the Living Legend Icon Award less a coronation than a formal acknowledgment of what the music already settled.

Peabo Bryson, Voice Behind 'A Whole New World,' Dies at 75 After Stroke

Peabo Bryson appears in an undated photo posted to his official Facebook page. Bryson, the two-time Grammy-winning R&B singer known for “Beauty and the Beast,” “A Whole New World (Aladdin’s Theme)” and decades of romantic ballads, died Tuesday at 75, days after suffering a stroke. (Credit: Peabo Bryson/Facebook)

Peabo Bryson, the two-time Grammy-winning R&B balladeer whose voice moved from soul radio to Disney’s early 1990s renaissance without losing its foundation, died Tuesday evening, days after suffering a stroke. He was 75.

His family confirmed his death in a statement, saying it found comfort in knowing “how deeply Peabo was loved and how many lives were touched by his voice and his generous spirit.”

The announcement came after Bryson’s representative said Sunday that the singer had suffered a stroke and was under medical care. At the time, his family asked for privacy as he received treatment.

Bryson’s voice became part of pop memory through two of the most recognizable movie duets of the early 1990s. He won Grammys for “Beauty and the Beast,” performed with Celine Dion, and “A Whole New World (Aladdin’s Theme),” performed with Regina Belle. Both songs won best pop performance by a duo or group with vocal.

Those records made him part of childhood for millions. But R&B audiences knew Bryson long before animated films carried his voice into the pop mainstream.

Born Robert L. Bryson in Greenville, South Carolina, Bryson came through the Southern music circuit before becoming one of contemporary R&B’s premier male vocalists. His official biography says he got his start as lead singer of Al Freeman & The Upsetters and Moses Dillard & The Tex-Town Display before releasing his 1976 debut LP, “Peabo,” on Atlanta’s Bullet/Bang label.

His catalog includes “Feel the Fire,” “I’m So Into You,” “If Ever You’re in My Arms Again,” “Can You Stop the Rain” and “Tonight, I Celebrate My Love,” his duet with Roberta Flack.

Young MC, the Commodores and Morris Day Back Away From Freedom 250 Concert

An editorial graphic shows Freedom 250’s throwback concert lineup after several announced performers publicly backed away from the Great American State Fair. The controversy turned names tied to “Bust a Move,” “Brick House” and Morris Day’s Minneapolis funk legacy into the center of a dispute over politics, consent and the cost of putting old-school stars on a modern political stage.

A celebration built around nostalgia has become a warning about what happens when old-school music, national symbolism and modern politics collide before the first note is played.

Young MC, Morris Day and the Time, the Commodores, Martina McBride and Bret Michaels are among the artists who have pulled out of or backed away from Freedom 250’s Great American State Fair, a 16-day event scheduled for June 25 through July 10 on the National Mall. The event was promoted as part of the nation’s 250th birthday celebration, with a lineup that leaned heavily on throwback acts, country crossover and patriotic spectacle.

Then the bill started falling apart.

Young MC, Morris Day and The Time, The Commodores, McBride and Michaels are among the artists who have since pulled out of or publicly backed away from the event. The rollout quickly turned into a public dispute over politics, consent and what some artists said they were told before their names appeared on the flyer.

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Young MC, best known for the 1989 hit “Bust a Move,” said he had informed his agents that he would not perform at the Freedom 250 event. In a statement, he said artists were not told about political involvement with the concert and said he hoped to perform in Washington in the future at an event that was not “politically charged.”

Morris Day made his position even clearer. The longtime frontman of the Time posted that he and the band would not perform at the Great American State Fair, adding a short caption that cut through the confusion: “It’s a no for me.”

The Commodores also said they would not appear. The group, whose catalog includes “Brick House,” “Easy” and “Three Times a Lady,” said its music had always been its voice and that it would not publicly affiliate with any single political party.

McBride said she initially believed she had agreed to a nonpartisan celebration of the states. In a statement to fans, the country singer said what she had been told was not what was happening and that she would not perform June 25. Michaels later stepped away as well, saying the event had become more divisive than what he agreed to join and citing threats and safety concerns involving his fans, band, crew and family.

Freedom 250 has described itself as a nonpartisan organization focused on commemorating America’s 250th anniversary. Its official event page bills the Great American State Fair as a national exposition running from the U.S. Capitol to the Washington Monument, with live music, carnival rides and hands-on partner activations meant to showcase the states and territories.

That framing did not stop the backlash.

AP reported that Freedom 250 was launched by President Donald Trump late last year and that Trump appointed Keith Krach, a former under secretary of state, as the organization’s CEO. That connection became central to the controversy as artists faced questions from fans about whether their appearances amounted to support for a Trump-linked event.

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The confusion was still visible on the event’s own ticket pages. As of Friday, Freedom 250 pages continued to list McBride, Young MC, C+C Music Factory, Milli Vanilli, the Commodores, Morris Day and the Time, and Michaels even after several of those artists had publicly pulled out, denied involvement or disputed what their participation meant.

For legacy performers, the issue is bigger than one booking. Their names carry decades of audience memory. A listing on a public lineup can imply alignment, endorsement or participation before a performer says a word. In the social media era, that can become a reputational problem almost instantly.

The Milli Vanilli listing carried its own confusion because the name has a complicated history. Rob Pilatus and Fab Morvan were the public faces of the act during its late-1980s pop explosion, but the group’s recordings were performed by studio vocalists. Pilatus died in 1998. Morvan has continued performing and, according to AP, said he would appear at the Great American State Fair.

That does not mean everyone tied to the Milli Vanilli legacy is part of the event. Jodie Rocco, a singer associated with the Real Milli Vanilli side of the group’s history, told AP that she, her sister Linda Rocco and other current group members had not been asked to perform and were surprised to see the name on the bill. The distinction matters: Morvan represents the public-facing Milli Vanilli name most audiences remember, while singers tied to the group’s actual recorded vocals say they are not involved in the Freedom 250 appearance.

The C+C Music Factory listing also became complicated. Freedom Williams, the rapper whose voice helped define the group’s “Gonna Make You Sweat (Everybody Dance Now)” era, publicly discussed the booking while distancing himself from Trump politically. Robert Clivillés, who co-founded C+C Music Factory with the late David Cole, has disputed Williams’ authority to represent the group as a whole.

Vanilla Ice appeared to remain on the bill, with a representative telling AP he was proud to help celebrate America’s 250th anniversary. Flo Rida was also listed in the original announcement, though the status of the lineup remained fluid as artists continued responding publicly.

That uncertainty is the story now. A concert series marketed as unity became a test of how quickly nostalgia can turn political when the wrong context surrounds the stage.

Young MC, Morris Day, the Commodores, C+C Music Factory and Milli Vanilli are not just names on a flyer. They are part of the soundtrack of an era when rap, funk, R&B, dance-pop and MTV-driven spectacle crossed into the mainstream in ways that still shape old-school parties and throwback festivals today.

These artists built careers around movement, memory and mass appeal. Their records were made to get people on the floor, not to place them in the middle of a national political argument.

Freedom 250 may still hold the Great American State Fair. It may revise the lineup. It may continue presenting the event as a nonpartisan celebration. But the first wave of music announcements has already become a cautionary tale about transparency, artist consent and the risk of using familiar names to sell a complicated moment.

Before anyone could “Bust a Move” on the National Mall, the question became who knew what, who agreed to what and who wanted no part of the room once the lights came up.

Drake Passes Michael Jackson With 14th Hot 100 No. 1

A sequined glove, invoking the imagery of Michael Jackson, is featured in the promotional artwork for Drake's album "Iceman." The Toronto rapper surpassed Jackson this week for the most No. 1 singles by a solo male artist in Billboard Hot 100 history following the debut of his track "Janice STFU."

Drake may have lost the battle for hip-hop’s cultural crown, but his overwhelming streaming dominance has officially secured him the Billboard throne.

“Janice STFU” debuted at No. 1 on the Billboard Hot 100, giving Drake his 14th career chart-topper and moving him past Michael Jackson for the most No. 1 singles by a solo male artist in Hot 100 history. The record breaks a tie that linked two very different kinds of dominance: Jackson’s tightly controlled reign over the MTV, radio and blockbuster-album age, and Drake’s command of a modern system built on streaming volume, constant visibility and fan-driven chart pressure.

That distinction matters. Passing Jackson does not end any debate about cultural weight, performance, artistry or influence. Jackson remains one of the most transformative entertainers in American history. But Billboard records are about chart performance, and on that field, Drake has built one of the most overwhelming statistical runs popular music has ever seen.

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The latest milestone came from a release strategy almost designed to test the limits of the charts. Drake released three albums at once — “Iceman,” “Habibti” and “Maid of Honour” — and all three debuted at Nos. 1, 2 and 3 on the Billboard 200. According to Billboard, it marked the first time one artist held the chart’s top three positions simultaneously in its 70-year history.

“Iceman” opened at No. 1 with 463,000 equivalent album units in the United States, followed by “Habibti” with 114,000 and “Maid of Honour” with 110,000. The sweep also gave Drake his 15th Billboard 200 No. 1 album, moving him past Jay-Z among rappers and tying Taylor Swift for the most No. 1 albums among solo artists.

The Hot 100 takeover was even more extreme. Drake placed 42 songs on the chart in the same week, breaking Morgan Wallen’s previous single-week record of 37. Forty of those Drake songs were debuts. The surge pushed Drake to 402 career Hot 100 entries, making him the first artist to cross the 400-entry mark in the chart’s 67-year history.

“Janice STFU” led the avalanche. The “Iceman” standout interpolates Lykke Li’s “I Follow Rivers,” turning a moody 2011 indie-pop hook into the center of a Drake record built for replay, reaction and debate. The track also helped give Lykke Li her first Hot 100 credit at No. 1, another reminder of how one Drake single can pull older sounds, outside influences and unexpected collaborators into the middle of the mainstream.

Drake nearly locked down the entire top 10, placing nine songs in that region. The only non-Drake song in the top 10 was Ella Langley’s “Choosin’ Texas,” which held the No. 5 spot and kept the week from becoming a complete sweep.

Drake marked the moment on Instagram with Michael Jackson-inspired artwork showing Jackson with “Iceman” blue braids in a snowy scene. His caption read, “Neck broke from carrying the chain Back broke from carrying the game Records broken carry on my name Carry on carry on.”

The image was pointed. The comparison was unavoidable. But the real story is not simply Drake versus Michael Jackson. It is what the comparison says about how music power has changed.

Jackson’s records were built in an era when a single album could freeze the culture in place. Drake’s latest records come from a different machine: a massive catalog, a relentless release pace, streaming-era math and an audience trained to treat every drop like a real-time event. One model made icons feel unreachable. The other makes dominance feel measurable by the hour.

That does not make one era cleaner than the other. It does make the achievement more complicated than a number on a chart. Drake has not replaced Jackson’s place in pop history, and no Billboard statistic can do that. But with “Janice STFU,” he has claimed a record Jackson held for decades — and he did it in a week that showed, more than ever, how completely Drake understands the new rules of the game.

Rob Base, Harlem Rapper Who Anchored 'It Takes Two,' Dies at 59

Hip-hop pioneer Rob Base performs at the Houston Dash 90s Bash in Houston on Oct. 8, 2023. The Harlem-born rapper, who anchored the platinum 1988 crossover anthem "It Takes Two," died Friday after a private battle with cancer. He was 59. (Photo: 2C2K Photography, CC BY 2.0, via Wikimedia Commons)

Rob Base, the pioneering Harlem rapper whose 1988 platinum single "It Takes Two" became a foundational anthem for hip-hop and global dance culture, died Friday following a private battle with cancer. He was 59.

Born Robert Ginyard, the artist passed away peacefully surrounded by family, according to a statement released on his official social media accounts.

"Rob’s music, energy, and legacy helped shape a generation and brought joy to millions around the world," the statement read. "Beyond the stage, he was a loving father, family man, friend, and creative force whose impact will never be forgotten."

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Base emerged from the New York hip-hop scene in the mid-1980s alongside his childhood friend and musical partner DJ E-Z Rock (Rodney "Skip" Bryce). After building local momentum in Harlem with early singles, the duo signed with Profile Records in 1987. The following year, they released "It Takes Two," a track that permanently altered the trajectory of the genre.

Built around a heavy, driving drum break and a vocal sample from Lyn Collins’ 1972 James Brown-produced funk track "Think (About It)," the song successfully bridged the gap between raw, lyric-driven hip-hop and the high-energy club scene. Introduced by Base's iconic opening declaration — "I wanna rock right now / I'm Rob Base and I came to get down" — the single peaked at No. 3 on the Billboard dance charts, reached No. 36 on the Billboard Hot 100, and quickly achieved platinum certification.

The accompanying album, also titled "It Takes Two," generated subsequent massive dance-floor hits including "Joy and Pain" and "Get on the Dance Floor." The project secured the duo's legacy during hip-hop's golden era, proving the commercial viability of rap music in mainstream spaces without compromising its street origins.

While the group's dynamic shifted in the 1990s — with Base releasing the solo album "The Incredible Base" in 1989 before reuniting with DJ E-Z Rock for 1994's "Break of Dawn" — his foundational 1988 work remained a permanent fixture in global pop culture. "It Takes Two" has been endlessly sampled by subsequent generations of producers and remains a ubiquitous presence in film, television, and sports arenas.

Memorial service arrangements for Ginyard have not yet been announced.

Rap Pioneer MC Lyte Officially Becomes ‘Dr. Moorer’ at Bennett College Ceremony

MC Lyte at the Essence Festival of Culture in July 2025. (Credit: Danielle G. Campbell / Wikimedia Commons)

Pioneer hip-hop artist and lyricist MC Lyte was awarded an honorary Doctor of Arts degree from Bennett College during the institution’s centennial commencement ceremony this past weekend.

The honor, presented Saturday on the campus quadrangle, arrives during a massive milestone spring for the artist. Born Lana Michele Moorer, the hip-hop trailblazer was also recently announced as an official 2026 inductee into the Rock & Roll Hall of Fame.

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Moorer, who rose to prominence in the late 1980s and 1990s as the first solo female rapper to release a full-length studio album with 1988's "Lyte as a Rock," served as the keynote commencement speaker for the historic women's college. During her address to the Centennial Class of 2026, Moorer presented members of the graduating class with a special commemorative gift to mark the institution's 100th year as a women's college.

Interim President Dr. Teresa Hardee formally conferred the degree before a gathering of nearly 1,000 graduates, families, and alumnae.

"It was an honor to present this special recognition to someone whose voice has shaped culture and impacted generations," Hardee said during the ceremony. "MC Lyte's influence extends far beyond music. She is an entrepreneur, visionary, philanthropist, and advocate whose work continues to inspire people around the world. ... Today, she is not only a Rock & Roll Hall of Fame inductee. She is also officially a Bennett Belle."

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The academic accolade adds to a highly decorated legacy for Moorer, whose 1993 single "Ruffneck" secured the first gold certification for a solo female rap artist in music history.

Last month, the Rock & Roll Hall of Fame announced its 2026 class, recognizing Moorer in the Early Influence category alongside Queen Latifah, Fela Kuti, and Celia Cruz. The formal induction ceremony is scheduled for Nov. 14 in Los Angeles.

In a recent interview reflecting on the Rock Hall honor, Moorer noted the cultural significance of the recognition and her enduring longevity in the industry.

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"Starting from 16 years old rapping lyrics in a basement to now taking on one of the most esteemed acknowledgements, to be inducted into the Rock & Roll Hall of Fame — it feels surreal," she said. "It's humbling and serves as a reminder to keep moving in the direction of positivity and know that I am just the conduit. God is working through me to bring the very best of whatever it is he gives me as a creative vision. I just feel like I keep getting better."

Snoop Dogg’s Company Denies Responsibility In Drakeo the Ruler Backstage Killing

Drakeo the Ruler appears on the cover of his posthumous album “The Undisputed Truth.” Snoop Dogg’s LLC is seeking dismissal from a wrongful death lawsuit tied to Drakeo’s fatal stabbing at the 2021 “Once Upon a Time in L.A.” festival. (Cover art by Gallery Provence)

Snoop Dogg’s company is asking a Los Angeles judge to cut it loose from litigation over the fatal backstage stabbing of Drakeo the Ruler, arguing that its connection to the 2021 festival ended with Snoop Dogg being booked to perform.

In legal documents obtained by TMZ and reported Wednesday, Snoop Dogg’s LLC moved for summary judgment in a case brought by Drakeo’s brother, Devante Caldwell, and others, contending the company had no role in producing, managing or securing the "Once Upon a Time in L.A." festival.

Drakeo the Ruler, whose legal name was Darrell Caldwell, was stabbed in a backstage all-access area at Exposition Park on Dec. 18, 2021, shortly before he was scheduled to perform. Lawsuits stemming from the attack allege his entourage was overwhelmed by a large group after security failures allowed unauthorized people into a restricted area.

Caldwell, known for a distinctly original, whisper-like flow often described as "nervous music," was a towering figure in the modern Los Angeles underground scene. He was widely respected for his relentless creative drive, most notably recording his critically acclaimed 2020 mixtape, "Thank You for Using GTL," over a jail phone line while awaiting trial at Men’s Central Jail. He had been acquitted of murder and attempted murder charges, but remained jailed as prosecutors pursued additional charges. He later pleaded to conspiracy charges and was released in November 2020.

In early 2022, separate civil actions were filed by relatives and representatives connected to Caldwell, including his brother Devante Caldwell, his mother, Darrylene Corniel, and his son through guardian ad litem Tianna Purtue. The lawsuits targeted primary promoter Live Nation, C3 Presents, Bobby Dee Presents, Snoop Dogg’s LLC, venue-related entities and security companies, accusing organizers of failing to provide adequate security despite alleged foreseeable risks.

One complaint stated that "Drakeo and his group fought for their lives against insurmountable odds, shocked and horrified at the fact that no security ever materialized to intervene."

According to the new legal documents obtained by TMZ, Snoop Dogg’s LLC argues it had no involvement in festival operations and cannot be held liable. The filing states the company never signed a lease or license agreement, held no ownership or leasehold interest in Exposition Park and was not responsible for hiring or managing the event’s security detail.

The documents further state that no one from Snoop Dogg’s company witnessed or participated in Caldwell’s death, nor did they have any relationship with the assailants. After the tragedy in 2021, Snoop Dogg released a statement expressing condolences and saying he was in his dressing room when he was informed of the incident. He said he chose to leave the festival grounds and closed with, "IM PRAYING FOR PEACE IN HIP HOP."

The latest move by Snoop Dogg’s LLC follows a wave of successful dismissals for other defendants. Earlier this month, Los Angeles Superior Court Judge James Montgomery granted summary judgments removing the Los Angeles Football Club and Bobby Dee Presents from the case. The festival was held at what was then Banc of California Stadium, now BMO Stadium, in Exposition Park.

Bobby Dee Presents served as the booking agent for Snoop Dogg, one of the festival’s marquee headliners. In court papers, lawyers for the company wrote that it did not organize or produce the festival, did not hire security, did not establish or implement the security plan and did not own the land where the concert was held.

Montgomery agreed, finding that the plaintiffs had not shown that the booking company or stadium-related defendants violated an obligation to protect Caldwell.

While the roster of defendants continues to narrow, the core accusations regarding crowd control and festival safety remain directed at the remaining defendants, including Live Nation. A final status conference is scheduled for Sept. 8.

Cardi B Secures Six Bet Awards Nods, Leading a Field Packed With Legacy Acts

Cardi B appears on the cover art for her second studio album, "Am I the Drama?" The platinum-selling project helped the rapper secure an industry-leading six nominations at the 2026 BET Awards, including a nod for Album of the Year. (Atlantic Records)

Cardi B leads the 2026 BET Awards nominations with six nods, giving this year’s ceremony its cleanest headline and one of its most current stars. Kendrick Lamar and Mariah the Scientist follow with five nominations each, while Clipse, Doja Cat, Doechii, Teyana Taylor, Olivia Dean and Latto each earned four.

But beneath the numbers, this year’s BET field has a long memory.

The 2026 nominations are not simply a roll call of streaming-era momentum. They also make room for artists, directors and cultural architects whose work helped build the modern language of hip-hop, R&B and Black popular culture. Clipse, De La Soul, Nas and DJ Premier, Hype Williams, Benny Boom, Director X, Jill Scott, T.I. and Usher all appear across major categories, giving the show a deeper historical charge than a standard awards-season announcement.

Pusha T and No Malice did not reunite for nostalgia points.

Clipse earned four nominations, including Album of the Year for “Let God Sort Em Out,” Best Group and two nods for “Chains & Whips,” their Kendrick Lamar-assisted single. The duo’s presence gives the BET Awards one of its clearest links between early-2000s rap austerity and the current appetite for sharp, grown, high-stakes hip-hop.

The Best Group category carries that tension even further. Clipse will compete in a field that also includes De La Soul, French Montana and Max B, Nas and DJ Premier, Metro Boomin and DJ Spinz, Terrace Martin and Kenyon Dixon, Wizkid and Asake, FLO and 41. It is one of the year’s most interesting categories because it refuses to live in one era, one sound or one definition of group power.

The same generational conversation is happening behind the camera. Video Director of the Year includes Hype Williams, Benny Boom and Director X, three filmmakers whose work helped turn hip-hop and R&B videos into cultural events before social media became the main stage. They are nominated alongside Anderson .Paak, Cole Bennett, Cactus Jack, A$AP Rocky and Dan Streit, Cardi B and Patientce Foster, and Teyana “Spike-Tey” Taylor.

That category is more than a technical race. It is a reminder that the visual grammar of Black music — the lens flares, fish-eye swagger, luxury surrealism, street-level gloss and cinematic ambition — did not appear from nowhere. It was built, copied, stretched and reinterpreted across generations.

T.I. also appears across three categories. The Atlanta rapper is up for Best Male Hip Hop Artist, Video of the Year for “Let ’Em Know” and the Dr. Bobby Jones Best Gospel/Inspirational Award as part of “Headphones” with Lecrae and Killer Mike.

In the R&B lanes, Jill Scott continues to move like an artist outside the churn. She is nominated for Best Female R&B/Pop Artist and has two entries in the BET Her category: “Be Great” featuring Trombone Shorty and “Beautiful People.” Usher is nominated for Best Male R&B/Pop Artist.

BET also expanded the ceremony with two new categories. The Fashion Vanguard Award recognizes cultural impact through fashion, with nominees including A$AP Rocky, Bad Bunny, Beyoncé, Cardi B, Colman Domingo, Doechii, Rihanna, Teyana Taylor and Zendaya. The new Pulse Award honors digital media and cultural influence, with nominees including “85 South Show,” “Baby, This Is Keke Palmer,” Charlamagne Tha God, Don Lemon, Druski, “It Is What It Is,” “Joe and Jada,” “On the Radar” and “R&B Money Podcast.”

Those additions matter because they acknowledge what the culture already knows: influence no longer moves through one lane. It moves through songs, videos, podcasts, fashion, clips, interviews, memes and moments that can change the conversation before traditional media catches up.

That is what gives this year’s nominations more weight than a simple leaderboard. Cardi B’s six nominations make her the obvious headline. Kendrick Lamar and Mariah the Scientist give the show heavyweight momentum. But the presence of Clipse, De La Soul, Hype Williams, Nas and DJ Premier, Jill Scott, T.I. and Usher gives the 2026 BET Awards something else: memory.

The new school may be leading the count, but the architects are still in the building.

2026 BET Awards

The Complete Nominations Board

The Leaderboard

• 6 Nominations: Cardi B
• 5 Nominations: Kendrick Lamar, Mariah the Scientist
• 4 Nominations: Clipse, Doechii, Doja Cat, Latto, Olivia Dean, Teyana Taylor
• 3 Nominations: T.I., Jill Scott, Tems, A$AP Rocky, Bruno Mars, Bryson Tiller, Chris Brown, Kehlani, Metro Boomin, SZA, Tasha Cobbs Leonard, YK Niece

The Complete List

Album of the Year

Cardi B ("Am I the Drama?"), Tyler, the Creator ("Don't Tap the Glass"), Wale ("Everything Is a Lot"), Mariah the Scientist ("Hearts Sold Separately"), Clipse ("Let God Sort Em Out"), Leon Thomas ("Mutt Deluxe: Heel"), J. Cole ("The Fall-Off"), Bruno Mars ("The Romantic")

Best Male Hip Hop Artist

A$AP Rocky, Baby Keem, BigXthaPlug, DaBaby, Don Toliver, Drake, J. Cole, Kendrick Lamar, T.I.

Best Female Hip Hop Artist

Cardi B, Coi Leray, Doechii, Doja Cat, GloRilla, Latto, Megan Thee Stallion, Monaleo, YK Niece

Best Male R&B/Pop Artist

Brent Faiyaz, Bruno Mars, Bryson Tiller, Chris Brown, Durand Bernarr, GIVĒON, Leon Thomas, October London, Usher

Best Female R&B/Pop Artist

Ari Lennox, Coco Jones, Ella Mai, Jill Scott, Kehlani, Mariah the Scientist, Olivia Dean, SZA, Tems

Best Group

41, Clipse, De La Soul, FLO, French Montana & Max B, Metro Boomin & DJ Spinz, Nas & DJ Premier, Terrace Martin & Kenyon Dixon, Wizkid & Asake

Best Collaboration

Clipse & Kendrick Lamar ("Chains & Whips"), Cardi B feat. Jeezy & Latto ("Errtime Remix"), Summer Walker feat. Latto & Doja Cat ("Go Girl"), Baby Keem feat. Kendrick Lamar & Momo Boyd ("Good Flirts"), Mariah the Scientist & Kali Uchis ("Is It a Crime"), Chris Brown feat. Bryson Tiller & Usher ("It Depends - The Remix"), Metro Boomin feat. Quavo, Breskii, YK Niece & DJ Spinz ("Take Me Thru Dere"), Gunna feat. Burna Boy ("wgft")

Video of the Year

Ella Mai ("100"), Doechii ("Anxiety"), Mariah the Scientist ("Burning Blue"), Tyla ("Chanel"), Teyana Taylor ("Escape Room"), Kehlani ("Folded"), T.I. ("Let 'Em Know"), Kendrick Lamar & SZA ("luther")

Video Director of the Year

A$AP Rocky & Dan Streit, Anderson .Paak, Benny Boom, Cactus Jack, Cardi B & Patientce Foster, Cole Bennett, Director X, Hype Williams, Teyana "Spike-Tey" Taylor

Best New Artist

Belly Gang Kushington, DESTIN CONRAD, JayDon, kwn, Miles Minnick, Monaleo, Olivia Dean, RAYE, Trap Dickey

BET Her Award

Tasha Cobbs Leonard ("Already Good"), Jill Scott feat. Trombone Shorty ("Be Great"), Jill Scott ("Beautiful People"), Tems ("First"), Doechii feat. SZA ("girl, get up."), Summer Walker feat. Latto & Doja Cat ("Go Girl"), Doja Cat ("Gorgeous"), Olivia Dean ("Lady Lady")

The Fashion Vanguard Award (NEW)

A$AP Rocky, Bad Bunny, Beyoncé, Cardi B, Colman Domingo, Doechii, Rihanna, Teyana Taylor, Zendaya

The Pulse Award (NEW)

85 South Show, Baby, This Is Keke Palmer, Charlamagne Tha God, Don Lemon, Druski, It Is What It Is, Joe and Jada, On the Radar, R&B Money Podcast

Viewers’ Choice

Mariah the Scientist ("Burning Blue"), Clipse feat. Kendrick Lamar (“Chains & Whips”), Tyla (“Chanel”), Kehlani (“Folded”), Bruno Mars (“I Just Might”), Chris Brown feat. Bryson Tiller (“It Depends”), Olivia Dean (“Man I Need”), Cardi B (“Outside”), Dave & Tems (“Raindance”), Metro Boomin feat. Quavo, Breskii, YK Niece & DJ Spinz (“Take Me Thru Dere”)

Dr. Bobby Jones Best Gospel/Inspirational Award

Kirk Franklin ("Able"), Darrel Walls, PJ Morton & Kim Burrell ("Able - Remix"), BeBe Winans ("All to Thee"), Tasha Cobbs Leonard ("Already Good"), CeCe Winans ("At the Cross"), Tasha Cobbs Leonard & John Legend ("Church"), Kirk Franklin ("Do It Again"), Lecrae, Killer Mike & T.I. ("Headphones")

Best Actress

Angela Bassett, Ayo Edebiri, Chase Infiniti, Coco Jones, Cynthia Erivo, Keke Palmer, Quinta Brunson, Regina Hall, Teyana Taylor

Best Actor

Aaron Pierre, Aldis Hodge, Anthony Mackie, Colman Domingo, Damson Idris, Delroy Lindo, Denzel Washington, Michael B. Jordan, Sterling K. Brown

Best Movie

Highest 2 Lowest, Him, Number One on the Call Sheet, One Battle After Another, Relationship Goals, Ruth & Boaz, Sinners, Wicked: For Good

YoungStars Award

Daria Johns, Graceyn "Gracie" Hollingsworth, Heiress Harris, Jazzy's World TV, Lela Hoffmeister, North West, Thaddeus J. Mixson, VanVan

Sportswoman of the Year Award

A'ja Wilson, Angel Reese, Claressa Shields, Coco Gauff, Flau'jae Johnson, Gabby Thomas, Jordan Chiles, Naomi Osaka, Sha'Carri Richardson

Sportsman of the Year Award

Aaron Judge, Anthony Edwards, Caleb Williams, Jalen Brunson, Jalen Hurts, LeBron James, Shedeur Sanders, Stephen Curry