Is Beyoncé Country Enough? Viral Critic Reignites Debate Over Genre Lines

Beyoncé rides a white horse while holding an American flag in a promotional image for her album Cowboy Carter. The project debuted at No. 1 on Billboard’s Country Albums chart, sparking debate over its genre classification. Country artist Gavin Adcock called the album “the farthest thing from country,” while supporters praised it for expanding country’s boundaries. (Photo courtesy of Parkwood Entertainment)

When Gavin Adcock — former Georgia Southern football player turned rough-edged country artist —
posted a Reel claiming Beyoncé’s "Cowboy Carter" is “the farthest thing from country,” he reignited a long-standing debate about who gets to define a genre rooted in both tradition and transformation.

The short video, now trending across Instagram and TikTok, shows Adcock shaking his head and offering a southern-fried breakdown of why he doesn’t believe "Cowboy Carter" belongs under the country umbrella.

“Lemme go ahead and clear this up — when I was a little kid, my mama raised me on real country,” Adcock says. “I’m talkin’ George Strait, Alan Jackson, Travis Tritt. I ain’t hatin’, but don’t label somethin’ country just to make it chart.”

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It’s a tone that’s part bemusement, part subtle gatekeeping — and it reveals more about country music’s discomfort with evolution than it does about Beyoncé.

Because here’s the question Adcock — and many like him — keep skirting: what exactly is “real country” in 2025?

Statistically, "Cowboy Carter" might be the most successful “country” album of the decade. Beyoncé’s genre-bending opus debuted at No. 1 on the Billboard 200, Top Country Albums, and Top Americana/Folk Albums simultaneously — making her the first Black woman in history to top the country chart.

According to Luminate, "Cowboy Carter "moved 407,000 equivalent album units in its first week, including 168 million on-demand streams — a figure far surpassing recent country releases by artists like Morgan Wallen or Luke Combs. These aren’t crossover numbers — they’re takeover numbers.

But success isn’t the only qualifier. The album’s DNA is country — just not the narrow kind historically confined to Music Row radio rotations. Beyoncé interpolates Dolly Parton, covers The Beatles’ “Blackbird” (written during the civil rights era), and resurrects Linda Martell, the first Black woman to play the Grand Ole Opry, giving her overdue voice and validation.

Genre boundaries have always shifted. Elvis shook up country. Ray Charles turned Modern Sounds in Country and Western Music into a landmark. Lil Nas X went viral and hit No. 1 with a cowboy hat and an 808. What Beyoncé’s doing isn’t a gimmick — it’s tradition, just one that doesn’t always look like what the Nashville establishment expects.

That discomfort is the point.

Beyoncé herself wrote in the album’s liner notes: “This ain’t a country album. This is a Beyoncé album.” And that’s the real story: she’s not asking permission — she’s asserting authority.

Artists like Adcock are entitled to their opinions. But the facts remain: "Cowboy Carter" didn’t break country music. It exposed how small the gate has been. And for many listeners — especially Black ones — that gate was never open to begin with.

Whether she’s standing onstage at the CMA Awards or headlining her own genre-defying global tours, Beyoncé’s presence in country isn’t an invasion.

It’s a reclamation.

So the question isn't whether "Cowboy Carter" is country enough.

The question is whether country music is ready to admit its roots were always bigger than its borders.

Watch: Living Colour Electrifies for Tiny Desk’s Black Music Month Tribute

Living Colour performs at NPR’s Tiny Desk in Washington, D.C., in a June 2025 concert celebrating the 35th anniversary of their landmark album Time’s Up. From left: Vernon Reid, Will Calhoun, Corey Glover and Doug Wimbish. (Screengrab via YouTube)

Living Colour didn’t just play behind NPR’s Tiny Desk. They detonated it.

The pioneering Black rock band delivered a searing, soul-baring performance that honored the 35th anniversary of their landmark album "Time’s Up," shook the walls of NPR’s headquarters, and reminded the world that rock, rage, and revolution still live in Black music.

Opening with their 1988 breakout “Cult of Personality” — the Grammy-winning anthem that made political theory scream — Living Colour set the tone with Corey Glover’s full-throttle vocals, Vernon Reid’s sonic sleight of hand on guitar, and a rhythm section powered by Doug Wimbish and Will Calhoun that hit like a fist through drywall.

But this wasn’t just nostalgia. It was history, fury, and deep musicianship in tight quarters.

With every song, Living Colour layered commentary on race, identity, media, and systemic distortion. “Pride” challenged American hypocrisy, “Love Rears Its Ugly Head” dissected relationship chaos and self-destruction, and “Solace of You” offered a melodic sanctuary in a world that often seeks to erase Black voice and story. Reid shouted out D.C. legends Bad Brains before launching into a blistering “Time’s Up,” turning NPR’s quiet corner into a temple of electric urgency.

“History’s a lie that they teach you in school,” Glover sang in “Pride,” over Calhoun’s tight beat. “A peaceful land that was born and civilized was robbed of its history, freedom, and pride.” It hit like gospel wrapped in punk.

The band used every inch of the stripped-down space to deliver something bigger than volume: meaning. Even with amps turned down and stage lights off, Living Colour glowed — a reminder that Tiny Desk’s size doesn’t limit the size of its message.

During their set, Glover took a moment to reflect on Black Music Month and the losses the culture has endured. “We lost Roberta Flack, we lost so many,” he said. “This song really speaks to that.”

By the end of “Solace of You,” the room didn’t just cheer — it exhaled. For Black rock fans, it was church. For everyone else, it was a lesson in what the genre has always owed to Black artists.

Watch the entire performance below.

Combs Declines to Testify as His Legal Team Concludes Case in Sex Trafficking Trial

Combs declined to testify in his own defense, telling the judge: “I’m doing great, your honor.”

More than six weeks after federal prosecutors began laying out their case against Sean "Diddy" Combs, the defense has rested. In a Manhattan courtroom that has riveted the entertainment industry, the hip-hop mogul opted not to testify in his own defense as attorneys made a final push to sway the jury.

After calling 34 witnesses, the government rested its case Tuesday morning. What followed was a Rule 29 motion for judgment of acquittal by Combs’ defense, a standard legal maneuver arguing that the prosecution failed to meet its burden. Judge Arun Subramanian has reserved ruling on the motion, meaning the case will proceed to the jury.

Defense attorney Alexandra Shapiro argued that the government did not prove the racketeering conspiracy charge or the sex trafficking counts tied to Cassie Ventura and an accuser identified as Jane. She claimed the prosecution failed to establish that Combs coerced anyone or conspired with staff to facilitate crimes. "There’s, at best, thin proof," Shapiro told the court. She added that Combs "took steps to conceal the nature of the sexual activity he was engaging in" from his own employees.

Text messages between Ventura and Combs, read into the record by the defense, painted a picture of a complicated, at times consensual relationship. In messages from 2012 to 2017, Ventura expressed affection for Combs, referenced sexually charged plans like "freak offs," and in one instance joked about getting high before participating. The defense also introduced stipulations noting that several prosecution witnesses— including Dawn Richard, Mia, and Bryana Bongolan — initially failed to report key allegations during interviews with investigators.

While prosecutors chose not to present a rebuttal case, they did argue against the Rule 29 motion. Assistant U.S. Attorney Christy Slavik said the record is more than sufficient to let the jury decide, citing evidence of travel arrangements, payments, and video footage linking Combs to the alleged crimes.

Judge Subramanian addressed Combs directly, confirming his decision not to testify. "I’m doing great, your honor," Combs said, thanking the judge for his handling of the case.

The jury will return Thursday for closing arguments after a scheduled break Wednesday. Deliberations are expected to begin Monday.

R&B Royalty Reunite: Brandy and Monica Launch Arena Tour This Fall

Promotional artwork for “The Boy Is Mine Tour” showcases Brandy and Monica’s first-ever co-headlining arena run, which kicks off Oct. 16, 2025, in Cincinnati and wraps Dec. 7 in Houston. The 24-city tour also features Kelly Rowland, Muni Long, and American Idol winner Jamal Roberts. (Courtesy Black Promoters Collective)

More than 25 years after their chart-dominating duet "The Boy Is Mine" redefined R&B for a generation, Brandy and Monica are officially hitting the road together. The Grammy Award-winning vocal powerhouses announced their highly anticipated joint tour today on CBS Mornings, igniting fan excitement from coast to coast.

Produced by the Black Promoters Collective, The Boy Is Mine Tour launches October 16 in Cincinnati, Ohio, and will hit 24 cities before wrapping up December 7 in Houston, Texas. The tour marks the duo’s first-ever co-headlining trek and celebrates one of the most iconic collaborations in Black music history.

Originally released in 1998, "The Boy Is Mine" spent a staggering 13 weeks at No. 1 on the Billboard Hot 100 — a feat that placed the pair in elite company with Whitney Houston ("I Will Always Love You," 14 weeks) and Mariah Carey ("One Sweet Day," 16 weeks). The track earned them the 1999 Grammy Award for Best R&B Performance by a Duo or Group with Vocals and has remained a cultural touchstone ever since.

Joining Brandy and Monica on the tour are Grammy-winning superstar Kelly Rowland, chart-topping songwriter Muni Long, and American Idol Season 23 winner Jamal Roberts — a multigenerational lineup that ensures each night will be steeped in both nostalgia and new energy.

The reunion comes on the heels of a surprise appearance in Ariana Grande’s "The Boy is Mine" music video in 2024, which sparked renewed excitement for the R&B legends. They later contributed vocals to Grande’s official remix of the track, earning another Grammy nomination and bringing their chemistry to a new generation of fans.

"This really is a full-circle moment," Brandy said. "Monica and I coming together again isn’t just about the music — it’s about honoring where we came from and how far we’ve both come."

Monica echoed the sentiment, calling the tour a tribute to their individual growth and lasting connection: "Brandy and I have been on our own unique journeys. Coming back together is a reminder of the power of respect, strength, and real music."

Shelby Joyner, president of the Black Promoters Collective, called the pairing "a cultural homecoming," saying: "Their impact on R&B is immeasurable, and 'The Boy Is Mine' continues to be one of the most iconic collaborations of all time."

Tickets go on sale Friday, June 27, at 10:00 a.m. local time via Ticketmaster, with presales beginning Thursday, June 26, using the code BPC.

A cinematic tour trailer directed by Ethan Tobman — known for work with Beyoncé and Taylor Swift — has already begun generating buzz, setting the tone for a production that promises style, soul, and sisterhood.

The Boy Is Mine Tour — Dates and Cities:
10/16 – Cincinnati, OH – Heritage Bank Center
10/17 – Milwaukee, WI – Fiserv Forum
10/18 – Chicago, IL – United Center
10/19 – Indianapolis, IN – Gainbridge Fieldhouse
10/30 – Memphis, TN – FedExForum
10/31 – Atlanta, GA – State Farm Arena
11/01 – Greensboro, NC – First Horizon Coliseum
11/02 – Baltimore, MD – CFG Bank Arena
11/07 – Las Vegas, NV – T-Mobile Arena
11/08 – Oakland, CA – Oakland Arena
11/09 – Los Angeles, CA – Kia Forum
11/13 – Charlotte, NC – Spectrum Center
11/14 – Columbia, SC – Colonial Life Arena
11/15 – Birmingham, AL – Legacy Arena at BJCC
11/20 – Brooklyn, NY – Barclays Center
11/21 – Newark, NJ – Prudential Center
11/22 – Atlantic City, NJ – Jim Whelan Boardwalk Hall
11/23 – Hampton, VA – Hampton Coliseum
11/28 – St. Louis, MO – Enterprise Center
11/29 – Detroit, MI – Little Caesars Arena
11/30 – Washington, DC – Capital One Arena
12/05 – New Orleans, LA – Smoothie King Center
12/06 – Fort Worth, TX – Dickies Arena
12/07 – Houston, TX – Toyota Center

Cavin Yarbrough, Half of Yarbrough & Peoples and Funk-R&B Icon, Dies at 72

Yarbrough & Peoples perform together onstage in Dallas. The R&B duo, best known for their 1980 No. 1 hit “Don’t Stop the Music,” remained active performers and community figures for decades. (Photo courtesy of Yarbrough & Peoples Productions)

Cavin Yarbrough, one-half of the iconic R&B duo Yarbrough & Peoples and the man behind the early 1980s chart-topper "Don't Stop the Music," has died. He was 72.

His wife and longtime music partner, Alisa Peoples, confirmed his death Saturday, saying it was sudden and unexpected. "He was the love of my life, my protector," she said. "Now he’s my guardian angel."

Yarbrough passed away on June 19 from complications related to heart disease, according to Peoples.

The duo became household names after their 1980 debut single "Don't Stop the Music" topped the Billboard R&B chart and helped define the era’s funk-forward sound. Their debut album, "The Two of Us," was released the same year and propelled the Dallas-born pair into national fame. "Don't Stop the Music" remains one of the defining tracks of early '80s R&B and is still widely sampled and celebrated today.

Born and raised in Dallas, Texas, Yarbrough was a classically trained pianist who first met Alisa Peoples as a child while taking piano lessons. Their shared love of music blossomed into both a personal and professional partnership. It was Gap Band frontman Charlie Wilson who introduced the duo to Lonnie Simmons, founder of Total Experience Records. The label signed Yarbrough & Peoples in the late '70s, setting the stage for their string of R&B successes.

In addition to their breakout hit, the pair recorded several other charting singles throughout the 1980s, including "Heartbeats" (No. 25, 1983), "Don’t Waste Your Time" (1984), "Be a Winner" (No. 6, 1984), "Guilty" (No. 13, 1986) and "I Wouldn’t Lie" (1986).

After leaving Total Experience in 1986, Yarbrough and Peoples married in 1987 and returned to Dallas. There, they launched their own production company, Yarbrough & Peoples Productions, and served as music directors at their church. Yarbrough also portrayed blues legend Lead Belly in the Off-Broadway musical "Blind Lemon Blues" in 2009.

Friends and fans took to social media to honor his legacy.

“So sad to learn of the passing of Cavin Yarbrough, one-half of the iconic R&B duo Yarbrough & Peoples,” longtime radio personality Donnie Simpson posted. “We will remember Cavin’s legacy through timeless hits like ‘Don’t Stop the Music.’ Sending condolences to his wife, Alisa Peoples, family, friends & fans. RIP.”

"Cavin was not only an extraordinary talent, but a kind man with a great heart," said Michele Elyzabeth, the duo’s publicist for over 40 years. "His legacy will live on in the music, in our memories, and in the hearts of everyone who knew him."

At a time when funk and romance ruled Black radio, Yarbrough & Peoples found the perfect groove. And with Cavin now gone, the beat he helped create lives on.

Beyoncé Tops Whitney, MJ Falls Short of No. 1 in Billboard’s R&B Ranking

Stevie Wonder receives a standing ovation from President Barack Obama, First Lady Michelle Obama, Vice President Joe Biden and an all-star crowd during a 2011 White House Motown tribute. This week, Billboard named Wonder the greatest R&B singer of all time, topping a list that includes legends like Aretha Franklin, Michael Jackson, Beyoncé and Marvin Gaye. (Official White House Photo by Pete Souza)

Billboard just dropped its list of the 75 greatest R&B singers of all time — and if you grew up memorizing liner notes, taping quiet storm sets off the radio, or debating who hit harder between Luther and Marvin, this one’s for you.

Crowned at No. 1 is Stevie Wonder, the blind boy genius turned cultural architect whose sound helped define R&B, soul, and pop for over 60 years. Billboard calls him “pure creative mastery,” but most fans already had him carved into Mount Rushmore status decades ago.

Right behind him at No. 2 is the eternal Queen, Aretha Franklin. Whether from the pulpit or the protest line, Aretha’s voice changed lives and demanded R-E-S-P-E-C-T at every turn.

The top five rounds out like a 3 a.m. soul cypher in heaven: Michael Jackson (3), Beyoncé (4), and Whitney Houston (5) — each one a seismic shift in what R&B could sound, look, and feel like. Beyoncé’s placement signals her as more than a pop juggernaut — she’s a genre-defining vocalist whose catalog honors gospel roots while reshaping the modern R&B landscape. Billboard called her a “vocal chameleon” who balances breathy sensuality with outright power.

Further down, legends like James Brown (6), Prince (7), Mariah Carey (8), Marvin Gaye (10), and Al Green (14) get their long-overdue flowers. Janet Jackson (13) and Usher (21) hold it down for the crossover era, when R&B ruled MTV and packed out arenas. And Brandy, at No. 25, earns her long-standing title as the “Vocal Bible.”

But this list isn’t just a walk through the past — it’s a battleground. Controversy is built into the ranking.

Summer Walker’s inclusion at No. 74 raised eyebrows, especially paired with the absence of ‘90s titans like Keith Sweat, Joe, and Jodeci. R. Kelly’s No. 9 placement is another lightning rod, despite Billboard’s acknowledgment of his lasting musical influence.

Still, the list provides a sweeping look at the genre’s evolution — from Sam Cooke’s raw emotion (12) to Sade’s velvet cool (20), Frank Ocean’s alt-soul futurism (69), and SZA’s millennial vulnerability (33).

In truth, Billboard didn’t just build a ranking — they mapped out a sonic family tree. The list traces how Black voices turned heartbreak into harmony, protest into poetry, and romance into timeless radio.

Will it end the debates? Not a chance. But like the best R&B — it gave us something to feel and something to talk about.

Billboard’s 75 Greatest R&B Singers of All Time

1. Stevie Wonder
2. Aretha Franklin
3. Michael Jackson
4. Beyoncé
5. Whitney Houston
6. James Brown
7. Prince
8. Mariah Carey
9. R. Kelly
10. Marvin Gaye
11. Luther Vandross
12. Sam Cooke
13. Janet Jackson
14. Al Green
15. Ray Charles
16. Etta James
17. Patti LaBelle
18. Donny Hathaway
19. Chaka Khan
20. Sade
21. Usher
22. Smokey Robinson
23. Diana Ross
24. D’Angelo
25. Brandy
26. Anita Baker
27. Toni Braxton
28. Alicia Keys
29. Gladys Knight
30. Mary J. Blige
31. Teddy Pendergrass
32. Raphael Saadiq
33. SZA
34. Jill Scott
35. H.E.R.
36. Maxwell
37. Erykah Badu
38. Fantasia
39. Babyface
40. The Weeknd
41. Charlie Wilson
42. Teena Marie
43. Aaliyah
44. Monica
45. Brian McKnight
46. Kelly Price
47. Ginuwine
48. Chris Brown
49. Trey Songz
50. Faith Evans
51. John Legend
52. Daniel Caesar
53. Lauryn Hill
54. Tank
55. Jhené Aiko
56. Jazmine Sullivan
57. El DeBarge
58. Ashanti
59. Joe
60. Musiq Soulchild
61. Mario
62. Tyrese
63. Anthony Hamilton
64. Ledisi
65. Avant
66. Eric Benét
67. Carl Thomas
68. Frank Ocean
69. Ne-Yo
70. Robin Thicke
71. Mario Winans
72. Leela James
73. Sevyn Streeter
74. Summer Walker
75. BJ the Chicago Kid

Source: Billboard’s Full List

Black Thought to Direct New Hip-Hop Film Aided by Questlove’s Oscar-Winning Touch

Tariq “Black Thought” Trotter, pictured, is set to direct a new immersive hip-hop film backed by Questlove and powered by WonderRoom’s 360-degree tech. 

Tariq “Black Thought” Trotter is moving from the mic to the director’s chair for a bold new venture that reimagines how hip-hop stories are told. The Roots co-founder is helming a narrative film designed to fully immerse viewers in the genre’s cultural heartbeat, using 360-degree technology to recreate its most iconic moments.

Backed by Impossible Creative and powered by its WonderRoom platform, the project blends music, performance, history, and technology in a cinematic experience producers say will let audiences “feel the music, stories, and culture of hip-hop come alive around them.”

Joining Trotter behind the scenes is longtime collaborator Ahmir “Questlove” Thompson, who will serve as a producer. The Grammy- and Oscar-winning artist is no stranger to powerful storytelling. He directed the Academy Award-winning documentary "Summer of Soul," which unearthed and reframed a forgotten Black cultural milestone, earning universal acclaim. His involvement here suggests the new film won’t just entertain — it will educate and resonate.

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Trotter, a celebrated lyricist and bandleader for The Roots, is also an author, playwright, and actor. He co-wrote and starred in the Off-Broadway production "Black No More" and published the acclaimed memoir "The Upcycled Self." His recent solo music, including "Love Letter," which earned him his 14th Grammy nomination, has only sharpened his focus on narrative craft.

“I’m grateful to Impossible Creative for entrusting me with their technology in bringing my latest project to the world,” Trotter said. “Hip-hop has a rich and beautiful history, and by creating a space where audiences play a role and physically live out its greatest moments, the potential for a better understanding of the genre and its roots increases significantly.”

The film is being produced by Two One Five Entertainment’s Shawn Gee and Josh Williams, along with Impossible Creative co-founders Charles Roy and David Galpern. Jonathan Schwartz of FanX Studios is executive producing. A Spring 2026 grand opening in New York is planned.

For Questlove and Trotter — high school classmates, bandmates, and now partners in their media company Two One Five Entertainment — this is the latest chapter in a creative partnership that has already delivered for outlets like Amazon, Netflix, and Disney. Their efforts continue to center the voices and stories of Black artists across genres and platforms.

Clipse Announces Comeback Tour and Album

Photo Credit: Cian Moore

It’s official: Clipse is back. After more than 15 years, one of hip-hop’s most revered duos — brothers Pusha T and No Malice — are reuniting for a nationwide tour in support of their highly anticipated new album, "Let God Sort ’Em Out."

The tour marks a full-circle return for the Virginia Beach MCs who built their legacy on sharp lyricism, coke-rap precision, and a uniquely minimalist sound shaped by Pharrell Williams and Chad Hugo, aka The Neptunes. Fittingly, the "Let God Sort ’Em Out Tour" opens with a homecoming show at The Dome in Virginia Beach on August 10.

Tickets go on sale to the general public Friday, with VIP packages and exclusive pre-sale access already available. The album drops July 11 through Roc Nation Distribution and marks their first full-length collaboration since 2009’s "Til the Casket Drops."

Fans can expect a complete Neptunes production on the record, as Pharrell returns to the boards for every track. The rollout also includes visuals and tour merchandise designed by artist KAWS, whose stylized, irreverent aesthetic reflects the duo’s shift into cultural tastemakers as much as lyrical craftsmen.

"Let God Sort ’Em Out" isn’t just a tour or an album title — it’s a statement. It reflects the philosophical divide and eventual reunion that defined Clipse’s arc. In the early 2000s, Pusha T and No Malice (formerly just Malice) became icons for street rap with a conscience. Their 2002 debut, "Lord Willin’," featuring hits like "Grindin’" and "When the Last Time," set the tone. But it was 2006’s "Hell Hath No Fury" — widely considered a modern classic — that solidified their place in hip-hop’s upper echelon.

While Pusha T would go on to have a celebrated solo run (including Grammy nods and the infamous Drake feud), No Malice took a spiritual turn, renouncing the street life in his 2011 memoir "Wretched, Pitiful, Poor, Blind & Naked" and later releasing faith-based solo projects. The brothers’ divergence wasn’t just thematic — it was personal. For years, the idea of a full Clipse reunion seemed unlikely.

The ablum's lead single, “Ace Trumpets,” released May 30. A mid-tempo, synth-driven track produced by Pharrell, it features razor-edged lyrics from both brothers and has already been praised by Pitchfork as their "menacing return to form."
That changed in 2019 when the duo appeared together on Kanye West’s "Jesus Is King." Since then, rumors of a new album have simmered — until now.

With Pharrell at the helm, KAWS handling visuals, and both brothers locked in lyrically, "Let God Sort ’Em Out" is positioned as a rebirth. The album will be available in digital, CD and limited LP editions, with select deluxe vinyl bundles including unreleased demos and tour memorabilia.

The Virginia Beach stop on August 10 promises to be the crown jewel of the tour — a triumphant return to the city that raised them and first sparked their musical ambitions. Additional stops include:

Let God Sort 'Em Out Tour Dates (So Far)

• August 10 — Virginia Beach, VA @ The Dome
• August 14 — Atlanta, GA @ Tabernacle
• August 16 — Miami, FL @ The Fillmore
• August 20 — Chicago, IL @ House of Blues
• August 22 — New York, NY @ Terminal 5
• August 24 — Philadelphia, PA @ The Fillmore
• August 28 — Houston, TX @ Bayou Music Center
• August 30 — Los Angeles, CA @ The Wiltern
More dates to be announced soon.

For fans of true lyricism, minimalist bangers, and the cultural evolution of two of hip-hop’s sharpest voices, the Clipse comeback is more than nostalgia — it’s the next chapter.

Visit letgodsortemout.com for full tour and album details.

From Viral Star to Prison: Silentó Gets 30 Years for Manslaughter

Photo Credit: DeKalb County Sheriff’s Office

Ricky Hawk, better known as Silentó — the teenage viral sensation who once ruled summer cookouts with "Watch Me (Whip/Nae Nae)" — was sentenced to 30 years in prison today after pleading guilty but mentally ill in the 2021 shooting death of his cousin, Frederick Rooks III.

The 27-year-old rapper entered the plea in DeKalb County Superior Court, accepting charges that included voluntary manslaughter, aggravated assault, firearm possession during a felony, and concealing a death.

The fatal shooting occurred in the early hours of Jan. 21, 2021. Police responded to a 3:37 a.m. call in the Panthersville area of unincorporated Decatur, Georgia. Rooks was found lying near the intersection of Deep Shoals Circle and Corners Crossing with multiple gunshot wounds. EMS declared him dead at the scene. Ten bullet casings were found nearby.

Investigators reviewed security footage showing a white BMW SUV speeding from the scene shortly after gunshots were heard. The vehicle matched one Hawk was driving that night. Family members later confirmed Rooks had last been seen with Hawk. He had reportedly picked Rooks up from a friend’s house earlier that evening.

Silentó was arrested Feb. 1, 2021. According to authorities, he admitted to the shooting during questioning, and a firearm linked to the crime was later recovered.

The Atlanta native shot to overnight fame in 2015 with "Watch Me (Whip/Nae Nae)," which peaked at No. 3 on the Billboard Hot 100 and earned over a billion YouTube views. But after the song’s viral peak, Hawk’s life spiraled. He faced multiple legal issues in 2020, including an arrest for allegedly entering a stranger’s home with a hatchet in Los Angeles, and a reckless driving charge after reportedly reaching 143 mph on I-85 in Atlanta.

In court this week, his plea of guilty but mentally ill acknowledged struggles with mental health, though the court found him competent to stand trial.

Doechii Calls Out Government Crackdown in Fiery BET Awards Speech

The 2025 BET Awards reminded everyone why it’s still called Culture’s Biggest Night. With sharp political statements, emotional tributes, and career-defining wins, the evening was a showcase of star power, activism and legacy.

The show kicked off with Kevin Hart in full form, joking about everything from GloRilla’s name to the baby oil in Diddy’s court case. “There won’t be any afterparties tonight,” he said. “Things could get slippery.” But beyond the humor, Hart set a celebratory tone, honoring BET’s 25th anniversary and reminding viewers of its legacy.

The night belonged to Kendrick Lamar, who picked up four major awards: Album of the Year for GNX, Best Male Hip-Hop Artist, Video of the Year for “Not Like Us,” and Best Collaboration with SZA for “Luther.” He also shared Video Director of the Year honors with longtime collaborator Dave Free.

Meanwhile, Doechii made history with her first BET Award for Best Female Hip-Hop Artist. The Grammy winner used her moment to speak out. “There are ruthless attacks creating fear and chaos in our communities in the name of law and order,” she said, referencing nearby immigration raids and protests. “Trump is using military forces to stop a protest... We all deserve to live in hope and not fear.” Her words drew applause and gave the evening its most politically potent moment.

Jamie Foxx’s tribute brought tears and cheers. Stevie Wonder surprised the crowd to present the Ultimate Icon Award, delivering heartfelt praise: “I admire and celebrate your talent and your love — for blind people.” Foxx, recovering from a 2023 medical emergency, smiled and nodded as Babyface, Ludacris, Tank, Jennifer Hudson, T-Pain and Doug E. Fresh performed a medley of his hits, including “Unpredictable” and “Blame It.” Foxx later said, “You can’t go through something like that and not testify.”

Other big winners included SZA (Best Female R&B/Pop Artist), Chris Brown (Best Male R&B/Pop Artist), and Leon Thomas (Best New Artist). Blue Ivy Carter took home the YoungStars Award in a full-circle legacy moment for the Carter family. Summer Walker earned the BET Her Award for “Heart of a Woman,” while GloRilla, Kirk Franklin, and Maverick City Music won the Dr. Bobby Jones Gospel/Inspiration Award for “Rain Down on Me.”

In film and television, Cynthia Erivo and Denzel Washington were awarded Best Actress and Actor, while Luther: Never Too Much won Best Movie. On the sports side, Angel Reese was named Sportswoman of the Year and Jalen Hurts earned Sportsman of the Year honors.

Full List of 2025 BET Awards Winners:
Best Female R&B/Pop Artist – SZA
Best Male R&B/Pop Artist – Chris Brown
Best Group – Future & Metro Boomin
Best Collaboration – “Luther” – Kendrick Lamar & SZA
Best Male Hip-Hop Artist – Kendrick Lamar
Best Female Hip-Hop Artist – Doechii
Video of the Year – “Not Like Us” – Kendrick Lamar
Video Director of the Year – Dave Free & Kendrick Lamar
Best New Artist – Leon Thomas
Album of the Year – "GNX" – Kendrick Lamar
Dr. Bobby Jones Best Gospel/Inspirational Award – “Rain Down on Me” – GloRilla feat. Kirk Franklin, Maverick City Music
Best Actress – Cynthia Erivo
Best Actor – Denzel Washington
Best Movie – "Luther: Never Too Much"
YoungStars Award – Blue Ivy Carter
Sportswoman of the Year – Angel Reese
Sportsman of the Year – Jalen Hurts
BET Her Award – “Heart of a Woman” – Summer Walker

Diana Ross Tapped to Launch Royal Caribbean’s Latest Family Cruise Ship

Diana Ross, 80, center, poses in her Met Gala gown embroidered with the names of her five children and eight grandchildren in this family portrait taken by Dennis Gocer. The 18-foot feathered shawl reportedly required six helpers—though compared to christening a 250,000-ton cruise ship, that’s light lifting. Ross was named godmother of Royal Caribbean’s Star of the Seas, which launches August 31. (Photo by Dennis Gocer/The Collective You, via dianaross.com)

Diana Ross, icon of stage, screen and sequined glamour, is trading the concert hall for the high seas this August — because 2025 wasn’t surreal enough already.

Royal Caribbean officially tapped Ross as the godmother of its new mega-cruise ship, Star of the Seas, on Thursday. Yes, godmother. Not to a child, but to a 250,800-ton floating resort with Broadway-style musicals, 40-plus places to eat and drink, and something ominously called the Category 6 waterpark. In accordance with maritime tradition, Ross will "bless" the ship and its future vacationers during a naming ceremony. Instead of breaking hearts, she’ll break a bottle of champagne against the hull — same drama, fewer costume changes.

Ross — already mother to five and unofficial godmother to most of the Motown diaspora — seems like a natural pick. Who better to bestow safe passage on a floating palace of excess than the woman who turned a sequined gown into a personality trait? "Love Hangover" may be about heartbreak, but let’s be honest: it could easily be the ship’s signature cocktail by August.

"I am truly honored to join the Royal Caribbean family," Ross said in a statement that reads smoother than a poolside piña colada. "Having spent years creating beautiful music and memories and bringing people together from all over the world, this feels like a perfect continuation of my journey."

That journey now includes presiding over what’s being marketed as the world’s best family vacation — a ship so big it has its own neighborhoods, including the AquaDome, a sort of glass-encased wonderland featuring ocean views and Cirque-du-Soleil-style performances. Also onboard? A stage adaptation of "Back to the Future," because apparently, time travel and cruise buffets do mix.

Ross will be on hand when Star of the Seas launches from Port Canaveral in Florida, on August 31, setting sail on 7-night voyages to the Eastern and Western Caribbean with guaranteed stops at Royal Caribbean’s overachieving private island, Perfect Day at CocoCay. Yes, that’s the real name. No, you’re not dreaming.

Royal Caribbean CEO Michael Bayley called Ross a perfect fit for the ship’s vibe of joy and multigenerational magic. "We couldn’t imagine a more fitting godmother," he said. "Diana Ross is a true icon known for creating music that transcends generations while celebrating life and bringing people together." Basically, she's the human version of the ship’s mood board.

Ross’s duties are symbolic — think vibes, not lifeboat drills. But the role still comes with weight: it’s a blessing of good fortune, smooth seas, and zero karaoke mishaps for the thousands of passengers expected to come aboard.

So, if you’ve been longing for a vacation blessed by a disco legend, curated by a cruise line that thinks bigger is always better, your ship quite literally comes in this August. Diana Ross, diva of the deep, is ready to rule the waves — and this time, you can follow her lead in flip-flops.

‘Chicago Mike,’ Who Helped Define Kool & the Gang’s Stage Energy, Killed in Georgia Crash

Michael “Chicago Mike” Sumler, longtime wardrobe stylist and hype man for Kool & the Gang, is shown in an undated photo. Sumler, who worked with the band for decades and was known for energizing crowds with his signature style and dance moves, died May 25 in a car crash in suburban Atlanta. (Facebook)

Michael “Chicago Mike” Sumler, a longtime stylist, hype man, and performer with Kool & the Gang, died
in a car crash in Cobb County, Georgia, on May 25. He was 71.

According to Cobb County police, the crash occurred around 11:35 p.m. on Veterans Memorial Highway near Buckner Road in Mableton. Sumler’s Nissan was struck head-on by a Kia entering the intersection. Sumler was pronounced dead at the scene by the Cobb County Medical Examiner’s Office. The other driver was not injured.

  

Sumler, a Chicago native, began working with Kool & the Gang in the mid-1980s after meeting a member of the band's security team at a local show. He initially joined as a wardrobe stylist and later became known for energizing crowds as a hype man, often dancing across the stage with a boombox or Walkman. He also contributed as a backup singer and tambourine player.

In a 2018 interview on the "Kelly Talk Show," Sumler recounted his introduction to the band and his evolving role over the years. He worked with Kool & the Gang from 2000 to 2015, ensuring the band looked their best on stage and engaging audiences with his dynamic presence.

Kool & the Gang paid tribute to Sumler on social media, stating, “We’re deeply saddened to hear about the passing of our longtime wardrobe valet, Mike Sumler. Mike worked alongside Kool & the Gang from 2000–2015, making sure the guys looked their best on stage every night. He also hyped the crowd with his energy and dance moves at the top of the show.”

Sumler was born on Nov. 1, 1953, in Chicago to John and Dorothy Sumler. He grew up in the Kenwood neighborhood and attended Bond Elementary School and Harper High School. His mother, Dorothy Sumler, described him as “a good guy, my only son, the oldest of my three children, and he’d do anything he could for you.”

He is survived by his daughters, Monica Ford and Elisia White; his son, Alexander Jenkins; seven grandchildren; and seven great-grandchildren.

A celebration of life will be held from 5 to 8 p.m. on June 9 at Emanuel’s Chapel Funeral Home, 5112 S. Western Ave. A wake is scheduled for 11 a.m. on June 10 at Mt. Pisgah Missionary Baptist Church, 4600 S. King Dr., followed by a funeral service at noon.

Federal Prosecutors Will Not Seek Death Penalty Against Lil Durk

Courtesy Broward County Sheriff’s Office

Federal prosecutors have confirmed they will not seek the death penalty against Chicago rapper Lil Durk in his ongoing murder-for-hire case connected to a 2022 shooting at a Los Angeles gas station.

Lil Durk, whose legal name is Durk Banks, is accused of orchestrating an attack that allegedly targeted rival rapper Quando Rondo and resulted in the death of Rondo’s cousin, Saviay’a “Lul Pab” Robinson. The alleged hit, according to a federal criminal complaint filed in the U.S. District Court for the Central District of California, involved members of Banks’ collective, Only the Family (OTF), tracking and attempting to kill an individual identified as T.B. on Aug. 19, 2022.

Prosecutors allege Banks placed a monetary bounty on the target and directed OTF members to carry out the assault. Surveillance footage and digital evidence reportedly link two vehicles to the coordinated ambush. The attack ultimately led to Robinson’s death, though Rondo survived.

Banks is one of five individuals facing federal charges including murder, murder-for-hire, and conspiracy to commit murder-for-hire resulting in death. Authorities characterize the alleged scheme as a gang-affiliated retaliation plot carried out across state lines.

In April, Banks’ legal team filed a motion to dismiss the case, arguing that prosecutors misled the grand jury by implying Banks bragged about the killing in a song. His attorneys noted that the track in question was recorded seven months before the incident and that Banks had no involvement in a later-modified version uploaded to YouTube.

The court has also ruled that lyrics from the song “Wonderful Wayne & Jackie Boy” cannot be used as evidence in the trial, agreeing with defense arguments that the content is not relevant and was recorded prior to the alleged crime.

Additionally, prosecutors have accused Banks of threatening witnesses while in custody, which contributed to a judge's decision to deny bond. A proposed $4.5 million bail package — which included personal funds, real estate assets, and 24/7 monitoring — was rejected. Prosecutors cited concerns over Banks’ behavior behind bars, including alleged misuse of communication systems.

The credibility of the government’s case has been challenged by the defense, who argue that it relies heavily on a paid FBI informant, identified in court documents as "CHS 1," a former gang member with a history of criminal activity. Banks’ attorneys have questioned the reliability of this source and pointed out that he has not been charged in related Illinois cases despite a three-year investigation.

In February 2025, Saviay’a Robinson’s mother filed a wrongful death lawsuit against Banks, seeking civil damages for her son’s killing.

The trial is currently scheduled to begin Oct. 14, 2025. Prosecutors have indicated that the case is unusually complex, involving more than 20,000 pages of documents and over 230 gigabytes of digital evidence.

The federal decision not to pursue the death penalty narrows sentencing possibilities, but Banks still faces life imprisonment if convicted.

Lil Wayne Returns With New Album, Major Tour Across U.S. and Canada

Lil Wayne appears in promotional artwork for his 2025 “Tha Carter VI” North American tour, which kicks off June 6 with a show at Madison Square Garden in New York. The 34-date trek supports the rapper’s forthcoming album “Tha Carter VI.” (Live Nation)

Lil Wayne is bringing his Carter legacy to center stage. The hip-hop icon announced today he’s hitting the road for a sprawling North American tour in support of his long-awaited album "Tha Carter VI," which drops Friday.

The tour launches the same night with a milestone moment: Wayne’s first solo headlining performance at New York City’s Madison Square Garden. From there, the 34-city trek resumes June 30 in Virginia Beach
and stretches across major markets, including Los Angeles, Toronto, Houston, Dallas, Atlanta and Phoenix, before closing in West Palm Beach, Florida, on Oct. 2.

Presented by Live Nation, the "Tha Carter VI Tour" is stacked with talent. Longtime Young Money collaborator Tyga joins the lineup as a special guest, alongside Atlanta’s Belly Gang Kushington. NoCap is also set to appear at select shows, adding even more firepower to the lineup.

Presale tickets open to fans Wednesday, June 4, with general ticket sales launching Friday at 10 a.m. local time. VIP packages will include premium seats, limited edition merchandise, early venue entry, and exclusive tour posters, according to Live Nation.

"Tha Carter VI" marks Lil Wayne’s first solo studio album since 2020’s "Funeral," which debuted at No. 1 on the Billboard 200. The previous three chapters in the "Carter" series — "Tha Carter III," "IV," and "V" — each reached the top of the chart, solidifying the saga as one of hip-hop’s most revered discographies.

Wayne first teased the new album in a surprise Super Bowl commercial for skincare brand Cetaphil, then confirmed the June 6 release date earlier this spring. While a full tracklist has yet to be revealed, the album is expected to blend the wordplay, flow, and stylistic innovation that made the New Orleans rapper a generational voice.

Few artists have shaped hip-hop like Lil Wayne. With over two decades of bars, mixtapes, and Billboard dominance, his return to the national stage is more than a tour — it’s a victory lap. For a generation raised on "Lollipop," "A Milli," and the early Carter installments, the summer of 2025 promises a live celebration of a rap titan’s past, present and future.

For dates and ticket info, visit livenation.com.

20 Years Since ‘Rappa Ternt Sanga,’ T-Pain Is Just Getting Started

Daniel Benavides, CC BY 2.0, via Wikimedia Commons

T-Pain is headed back to the stage — not just to perform, but to say thank you.

The Grammy-winning singer, producer, and auto-tune pioneer announced the TP20 Tour today, a celebration of his 20-year impact on music. But as the artist made clear in a cryptic and emotional social media post, this isn’t just another tour — it’s a tribute to the fans who helped shape his journey.

"If I learned one thing in the last 20 years, it’s that music doesn’t live on charts. It lives in people," T-Pain wrote on social media. "And this isn’t a tour, it’s a thank you to everyone that was there in 2005 and to everyone who’s just catching the wave."

If I learned one thing in the last 20 years, it’s that music doesn’t live on charts. It lives in people. And this isn’t a tour, it’s a thank you to everyone that was there in 2005 and to everyone who’s just catching the wave.

The TP20 Tour: Celebrating the last 20 years of… pic.twitter.com/VCp3SaxaKU

— T-Pain (@TPAIN) June 3, 2025

The TP20 Tour promises to honor both the past and future of an artist who redefined the sound of a generation. From his breakout hit "I'm Sprung" to anthems like "Buy U a Drank," T-Pain's catalog helped transform hip-hop, pop, and R&B — not just with his signature auto-tune style, but with his songwriting, humor and heart.

Though he once faced criticism for his use of vocal processing, T-Pain has long outlasted the fad claims. His viral 2014 Tiny Desk concert proved he never needed pitch correction to shine, and his recent collaborations — from Kehlani to Snoop Dogg — have shown that his influence continues to ripple through a new era of artists.

Tickets for the TP20 Tour go on sale Friday at tpain.com/tour.

While full tour dates have yet to be announced, fans across generations are already buzzing about the possibility of hearing the classics live — and witnessing what T-Pain hinted is just the beginning of his next 20 years.

"Nobody is ready for what’s next," he wrote. And given his history of reinvention, it’s a warning — and a promise.

Watch: E-40’s Tiny Desk Debut Is a Celebration of Bay Pride and Legacy

 

Bay Area rap icon E-40 brought Vallejo flavor and hyphy energy to NPR’s Tiny Desk Concerts on Monday, kicking off Black Music Month with a spirited, career-spanning set that celebrated his legacy in hip-hop and his hometown roots.

Backed by a live band and in front of an intimate audience, the veteran MC born Earl Stevens ran through a medley of his biggest hits, including "Tell Me When to Go," "Choices (Yup)" and "U and Dat." Throughout the set, he showcased not only his signature slang and unmistakable delivery but also the cultural pride and storytelling that have made him a cornerstone of West Coast rap for over three decades.

“Tell the people that Water is back!” he declared midway through the performance, nodding to both his longtime nickname and his return to the spotlight.

The set marked E-40’s first appearance on the popular YouTube concert series, which has become a landmark platform for both emerging and legendary artists. Known for revealing raw talent in stripped-down formats, Tiny Desk has previously featured performances from artists like T-Pain, Too Short, Kehlani and LaRussell.

The band elevated the energy of each track. On "Choices (Yup)," musicians leaned into the mic to echo the iconic “yup” and “nope” ad libs, creating an organic, in-the-room feel. During "U and Dat," background vocalist and music director Bosko Kante filled in seamlessly for T-Pain’s auto-tuned hook.

E-40 also used the platform to promote his entrepreneurial ventures, sipping from a glass of his Earl Stevens Mangoscato and reminding viewers it’s available at Costco and Total Wine.

Between verses, he shouted out his longtime friends and collaborators, including a heartfelt tribute to the late Stomp Down. The performance was not only a musical celebration but a nod to the community that built him.

Despite a career that spans generations, E-40 remains culturally relevant. His music still blares from Bay Area car stereos and his impact extends beyond music, with a road named after him in Vallejo and surprise political appearances — including a surreal cameo at a Joe Biden rally.

With Monday’s set, E-40 joins a growing list of Bay Area legends who’ve brought their game to the Tiny Desk stage. The show continues to affirm the cultural weight of the Bay, one classic track at a time.

‘I Feared His Wrath’: Inside the Explosive Testimony Rocking Sean Combs’ Sex Trafficking Trial

 

Testimony continued Monday in the federal trial of music mogul Sean "Diddy" Combs, highlighted by emotional statements from a former employee alleging fear, coercion, and intimidation, alongside hotel records showing unusual cleaning charges associated with Combs' stays.

"Mia," testifying under a pseudonym, concluded her appearance on the witness stand following intense questioning from defense attorney Brian Steel. Mia testified she never reported alleged physical and sexual abuse by Combs to law enforcement or company human resources, fearing immediate termination and public humiliation.

“Human resources only punished me unjustly," Mia said, adding that if she had spoken out, she would have been branded as "a crazy person making everything up."

She detailed being coerced into promoting events and projects on social media as part of her job, explaining that failure to do so would result in being "screamed at, humiliated, made fun of, and my job would be threatened." Mia said that even posting birthday messages for Combs on social media was considered mandatory, and failing to do so would lead to consequences.

Defense attorneys highlighted messages Mia sent to Combs after the alleged abuse, including birthday greetings and expressions of support. Mia testified that maintaining a positive front was part of her survival strategy. “Because when he was happy, I was safe,” she said. She also said she remained psychologically under his control even after she stopped working for him.

Mia said she felt unable to leave her job, fearing retaliation, loss of credibility, and threats to her physical safety. “I just knew his power and his wrath,” she testified.

Following Mia's testimony, Sylvia Oken, director of sales and marketing at the Beverly Hills Hotel, took the stand, presenting records showing unusual cleaning expenses during Combs’ hotel stays. Bills revealed charges such as $500 for “oil damage” and $300 for cleaning drapes. Oken noted Combs frequently used the alias "Frank Black," referencing rapper Notorious B.I.G.'s "Frank White."

In a related development, Marion "Suge" Knight, co-founder of Death Row Records and currently serving a 28-year prison sentence for manslaughter, spoke out after his name was mentioned multiple times during the trial. Knight urged Combs to testify, stating, "I think it'd be a great thing to let Puffy tell his truth. Tell the real truth, and bring everybody accountable."

Knight emphasized that while Combs committed "terrible things," these actions were influenced by the environment and industry culture he was exposed to. He added, "I feel that people in [Combs'] life, going on his journey growing up, they failed him."
People.com

The trial is expected to continue with testimony from Eddie Garcia, a former security employee at the InterContinental Hotel, who is anticipated to testify under an immunity order. Prosecutors have indicated that additional witnesses, including forensic video expert Frank Piazza and Combs' former employees Derek Ferguson and Bryana Bongolan, may also be called to testify in the coming days.

Beyoncé Makes History, Janet Jackson Shines at the 2025 AMAs

Janet Jackson performs onstage at the 2025 American Music Awards at the Fontainebleau Las Vegas on May 26, 2025. (Rich Polk)

The 2025 American Music Awards, held on Monday night at the Fontainebleau Las Vegas and hosted by Jennifer Lopez, celebrated the significant and continuing impact of urban music. One of the evening's most prominent moments was the presentation of the Icon Award to Janet Jackson, recognizing her profound influence on pop, R&B and global music culture.

Jackson, dressed in a white cropped jacket, baggy blue jeans, white sneakers, and a headband, captivated the audience with a medley of her iconic hits, including “All for You,” “Rhythm Nation,” and “Together Again,” marking her first televised performance in seven years.

In her acceptance speech, she said, “I don’t consider myself an icon,” while emphasizing her family's deep commitment to music over fame. The Icon Award, first awarded in 2013, has previously been awarded to artists such as Rihanna and Lionel Richie.

Jackson’s tribute underscored the enduring relevance of urban music within the broader popular music landscape, a point further emphasized by Kendrick Lamar’s victory in the Favorite Hip-Hop Song category for “Not Like Us.” Lamar, who received the most nominations of the night with 10, once again demonstrated his artistic power, authenticity, and ability to connect with contemporary culture.

Beyoncé made history in the country genre, winning Favorite Female Country Artist for her acclaimed project, "Cowboy Carter," which also took home Favorite Country Album honors. This win represents a significant achievement for a Black artist in a category historically dominated by white artists.

SZA also had a memorable evening, taking home both Favorite Female R&B Artist and Favorite R&B Song for “Saturn.” These awards acknowledge her innovative approach to R&B, blending genres while staying true to her artistic vision, solidifying her position as a leading voice in modern R&B.

Adding to his legacy, Eminem won both Favorite Male Hip-Hop Artist and Favorite Hip-Hop Album for "The Death of Slim Shady: Coup de Grâce," highlighting his enduring relevance and impact within the hip-hop genre. Megan Thee Stallion won Favorite Female Hip-Hop Artist.

Billie Eilish was the biggest winner of the night, sweeping the major categories, including Artist of the Year, Album of the Year for Hit Me Hard and Soft, and Song of the Year for “Birds of a Feather.”

Chappell Roan was recognized as New Artist of the Year, marking a significant breakthrough for the rising star.

 

Key Winners:

• Artist of the Year: Billie Eilish
• New Artist of the Year: Chappell Roan
• Album of the Year: "Hit Me Hard and Soft" (Billie Eilish)
• Song of the Year: “Birds of a Feather” (Billie Eilish)
• Favorite Male Hip-Hop Artist: Eminem
• Favorite Female Hip-Hop Artist: Megan Thee Stallion
• Favorite Hip-Hop Song: “Not Like Us” (Kendrick Lamar)
• Favorite Female R&B Artist: SZA
• Favorite R&B Song: “Saturn” (SZA)
• Favorite Female Country Artist: Beyoncé
• Favorite Country Album: "Cowboy Carter" (Beyoncé)
• Icon Award: Janet Jackson

For a complete list of winners click here.

Dr. Dre’s $10 Million Boost Helps Redefine Compton High’s Future

Dr. Dre’s legacy has always been intertwined with Compton, and now the rap legend is giving back to the California community in a major way. On Thursday the newly rebuilt Compton High School campus was unveiled, a $225-million project that promises to reshape the future of education for the city’s youth.

At the heart of the transformation is Dre’s $10 million donation to the school’s performing arts center, ensuring that the next generation of Compton’s talent has the space to create, perform and dream big.

The 31-acre campus represents a complete overhaul of the old school, which had long been plagued by outdated facilities. The new high school is a vision of modernity, featuring a digital library, cutting-edge classrooms and athletic facilities designed for the digital age. From a football stadium to multiple sports courts and a state-of-the-art gym, this campus is built to foster both academic and athletic success.

But it’s the performing arts center that stands out as a direct reflection of Dre’s impact on the city. The $10 million donation has turned the center into a state-of-the-art venue where students can explore their passions in music, theater and dance. A mural of Dre’s face on the exterior of the building serves as a powerful reminder of his roots and his ongoing commitment to elevating his hometown.

"I didn’t have that creative outlet when I was in high school," Dre said during the unveiling. "Now these kids have that space, and it’s all about giving them the chance to express who they are and what they can become."

Dre’s involvement is a reflection of his lifelong connection to Compton. The new campus will serve 2,000 students and is funded by school-construction bonds approved by local voters. This revitalization is not just about the physical space but about creating opportunities for Compton’s youth to thrive in ways that were once out of reach.

"Compton is a breeding ground for talent," Dre added. "I’m living proof that coming from Compton, nothing can stop me. Anything is possible."

'You Burned My Car': Kid Cudi Recounts Accusing Combs in Federal Trial

An evidence photo, displayed Thursday, May 22, 2025, during testimony in federal court in New York, shows the damage to a Porsche belonging to rapper Kid Cudi, born Scott Mescudi. Cudi testified that the vehicle was firebombed at his Los Angeles home in January 2012, an act he blamed on Sean "Diddy" Combs during Combs's ongoing sex-trafficking trial.

Kid Cudi delivered gripping testimony Thursday in Sean “Diddy” Combs’s federal sex-trafficking trial on Thursday, recounting a harrowing 2012 firebombing of his Porsche and an earlier home break-in, both of which he unequivocally blamed on the music mogul.

The Grammy-winning rapper, born Scott Mescudi, detailed to jurors how in January 2012, a Molotov cocktail was launched into his Los Angeles driveway, engulfing his Porsche. He testified he first learned of the inferno from his dog sitter.

When Mescudi, 41, later confronted Combs about the destroyed vehicle at a meeting in a Los Angeles hotel, Combs flatly responded, “I don't know what you’re talking about,” Mescudi testified. He described Combs during that meeting as posturing “like a Marvel super villain,” standing with his hands behind his back looking out a window, an encounter Mescudi found “off-putting” due to Combs's calmness.

Kid Cudi's testimony included multiple bombshell allegations against Diddy, including blowing up Cudi's car with a Molotov cocktail. ⚖️

Cudi also alleges that Diddy broke into his home, moved security cameras, injured and locked away his dog and went through all his belongings. https://t.co/JnPagsMl1y pic.twitter.com/3CfJA1Ame0

— Key To The City 🔑 (@K3yToTheCity) May 22, 2025

“I remember looking at him and thinking, ‘You burned my car,’ ” Mescudi told the court. He added that Combs eventually apologized for "everything and all that [expletive]" approximately three years later, around 2015, after which Mescudi said he "found peace with it."

Prosecutors assert the car bombing exemplifies a pattern of “intimidation and violence” Combs allegedly employed, particularly concerning his former girlfriend, singer Cassie Ventura. Mescudi had a brief romantic relationship with Ventura in late 2011, during a period when her relationship with Combs was reportedly intermittent.

On cross-examination, defense attorneys emphasized that no arrests were made or charges filed in connection with the firebombing, and Mescudi acknowledged he never witnessed who threw the incendiary device. “There is no physical evidence tying Mr. Combs to that incident,” a defense attorney stated.

Mescudi also recounted an unnerving break-in at his Hollywood Hills home in December 2011, which he said occurred after Combs became aware of his relationship with Ventura. He testified that security cameras had been tampered with, gifts rifled through, and his dog was inexplicably locked in a bathroom, prompting him to file a police report. Mescudi also testified that during this period, Combs called him while Mescudi believed Combs and associates were at his house. Mescudi said he asked Combs, "Motherf--ker, are you in my house?" to which Combs allegedly replied, "I am here waiting for you."

Further, Mescudi stated that Ventura had confided in him that Combs had been physically abusive towards her, describing incidents where “he would hit her, sometimes kick her.”

Combs, 54, has pleaded not guilty to a range of federal charges, including sex trafficking by force, transportation for prostitution, and racketeering conspiracy. Prosecutors allege he operated a criminal enterprise that abused, threatened, and coerced women over nearly two decades. Combs’s defense team has argued that his relationships were consensual and part of a lifestyle that included non-traditional arrangements.

The trial also heard continued testimony Thursday from George Kaplan, a former executive assistant to Combs, who reportedly testified to witnessing Combs "attack" Ventura. The trial is slated to continue.