Watch: De la Soul’s Triumphant, Bittersweet Tiny Desk Concert Tribute to Trugoy the Dove

Kelvin "Posdnuos" Mercer, center left, and Vincent "Maseo" Mason, center right, of the pioneering hip-hop group De La Soul perform during their NPR Tiny Desk Concert in Washington on Tuesday, March 3. Backed by a nine-piece live band featuring drummer Daru Jones, back left, the duo celebrated their newly independent catalog and paid tribute to late co-founder David "Trugoy the Dove" Jolicoeur. Jolicoeur's memory was honored throughout the set, including a "Dave" nameplate resting on the desk. (Screensgrab via NPR Music)

"Ladies and gentlemen, we're a new group called De La Soul."

When DJ Maseo delivered that deadpan introduction to the crowd gathered at the NPR offices on Tuesday it drew a laugh. Humor has always been the foundational glue of the legendary Long Island trio. But behind the turntable, the joke carried a heavy, undeniable truth: the duties have been reassessed, the focus has shifted, and the architects of the D.A.I.S.Y. Age are navigating a new reality.

The highly anticipated NPR Tiny Desk concert premiered on what fans officially recognize as De La Soul Day. It was billed as a celebration of milestones, primarily marking year three of the group's classic catalog finally returning to their control and hitting streaming services after a decades-long legal battle. It also served as a showcase for their 2025 music album, "Cabin in the Sky."

But hovering above the soaring live instrumentation was the profound absence of David Jolicoeur  —known to the culture as Trugoy the Dove, or Plug Two — who passed away in February 2023 just weeks before the group's masters were finally liberated.

According to NPR's Bobby Carter, surviving members Kelvin "Posdnuos" Mercer and Vincent "Maseo" Mason were highly intentional during the planning process, openly discussing what their late brother would and would not approve of creatively. The result was a setlist that masterfully balanced raucous joy with open grief.

"Cindy said if y'all stop, then Dave stopped, and that wouldn't be the show," Posdnuos rapped early in the set, making it clear that their continued forward motion is the ultimate tribute to Jolicoeur's legacy. Throughout the room, the mantra was simple and repeated: "Dave always."

Backed by a sprawling, nine-piece live band directed by powerhouse drummer Daru Jones, the newly minted duo completely reimagined their sample-heavy catalog. With the addition of a horn section, a viola, and phenomenal background vocalists Yummy Bingham and Gina Loring, the group breathed expansive new life into 90s foundational texts.

The crowd was fully engaged during a towering rendition of "Stakes Is High," with Posdnuos leading the room in a call-and-response, urging the audience to shout "vibration" against the track's iconic, thumping beat. Later, Loring took center stage for a transcendent vocal performance on "Different World," cementing the live band's incredible chemistry.

Yet, amid the massive musical arrangements, the group still found time for the intimate, off-the-cuff humor that made them famous. Before launching into a heartfelt new track titled "A Quick 16 for Mama," Maseo and Pos joked about their current side hustles, with Maseo claiming he was driving Uber XL and Pos quipping that he was doing DoorDash. "Got to get it how you live," Pos laughed, before the band settled into a smooth, nostalgic groove that Maseo noted reminded him of the beats his mother used to play.

The emotional climax of the set arrived during the closing performance of their 1989 breakout hit, "Me Myself and I." As the familiar, infectious bassline rolled through the NPR offices, the lyrics took on a poignant new weight. The group demanded the audience sing along, eventually stripping the beat away to let the room chant the chorus a cappella.

Before the final notes rang out, Maseo took to the microphone to issue one last, simple instruction to the room: "Let me hear you say thank you, Dave."

Watch the full De La Soul Tiny Desk performance below.  

A Massive Day for R&B: New Edition, Luther Vandross Earn First Rock & Roll Hall of Fame Nominations

A collage of artists nominated for the 2026 Rock & Roll Hall of Fame, including several legends of hip-hop and R&B. Pictured among this year's nominees are first-time contenders the Wu-Tang Clan (top row, second from left), Lauryn Hill (second row, left), New Edition (second row, third from left), and the late Luther Vandross (bottom row, right), alongside returning nominee Mariah Carey (bottom row, second from left). (Photo courtesy of the Rock & Roll Hall of Fame)

The Rock & Roll Hall of Fame officially unveiled its 17 performer nominees for the Class of 2026 on Wednesday, delivering a ballot heavily stacked with the architects of 90s hip-hop and the golden era of R&B.

This year's list marks a significant moment for the culture, with the Wu-Tang Clan, Ms. Lauryn Hill, New Edition and the late Luther Vandross all appearing on the ballot for the very first time. They join returning powerhouse nominees Mariah Carey, who is making her third appearance on the ballot, and Sade, who returns for a second time.

The inclusion of the Wu-Tang Clan and Lauryn Hill underscores the Hall's ongoing effort to recognize hip-hop's foundational impact. The Wu-Tang Clan have been hailed as rap innovators since changing the landscape of East Coast rap with their game-changing 1993 debut album, "Enter the Wu-Tang (36 Chambers)". Hill's solo masterpiece, "The Miseducation of Lauryn Hill," made history in 1999 as the first hip-hop album to win the Grammy for album of the year.

Meanwhile, the nomination of Boston-bred pioneers New Edition honors a legacy that essentially created the blueprint for the modern R&B boy band. The group — consisting of Ronnie DeVoe, Bobby Brown, Ricky Bell, Michael Bivins, Ralph Tresvant and Johnny Gill — dominated the charts with classics like "Candy Girl" and "Cool It Now." The nod comes just months after their hometown of Boston officially renamed a Roxbury street "New Edition Way" in their honor.

Vandross, the undisputed king of romantic R&B who sold more than 25 million albums and delivered hits like "Here and Now" before his death in 2005, also earned a long-overdue first nomination.

"This diverse list of talented nominees recognizes the ever-evolving faces and sounds of Rock & Roll and its continued impact on youth culture," John Sykes, chairman of the Rock & Roll Hall of Fame Foundation, said in a statement on Wednesday.

To capture the full scope of the 2026 class, the ballot also features a wide array of pop, rock, and metal legends. The remaining nominees vying for induction include Phil Collins, INXS, Iron Maiden, Shakira, Melissa Etheridge, Jeff Buckley, P!nk, The Black Crowes, Oasis, Joy Division/New Order, and Billy Idol. Of that group, Collins, Shakira, P!nk, Etheridge, INXS, and the late Buckley are also making their first appearance as nominees on the ballot.

The official Class of 2026 will be determined by an international voting body of over 1,200 artists, historians, and industry professionals, as well as a fan vote that is currently open on the Rock & Roll Hall of Fame website. The final inductees will be announced in April, with the induction ceremony scheduled for this fall.

Wu-Tang Clan Visionary Oliver ‘Power’ Grant Dead at 52

Oliver "Power" Grant, the visionary business architect who helped fund the Wu-Tang Clan and founded the pioneering hip-hop brand Wu Wear, died Monday at the age of 52. Grant was instrumental in launching the Staten Island group's global empire and bridging the gap between rap and streetwear. (Photo courtesy of Wu Wear / File)

The hip-hop community is mourning the loss of Oliver "Power" Grant, the visionary business architect behind the Wu-Tang Clan, who passed away on Monday, Feb. 23, at the age of 52. His death was announced by the group on Tuesday. An official cause of death has not been disclosed.

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Grant, a childhood friend of RZA, was instrumental in funding and marketing the group's earliest legendary releases, including the breakthrough tracks "Protect Ya Neck" and "Method Man". Beyond music, Grant pioneered the merger of hip-hop and fashion by creating Wu Wear, widely recognized as one of the culture's first highly lucrative, artist-owned streetwear brands.

Tributes immediately poured in from the Clan. Method Man shared a heartfelt photo of the two on Instagram, writing, "Paradise my Brother safe Travels!! ... Bruh I am not ok". Raekwon also expressed his grief, posting, "POWER we been everywhere …. now you everywhere!"

Rev. Jesse Jackson, Civil Rights Icon and Presidential Pioneer, Dies at 84

The Rev. Jesse Jackson, center, joins a rally for "silver rights" and employment in Washington, D.C., on Jan. 15, 1975. Jackson led the demonstration on the birthday of his mentor, Dr. Martin Luther King Jr., to advocate for the Hawkins-Humphrey Bill and national economic equity. (Photo by Warren K. Leffler/Library of Congress)

For more than half a century, the voice of the Reverend Jesse Louis Jackson Sr. served as the heartbeat of the American struggle — a thunderous, rhythmic reminder that "Somebody" could rise from the slum, even if the slum remained in them.

On Tuesday, that voice, which once shook the foundations of the Democratic Party and echoed through the halls of global power, finally fell silent.

Jackson, the protégé of Dr. Martin Luther King Jr. and the man who effectively pioneered the modern path for Black presidential aspirations, died peacefully at his home in Chicago surrounded by family, his daughter Santita Jackson confirmed. He was 84.

While a cause of death was not immediately specified, Jackson had spent the last decade battling significant health challenges, including Parkinson’s disease and Progressive Supranuclear Palsy (PSP), a rare neurological disorder that eventually robbed the master orator of his ability to speak.

From Memphis to the Rainbow Coalition

To understand Jesse Jackson is to understand the bridge between the picket lines of the 1960s and the ballot boxes of the 21st century. He was there on the balcony of the Lorraine Motel in Memphis when the movement lost its King, a trauma that Jackson carried as both a scar and a mandate for the rest of his life.

In the decades that followed, Jackson refused to be a mere footnote in history. He founded Operation PUSH (People United to Save Humanity) in Chicago, demanding economic equity for Black businesses and workers. He transformed the "I Am Somebody" chant into a psychological cornerstone for a generation of Black youth who had been told they were nothing.

But it was his 1984 and 1988 presidential campaigns that fundamentally shifted the American political landscape. By building a "Rainbow Coalition" of the disenfranchised — Black, Latino, poor white, and rural farmers — Jackson didn’t just run for office; he expanded the electorate. He proved that a Black man could win major primaries, secure millions of votes, and force the mainstream to address the needs of the "voiceless." Without Jesse Jackson’s 1988 run, the road to the White House for Barack Obama twenty years later remains unpaved.

A Complicated, Consequential Legacy

Jackson was never a simple figure. He was often criticized for a perceived hunger for the spotlight and faced significant backlash for his "Hymietown" remarks in 1984—an anti-Semitic slur for which he later offered a tearful apology at a synagogue.

Yet, even his critics could not deny his efficacy. Whether he was negotiating the release of American hostages in Syria, Iraq, and Cuba, or lobbying for D.C. statehood as a "shadow senator," Jackson lived in the fray.

As his health declined, he remained a fixture at protests, often pushed in a wheelchair to the front lines of the Black Lives Matter movement or to advocate for vaccine equity during the COVID-19 pandemic. He was a man who understood that "Keep Hope Alive" wasn't just a slogan; it was a survival strategy.

With his passing, the era of the "Old Guard" civil rights leaders draws closer to its conclusion, but the holes he tore in the walls of the American establishment remain open for those who follow.

Watch: New ‘Michael’ Footage Dives Deep Into the Making of the King of Pop

The uncanny valley may have officially been conquered.

On Monday, Lionsgate released the extended trailer for Antoine Fuqua’s long-awaited biopic “Michael,” and if the footage is to be believed, Jaafar Jackson isn’t just playing his uncle — he is channeling him from the molecular level up.

Set for a global theatrical release on April 24, “Michael” promises to be the definitive cinematic account of the King of Pop. But as the new preview reveals, this isn’t just a “greatest hits” reel. It is a deep dive into the friction that forged the diamond.

For the uninitiated, casting a family member can often feel like a gimmick. But Jaafar Jackson — the son of Jermaine — silences that skepticism in seconds. The new footage, which expands significantly on last year’s teaser, showcases the 29-year-old inhabiting Michael’s physicality with terrifying precision. From the feather-light spoken voice to the explosive kinetics of the “Bad” era, the resemblance is less “acting” and more “resurrection.”

The trailer gives us our first real look at the film's central conflict, specifically the dynamic between Michael and the patriarch, Joe Jackson. In a chilling sequence, Colman Domingo (playing Joe) delivers a line that sets the temperature for the entire film. When a young adult Michael asserts that he needs “time to think” about his career direction, Joe’s retort is ice cold: “I told you what to think.” It’s a moment that suggests Fuqua isn’t shying away from the heavy toll of the Jackson family dynasty.

Fuqua has assembled a talented cast. Beyond Jaafar and Domingo, the film features Nia Long as the steadfast Katherine Jackson and Miles Teller as attorney John Branca. But the real casting coup might be Larenz Tate. The actor portrays Motown founder Berry Gordy, a role that requires a specific kind of gravitas that Tate has commanded since the 90s. We also get glimpses of Kat Graham as Diana Ross and Laura Harrier stepping into the role of Suzanne de Passe.

The synopsis promises a journey “beyond the music,” tracking Michael from the Gary, Indiana, grind to the global stratosphere. The trailer teases the creation of “Don't Stop 'Til You Get Enough” and the groundbreaking visuals of “Thriller,” offering a “fly on the wall” perspective of the studio sessions that changed pop history.

While the film appears to focus heavily on the ascent and the peak of his powers, it remains to be seen how deeply it will wade into the turbulent waters of his later years. However, with the Estate involved, the focus is clearly on the artistry and the human cost of becoming the most famous person on Earth.

Come April 24, the world will see if the movie can hold the weight of the legacy. But based on this three-minute preview, one thing is certain: The spirit of Michael Jackson is back in the building.

Grammys 2026: Clipse Win First Award, Lamar Dominates, Bad Bunny Breaks Barriers

Kendrick Lamar accepts the award for best rap album for “GNX” during the 68th annual Grammy Awards on Sunday at Crypto.com Arena in Los Angeles. (Photo by Kevin Winter/Getty Images for The Recording Academy)

The 68th Annual Grammy Awards wasn’t just a ceremony; it was a coronation, a correction, and — thanks to a confused Cher — a reminder that the establishment still stumbles even when it tries to get it right. On a night where history was rewritten, Kendrick Lamar didn’t just take home hardware; he took the throne.

Lamar is now officially the most-awarded hip-hop artist in Grammy history. With a five-win sweep that included best rap album for “GNX” and best rap song for the Lefty Gunplay-assisted “TV Off,” the Compton visionary brought his career total to 27, surpassing the long-standing record of 25 held by Jay-Z.

His victory lap was anchored by the night’s heavy hitter, record of the year, for “Luther.” The track, a soulful collaboration with SZA built around a sample of Luther Vandross and Cheryl Lynn’s “If This World Were Mine,” provided the evening’s emotional center — and its most meme-able error. Presenting the award, icon Cher seemed to glitch, announcing the winner simply as “Luther Vandross,” momentarily confusing the room into thinking the late crooner had won from the afterlife. Lamar took the slip-up in stride, keeping his acceptance speech brief and reverent: “Luther forever.”

But beyond Lamar’s statistical dominance, the night belonged to the global expansion of the sound. In a moment that finally shattered the industry’s thickest glass ceiling, Bad Bunny took home album of the year for “Debí Tirar Más Fotos,” becoming the first artist to win the top prize with a Spanish-language album.

Visibly moved, the Puerto Rican superstar used his time at the podium to deliver a pointed message to the diaspora. Before thanking God, he started his speech with a sharp directive: “ICE out.” Dedicating the trophy to “anyone worldwide who has ever needed to leave their home or somewhere they love in order to achieve their dreams,” he reminded the room that “we are humans, we are not aliens.”

While the telecast focused on the current kings, the Academy also finally bowed to the ancestors. In a special presentation, the lifetime achievement award was bestowed upon Afrobeat pioneer Fela Kuti during Grammy Week’s Special Merit Awards. The Nigerian multi-instrumentalist, who spoke truth to power until his death in 1997, became the first African artist to receive the honor. His son, Femi Kuti, accepted the award, offering a quote that bridged the gap between the man and the myth: “The older I get, I see that he wasn’t the conventional father, he was everybody’s father.”

Back on the main stage, the night delivered a long-overdue check to the street rap architects. After decades of grinding and defining the “luxury realism” of the genre, Clipse finally claimed their first-ever Grammy. Pusha T and No Malice won best rap performance for “Chains & Whips,” a standout from their reunion album “Let God Sort Em Out.”

The track, which features Lamar and production from Pharrell Williams, was a validation of a legacy that has influenced everyone from Tyler, the Creator to the very man who broke the record that night.

R&B also saw a changing of the guard, as Leon Thomas — the songwriter-turned-star — capped off a breakout year by winning best R&B album for “Mutt.” In true chaotic creative fashion, Thomas arrived just in time to collect the trophy, proving that the genre’s future is in safe hands.

Ultimately, the 2026 Grammys will be remembered as the night the “outsiders” became the standard bearers. From Compton to Puerto Rico to Lagos to Virginia Beach, the culture wasn’t just in the building— it was running the show.

The Culture Scoreboard: 2026 Grammy Highlights

• Album of the Year “Debí Tirar Más Fotos,” Bad Bunny
• Record of the Year “Luther,” Kendrick Lamar and SZA
• Best Rap Album “GNX,” Kendrick Lamar
• Best Rap Performance “Chains & Whips,” Clipse featuring Kendrick Lamar and Pharrell Williams
• Best Melodic Rap Performance “Luther,” Kendrick Lamar and SZA
• Best Rap Song “TV Off,” Kendrick Lamar featuring Lefty Gunplay
• Best R&B Album “Mutt,” Leon Thomas
• Best R&B Performance “Folded,” Kehlani
• Lifetime Achievement Award Fela Kuti
• Dr. Dre Global Impact Award Pharrell Williams

View Full Winners List →

Michael ‘5000’ Watts, Who Took Chopped and Screwed From Mixtapes to the Mainstream, Dies at 52

Michael “5000” Watts, the Swishahouse founder who helped take Houston’s "chopped and screwed" sound worldwide, is shown in a photo released by his family. Watts, 52, died on Friday. 

The architect of the Northside sound has transitioned, leaving behind a city forever slowed by his influence.

Michael "5000" Watts, the visionary DJ and founder of Swishahouse Records who transformed Houston’s "chopped and screwed" subculture from a trunk-sale hustle into a Billboard-topping global phenomenon, has died. He was 52.

The Watts family confirmed the loss on Friday, revealing that the hip-hop pioneer passed away on Jan. 30, 2026, at Memorial Hermann Hospital in The Woodlands. According to the family, Watts succumbed to a sudden cardiac event caused by Torsades de Pointes, a rare and fatal heart rhythm disorder. He had been hospitalized for the past week facing what loved ones described as "tremendous health issues," a battle that ended surrounded by his family.

To understand the gravity of this loss is to understand the geography of Texas rap. While the late DJ Screw originated the slowed-down "screwed" sound on the Southside, it was Watts who planted the flag on the Northside in the late 90s. He didn’t just replicate the style; he industrialized it, turning Swishahouse from a local label into a vertically integrated empire that eventually kicked down the doors of the mainstream.

Watts was an A&R genius with an ear that rivaled any major label executive. Under his stewardship, the "Swishahouse" tag became a seal of quality that launched a golden era of talent, including Slim Thug, Paul Wall, Mike Jones and Chamillionaire. His distinct voice—announcing "Remix!" over iconic tracks —became the soundtrack for a generation.

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The impact of his vision was best summarized by his longtime partner and fellow Swishahouse co-founder OG Ron C, who described the loss with "profound sorrow." In a statement, Ron C framed Watts not merely as an executive, but as a "cultural architect" who reshaped the identity of the city.

"Michael '5000' Watts was more than a founder, he was a movement," the statement read. "As the creator of Swishahouse Records, he helped define the sound, spirit, and global influence of Houston hip-hop. Watts expanded on Houston's chopped and screwed legacy, transforming mixtape culture into a worldwide phenomenon and giving a platform to voices that would go on to shape an era."

That era reached its zenith in 2005, when the Swishahouse anthem "Still Tippin'" exploded nationally. It was a moment of vindication for Watts, proving that the slow, hypnotic sound of the Northside could captivate listeners from New York to Los Angeles.

Beyond the charts, Watts remained a tangible "pillar in the community," a sentiment echoed by his colleagues at 97.9 The Box, where he was a fixture on the airwaves. He was accessible, a mentor who kept his ear to the streets even after the platinum plaques arrived.

"He was a business owner, DJ, radio personality... and pillar in the community," his family noted in their official tribute, asking for continued prayers as they navigate this "very hard journey."

Watts leaves behind his wife, Tammy Watts, five children, and two grandchildren.

For those who grew up on the "The Day Hell Broke Loose" series, the silence today is deafening. Watts didn't just slow down the music; he slowed down the world long enough for everyone to appreciate the unique rhythm of Houston.

Rest in Power, 5000. The House he built stands forever.

Bryan Loren, R&B Singer and Prolific Producer, Dies at 59

The music world lost one of its most potent secret weapons this week. Bryan Loren, the multi-instrumentalist prodigy known as “The Wiz” who helped shape the sound of Michael Jackson’s "Dangerous" era and quietly co-created one of the most unlikely pop culture hits of the 1990s, has died. He was 59.

For the uninitiated, Loren was a liner-note name. For students of the groove, he was something closer to a missing link — a bridge between the lush Philly soul of the 1970s and the hard-edged "New Jack Swing" that defined the 1990s. He was a true music man: a writer, producer, singer and instrumentalist capable of building an entire record from the ground up before most artists had finished soundcheck.

Born Bryan Loren Hudson on Long Island and raised in South Philadelphia, Loren was a prodigy by any measure. By 15, he was already a working session musician at Alpha International Studios, learning under Philly legend Nick Martinelli. He brought funk and polish to Fat Larry’s Band and layered sleek textures for the vocal trio Cashmere, earning the nickname “The Wiz” for his uncanny command of synthesizers and rhythm programming.

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According to Shana Mangatal, a former manager for Jackson who became close friends with Loren, the King of Pop was "stunned" to learn Loren had handled every duty himself on Shanice’s debut album “Discovery” at just 19 years old.

"His talent was on the level of Prince," Mangatal wrote in a tribute. "Truly rare."

This admiration sparked a creative brotherhood that would unfold largely behind the scenes.

In the early 1990s, Jackson was searching for a new sonic direction following “Bad.” He found it in Loren’s basement studio in Woodland Hills, California. Mangatal recalls Jackson frequently driving himself to Loren's home, where the two bonded over shared obsessions with "girls, cartoons, and life." They even spent a Thanksgiving together — just two musical geniuses trading ideas away from the corporate machinery of Sony.

Mangatal shared a revealing anecdote that underscores Loren's uncredited influence. She recalled a moment in 1993 when Jackson called her, asking to dictate lyrics for a song called "Family Thing" so she could rush them to the label.

"He kept me on the phone for nearly an hour, line by line," Mangatal said. "Later that night, I told Bryan about MJ’s call — he just laughed. He told me HE had actually written the lyrics for MJ."

While Teddy Riley would ultimately define the final New Jack Swing sheen of Dangerous, Loren was instrumental in the album’s foundation. He played drums and percussion on the finished record, but his deeper contribution lived in the sessions themselves. Songs such as “Serious Effect,” featuring LL Cool J, and “She Got It” showcased a darker, funk-driven Jackson. Another track, “To Satisfy You,” was passed over for Dangerous but reclaimed by Loren for his own 1992 album Music from the New World, with Jackson still providing background vocals.

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Loren’s most subversive success, however, arrived under unlikely circumstances. In 1990, “Do the Bartman” became a global phenomenon, topping charts and fueling the height of The Simpsons mania. The song was officially credited to Loren, but it was widely understood within the industry that Jackson — a devoted fan of the show — had co-written the track. Contractual obligations prevented Jackson’s name from appearing in the credits, leaving Loren as the public face of a hit powered by one of pop’s greatest unseen collaborations.

Beyond Jackson, Loren’s fingerprints touched much of modern R&B and pop. He wrote “Feels So Good” for Whitney Houston and worked with artists including Sting, Barry White and Eric Benét.

Following his passing, Loren’s brother, Geno Dozier, offered a poignant tribute to the man behind the music.

"My brother was his father’s son… a brilliant musician who lived his life unapologetically," Dozier said. "His talent was ELITE, and his character was true."

Bryan Loren leaves behind a catalog that helped define a generational shift. He carried the soul of Philadelphia into the digital age, helping blueprint the rhythmic language of the 1990s while remaining largely invisible to the mainstream audience he influenced.

The Wiz has left the building — but the sound he helped shape is everywhere.

Ray J Reveals Heart Failure Diagnosis, Claims Doctors Gave Him Until 2027

In this screengrab, singer and reality television personality Ray J speaks to fans about his health prognosis on Instagram. The entertainer claimed doctors told him "2027 is a wrap" due to heart damage he attributed to excessive alcohol and drug use. (Ray J via Instagram)

Ray J, the R&B singer, reality TV entrepreneur, and wannabe tech mogul, has delivered a stark and unsettling forecast for his own life: He claims doctors have told him he won’t make it past 2027.

In a series of erratic and emotional livestreams following a hospitalization for severe pneumonia, the 45-year-old revealed that his heart is functioning at only 25 percent capacity.

With the same candidness that fueled his rise from Brandy’s little brother to the king of reality television, Ray J admitted that years of excess — specifically a daily regimen of "four or five bottles" of alcohol and "10 Addies" (Adderall) — have left his heart "black" and seemingly beyond repair.

"I thought I was a big shot, so I could handle all the alcohol. I could handle all the Adderall," Ray J told viewers, gesturing to his chest. "I f---ed up... And it curbed my time here."

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The admission marks a grim chapter for the "One Wish" singer, whose career has been defined by an uncanny ability to monetize chaos. Yet, even in the face of what he describes as a terminal diagnosis, the hustle hasn’t stopped. In a jarring juxtaposition characteristic of the modern celebrity news cycle, Ray J took to Instagram to announce he "just almost died," only to immediately pivot into a promotional plug for the Zeus Network and his own Tronix Network.

"TRONIX NET WILL BE A FULL ON DATING SHOW UNTIL WE DISCUSS IT WITH THE ZEUS NETWORK BOARD OF DIRECTORS," he wrote in the caption, proving that while his heart may be failing, his instinct for cross-promotion remains fully operational.

The medical reality, however, appears severe. According to the singer, he is currently on eight different heart medications, and doctors have advised him to prepare for a pacemaker or defibrillator. He described the right side of his heart as being "like gun," a cryptic but ominous descriptor for organ failure.

The health scare comes amidst a turbulent personal period. Ray J is currently embroiled in a contentious legal battle with his estranged wife, Princess Love. He revealed that a restraining order currently prevents him from coming within 150 feet of her or their two children. Despite the friction, he assured fans that his estate is in order.

"My baby mama gon’ be straight, my kids gon’ be straight," he said. "If they want to spend all the money, they can spend it, but I did my part here."

While Ray J faces the consequences of his "indestructible" phase, the clean-up crew has arrived in the form of his family. The singer gave a "shout out" to his parents and his sister, vocal legend Brandy, for their support. "She paid my bills for me for the rest of the year," he noted, confirming that the Norwood sibling bond remains the most stable element in his orbit.

As the industry processes the news, Ray J offered a final, bleak directive for his eventual exit: "When it’s all done, burn me, don’t bury me."

Trump, Nicki Minaj and ‘Mr. Wonderful’ Sell MAGA Loyalty With a Side of Capitalism

In a convergence of reality television, hip-hop royalty and business moguldom that could only exist in the current timeline, President Donald Trump welcomed Nicki Minaj to the stage for a glowing endorsement that solidified the Queens rapper’s pivot to full-blown MAGA matriarch.

Flanked by “Shark Tank” investor Kevin O’Leary — affectionately dubbed “Mr. Wonderful” by the president — Trump heaped praise on Minaj, declaring her the “greatest and most successful female rapper in history.” The endorsement, however, was mutual and monetary. According to Trump, the self-proclaimed “Queen of Rap” isn’t just lending her voice to the cause; she’s putting her money where her mouth is.

"Nikki makes a lot of money and she's generously stepping up," Trump told the crowd, noting that while she might not have Michael Dell's bank account, she is investing "hundreds of thousands of dollars in Trump accounts" to support children. The specific mechanics of these "Trump accounts" remained vague, though Trump praised the strategy of keeping resources within one’s own circle. "Why should you give to somebody else's fans? Give to your friends. I like that."

For Minaj, the appearance marked a stark public cementing of a political shift she has hinted at for years. Trump acknowledged her journey, noting he had heard over the years that she was a "big Trump supporter" who "took a little heat on occasion." He dismissed any friction with her fanbase, claiming, "We did pretty damn well with... your community."

When Minaj took the podium, the "Starships" rapper didn't mince words, seemingly abandoning any remaining ambiguity about her political allegiance.

"I am probably the president's number one fan, and that's not going to change," Minaj said. Addressing the backlash often directed at public figures who align with the polarizing leader, she added, "The hate or what people have to say, it does not affect me at all. It actually motivates me to support him more."

Minaj framed her support as a defense against perceived persecution, echoing a common Trump rallying cry. "We're not going to let them get away with bullying him and, you know, the smear campaigns. It's not going to work," she said, before invoking divine intervention. "He has a lot of force behind him and God is protecting him."

The surreal tableau was rounded out by O'Leary, who stepped up to frame the trio’s alignment through the lens of hard-nosed capitalism. Speaking "on behalf of all the entrepreneurs in America," O'Leary thanked Trump for his "pro-business policy," asserting that the "Trump accounts" are "fantastic for independence and support."

The event ended with a bizarre moment of fashion appreciation, as Trump, seemingly mesmerized by Minaj’s manicure, mused, "I'm going to let my nails grow ‘cause I love those nails."

For Minaj, this chapter represents a definitive move away from the standard pop-star political playbook. By aligning herself not just with Trump’s policies but with the man himself—and the "force" she believes protects him—she is betting her brand on the MAGA movement, signaling to her "Barbz" that the new era of Nicki is unapologetically red.

Syracuse Coach Says Rapper Toosii May Walk On, Decision Still Pending

Rapper Toosii posted this image on social media amid speculation about a possible return to Syracuse, where the Syracuse native has discussed the idea of walking on to the university’s football program. Syracuse coach Fran Brown said this week that Toosii is still weighing the decision and that no role has been determined. (Courtesy of Toosii via X)

For a moment, it felt like the kind of story hip-hop still loves to believe in.

A hometown artist, successful enough to never look back, choosing instead to circle home — not for a ceremony or a plaque, but for pads and practice. When Toosii said he was committing to Syracuse football, it wasn’t framed as a stunt. It read like unfinished business.

This week, that narrative shifted — not collapsed, but clarified.

Appearing on ESPN Syracuse’s “Orange Nation,” Syracuse football coach Fran Brown said the rapper, born Nau’Jour Grainger, is still undecided about whether he will actually play for the Orange. Brown added that if Toosii does move forward, the opportunity would be as a walk-on, not a guaranteed roster spot.

“He’s still thinking about it,” Brown said, explaining that while he wanted to give Toosii a chance to pursue something meaningful to him, roster realities and evaluation still matter. The coach noted that as more players continue to arrive, the situation has to be reassessed — especially when some prospects come with game film and others do not.

The comments mark the first time a Syracuse official has spoken publicly and directly about the mechanics behind the idea that briefly captured national attention.

In early December, Toosii announced that he was “coming home,” crediting a conversation with Brown and framing the move as something he had carried with him long before the music took off. It resonated because it wasn’t aspirational branding — it was personal. A Syracuse kid, now a platinum-level artist, saying the city still had a hold on him.

COMMITTED 🙏🏽 For every kid who ever had a dream, make it reality. God’s will is the way and no one can stop it not even the devil. I wanna thank my lord and savior Jesus Christ for even giving me the strength to chase what I believed when so many people told me I couldn’t. Thank… pic.twitter.com/WUNyvFV4KV

— Toosii (@toosii2x) December 1, 2025

At the time, reporting made clear that details were unresolved, including whether the role would be scholarship-based or symbolic. Brown’s remarks now draw a firmer outline around the idea: possible, but not promised.

That distinction matters.

Toosii is 25, and while his football background is part of his origin story, his public identity has been built elsewhere — through records that turn vulnerability into leverage and melody into momentum. His success hasn’t come from spectacle. It’s come from consistency. From songs that feel lived-in, not manufactured.

Which is why the football angle hit differently. It wasn’t nostalgia. It was identity colliding with infrastructure.

College football, especially at the Power 4 level, is not designed for open-ended narratives. Roster limits are strict. Evaluation is unforgiving. The transfer portal doesn’t leave much room for sentiment. Brown didn’t dismiss Toosii’s interest — but he didn’t romanticize it either.

That honesty reframes the moment.

What looked like a feel-good headline now reads more like a crossroads. One where desire meets process. Where a personal dream has to survive the same filters as everyone else’s.

And that’s not a knock — it’s the point.

In hip-hop, we often celebrate reinvention without acknowledging resistance. We praise the pivot but ignore the friction. Toosii’s situation puts that tension on display. Wanting something doesn’t make it simple. Saying it out loud doesn’t make it real yet.

Whether Toosii ultimately puts on a Syracuse jersey or decides the timing isn’t right, the story already carries weight. It’s about an artist refusing to flatten himself into one lane. About a coach willing to open a door, but not bend the building around it.

In a culture obsessed with certainty, this moment lives in the gray.

And sometimes, that’s where the truth is.

Rare Demo Cassette From Tupac’s Baltimore Years Offered in Landmark Auction Tupac Shakur’s Pre-Fame “Born Busy” Tape Hits Auction Block

Tupac Shakur appears in a 1988 yearbook photo from the Baltimore School for the Arts, taken the same year as newly surfaced recordings that capture the future rapper performing with his early group Born Busy, years before his commercial breakthrough.

A rare piece of hip-hop history has surfaced — not as a remaster or reissue, but as an original artifact from the very beginning of Tupac Shakur’s creative life.

A cassette tape containing what is believed to be some of the earliest surviving recordings of Tupac is being offered at auction, documenting the rapper years before his commercial debut and long before his name became synonymous with modern hip-hop mythology. The recordings date to 1988, when Tupac was approximately 16 years old and performing under the name MC New York as part of his pre-fame rap group, Born Busy.

The tape was recorded at the Baltimore home of Gerard “Ge-ology” Young’s parents. Young, who would later become a producer and DJ, was a close friend and creative collaborator of Tupac during that period. The cassette captures Tupac alongside fellow Born Busy members Gerard Young (DJ Plain Terror), Darrin K. Bastfield (Ace Rocker) and Dana “Mouse” Smith (Slick D), rapping acapella in informal sessions that doubled as a learning tool.

Rather than recording finished songs, Young would tape acapella performances so he could study the verses and later construct beats around them — a reversed production process that predates Tupac’s later studio work and offers a rare look at his earliest creative instincts. The sessions include freestyles, song ideas, samples, laughter and conversation, preserving an unguarded snapshot of a young artist still forming his voice.

The cassette’s track list includes early recordings such as “Check It Out!,” “That’s My Man Throwin’ Down,” “I Saw Your Girl,” “We Work Hard,” “Born Busy LIVE Freestyle,” “Babies Having Babies” and “Terror’s On The Tables (Dedication to DJ Plain Terror).” None of the material was ever commercially released.

What elevates the tape beyond a compelling curiosity is its provenance. The cassette has remained in Young’s possession since it was recorded, preserved and archived privately for decades. The uninterrupted chain of custody places it among the rarest surviving audio documents from Tupac’s formative years, offering a direct line to his earliest recorded performances.

The auction also includes additional artifacts from the same period, including handwritten lyrics, archival photographs from Baltimore cyphers and gatherings, and personal ephemera connected to Tupac’s youth before his rise to global fame.

NAACP Image Awards Nominees Spotlight a Year of Black-Led Film, TV and Music

Teyana Taylor, nominated for Entertainer of the Year at the 57th NAACP Image Awards, is among a field that also includes Kendrick Lamar, reflecting a year in which music, film and performance-driven storytelling converged across Black culture.

The NAACP on Monday announced the full list of nominees for the 57th NAACP Image Awards, placing this year’s ceremony squarely in the middle of an awards season already shaped by Black-led film, television and music.

Cynthia Erivo, Doechii, Kendrick Lamar, Michael B. Jordan and Teyana Taylor were nominated for Entertainer of the Year, one of the Image Awards’ most closely watched categories. The ceremony will air live Feb. 28 from the Pasadena Civic Auditorium at 8 p.m. (ET/8 p.m. PT on BET), with a simultaneous broadcast on CBS.

SIDEBAR: Who’s leading the 57th NAACP Image Awards

The 57th NAACP Image Awards reflect a year in which Black storytelling dominated across film, television and music — not just in volume, but in cultural reach.

Kendrick Lamar leads the music categories with six nominations. In film, “Sinners” leads the motion picture categories with 18 nominations. On the television side, “Bel-Air” tops the field with seven nominations. Netflix leads all platforms with 47 nominations overall, according to the NAACP.

The Entertainer of the Year nominees — Cynthia Erivo, Doechii, Kendrick Lamar, Michael B. Jordan and Teyana Taylor — underline how performance, authorship and cultural impact increasingly move together.

Full nominee list + public voting: naacpimageawards.net

Film and television categories reflect a year of sustained visibility across platforms. “Sinners” leads the motion picture field with 18 nominations, followed by “Highest 2 Lowest” with nine. In television and streaming, “Bel-Air” tops the list with seven nominations, while “Abbott Elementary,” “Reasonable Doubt” and “Ruth & Boaz” earned six nods apiece. Netflix led all networks with 47 nominations overall.

Teyana Taylor emerged as one of this year’s most broadly recognized nominees, earning six nominations across film and music, including Entertainer of the Year, acting nods for “One Battle After Another” and “Tyler Perry’s Straw,” and recognition for her album “Escape Room.” Erivo received four nominations, including Entertainer of the Year and a nomination for her performance in “Wicked: For Good.”

In the music recording categories, Kendrick Lamar received the most nominations with six. Cardi B. and Leon Thomas earned four nominations each, while Doechii and Taylor followed closely with three apiece. RCA Records led all labels with eight nominations. In literary categories, HarperCollins topped publishers with eight nominations, followed by Penguin Random House with six.

This year also marks a structural expansion for the Image Awards themselves. The NAACP introduced two new categories: Outstanding Literary Work – Journalism, honoring nationally distributed journalism that reflects Black experiences and social impact through a lens of equity and justice; and Outstanding Editing in a Motion Picture or Television Series, Movie, or Special, recognizing the craft of post-production in shaping narrative and emotional clarity.

Nominations were announced live on “CBS Mornings” by comedian Deon Cole and NAACP President and CEO Derrick Johnson, with additional reveals streamed on YouTube and NAACPPlus.

“The NAACP Image Awards is our declaration to our community that ‘We See You,’ affirming Black creativity, excellence and humanity across every space where our stories are told,” Johnson said in a statement. “From film, television and music to literature and beyond, the voices of all of our nominees tell stories that honor our past, celebrate our identity and move culture forward.”

BET President Louis Carr echoed that sentiment, calling the nominees “the heartbeat of culture” and emphasizing the awards’ role in elevating storytelling rooted in authenticity and purpose.

Public voting is now open in select categories at naacpimageawards.net and runs through Feb. 7. Winners will be announced during the live broadcast Feb. 28, with additional honors presented during the NAACP Image Awards Creative Honors events later that week.

Mary J. Blige Sets 10-Date Las Vegas Residency Following Milestone Birthday

Mary J. Blige appears in promotional imagery released alongside the announcement of her first Las Vegas residency, “Mary J. Blige: My Life, My Story,” a 10-date engagement at Dolby Live at Park MGM scheduled for May and July 2026. The residency is framed as a narrative-driven production centered on her catalog and career arc.

One day after celebrating her 55th birthday, Mary J. Blige shared a gift with music fans.

The Queen of Hip-Hop Soul announced her first Las Vegas residency, "Mary J. Blige: My Life, My Story," on Monday. The 10-date run at Dolby Live at Park MGM is scheduled across May and July 2026.

For Blige, the title signals intention as much as location.

Vegas are you ready? I am so excited to announce my first ever Las Vegas Residency May 1 – 9 & July 10 – 18 at Dolby Live at Park MGM! Get your tickets (Friday at 10 AM PT/NOW) ❤️ pic.twitter.com/Wx78xvVnq9

— Mary J. Blige (@maryjblige) January 12, 2026

“Creating a show like this has been something I’ve always wanted to do,” Blige said in a statement announcing the residency. “It’s a chance to get my fans together from all over — different cities, states and countries — to experience something together. My Life, My Story will be just that.”

The residency is set for May 1, 2, 6, 8 and 9, followed by July 10, 11, 15, 17 and 18. All performances will take place at Dolby Live, the 5,200-seat venue inside Park MGM, with shows scheduled to begin at 8 p.m.

 

Blige has indicated the production will lean into theatrical storytelling, with actors and narrative elements woven throughout the performance, an approach that mirrors the emotional architecture of her catalog, which has long blurred the line between confession and craft. Speaking during media appearances tied to the announcement, she described the show as rooted in music and fun, but guided by story rather than spectacle.

The announcement follows a period of sustained momentum. In 2024, Blige completed the For My Fans Tour, headlined Madison Square Garden and released the concert film “Mary J. Blige: For My Fans.” She has also continued expanding her work as an actress and producer, with the Lifetime original movie “Be Happy” scheduled to premiere next month.

Blige’s influence extends far beyond chart performance. She built a bridge between classic soul vulnerability and hip-hop realism in the early 1990s, reshaping the emotional vocabulary of R&B. Her music did more than soundtrack an era; it articulated endurance, accountability and survival in a way that resonated across generations.

Las Vegas residencies are often framed as reinvention or consolidation. In Blige’s case, this one reads differently — less reinvention than affirmation. A career once driven by urgency now arrives at authorship, with full control over pacing, presentation and perspective.

Tickets for “Mary J. Blige: My Life, My Story” go on sale Friday, Jan. 16, following a series of pre-sale windows beginning Tuesday.

For an artist whose work has always insisted that truth matters — even when it’s uncomfortable — the Strip is not an ending. It’s a chapter break.