Roc Nation Partners With Target and D’Ussé for Massive 'Reasonable Doubt' 30th-Anniversary Campaign

Target is celebrating the 30th anniversary of Jay-Z's "Reasonable Doubt" with an exclusive white-vinyl edition. The two-LP set arrives nationwide June 26, anchoring a broader retail and luxury campaign for the 1996 hip-hop classic.

Jay-Z’s “Reasonable Doubt” is entering its 30th anniversary year in a form that says almost as much about his career as the album itself.

Target is listing an exclusive two-LP edition of the 1996 debut for $40, with a June 26 street date. Roc Nation’s official store lists a white vinyl Target exclusive shipping around the same date, while the Jaÿ-Z 30 site lists “Reasonable Doubt” as a two-LP vinyl album tied to Roc-A-Fella Records and the album’s original 1996 release.

The Target listing keeps the original album sequence and adds “Can’t Knock the Hustle (Fool’s Paradise Remix)” featuring Meli’sa Morgan to Side D. The listing also identifies the record label as S Carter Enterprises LLC/Roc Nation Distribution.

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The rollout gives “Reasonable Doubt” a retail footprint far removed from the conditions that produced it. The album arrived June 25, 1996, through Roc-A-Fella Records, after Carter and his partners built their own route around an industry that had not made him a priority.

In a GQ interview published this year, Carter said the fact that Roc-A-Fella released the album at all was “proof enough of concept.” He also said the album moved differently at street level than it did on paper: “On the streets we were platinum.”

That history is what makes the anniversary campaign more than a standard reissue. “Reasonable Doubt” was not a blockbuster on arrival. It was a controlled, expensive-sounding debut about appetite, discipline, guilt, leverage and survival, delivered by a rapper who already sounded as if he was thinking several exits ahead.

The anniversary is also being extended beyond vinyl. D’Ussé Cognac, the brand founded by Shawn “Jay-Z” Carter and created at Chateau de Cognac, is marking Jaÿ-Z 30 with a limited-edition VSOP collector’s box set, a Code30 cocktail and activations connected to the Roots Picnic, Carter’s July residency at Yankee Stadium and regional events in cities including Atlanta, Houston, Chicago, Washington, New York and Philadelphia.

“Mr. Shawn Carter’s codes of ambition, craftsmanship, and excellence are woven into the DNA of D’Ussé, and Jaÿ-Z 30 is a powerful reflection of that legacy,” Gigi DaDan, general manager of D’Ussé, said in the company’s announcement.

D’Ussé Cognac’s limited-edition Jaÿ-Z 30 VSOP collector’s box set and the Code30 signature cocktail, part of a nationwide campaign celebrating the 30th anniversary of Jay-Z's “Reasonable Doubt.”

The quote is brand language, but the larger picture is harder to dismiss. “Reasonable Doubt” has become a heritage object — vinyl, commemorative packaging, cocktails, stadium dates, retail placement — without losing the tension that made it matter in the first place.

The album was built around a man studying the distance between risk and ownership. Thirty years later, the anniversary rollout finds that same record moving through the institutions Jay-Z spent his career learning how to enter, use and, when possible, control.

Boosie Badazz Gets $85,000 Bond After Felony Assault Charge in Houston Nightclub Case

Boosie Badazz addresses his felony aggravated assault charge in a video posted to social media after a Harris County judge set an $85,000 walk-through bond in Houston. The Baton Rouge rapper denied wrongdoing after authorities alleged he struck a nightclub security guard with a broken glass hookah base during a Memorial Day weekend incident. (Credit: @boosieig2024/Instagram)

Boosie Badazz’s latest legal fight began inside a Houston nightclub at closing time, when a dispute over a closed restroom allegedly turned into a felony assault case involving a broken glass hookah base and a security guard left bleeding from the head.

The Baton Rouge rapper, whose legal name is Torrence Ivy Hatch Jr., is facing a felony aggravated assault charge in Harris County after authorities said he struck a security guard at a downtown Houston nightclub during Memorial Day weekend.

The alleged incident happened May 24 as security was clearing the club at closing time. According to court records cited by Houston police, security guard Edward Iglehart became involved in a dispute with a female patron who wanted to use the restroom after the club had closed.

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Police said the woman struck Iglehart in the face after he refused to let her into the restroom. TMZ reported that club owners and promoters told police the woman was Boosie’s niece. Boosie’s attorney has described her more generally as a female relative.

As Iglehart escorted the woman out of the club, she dropped some of her belongings, according to court records. Iglehart told police he bent down to pick them up and suddenly felt an object hit the top of his head.

Iglehart said he noticed blood running down his face and turned around to see Boosie holding a broken glass hookah base, according to the court documents. Investigators said another security guard reported hearing glass break, seeing Iglehart bleeding from the head and seeing Boosie holding the broken hookah base while yelling at the injured guard.

Iglehart was taken to St. Joseph Hospital, where he received eight staples for the wound, according to court records.

Boosie appeared in Harris County court Monday morning, where a judge set an $85,000 walk-through bond. His attorney described the arrangement as a bond process that would allow the rapper to avoid being taken back into custody. Conditions reported by Houston media included staying away from the venue and having no contact with the alleged victim.

After the hearing, Boosie addressed the case in a video posted to social media, denying wrongdoing and calling the charge “basically a money grab.”

“It’s what you go through as an entertainer,” Boosie said in the video. “The facts of the case will come out. I’m alright though. Life be lifing, bro.”

His attorney, Carl A. Moore, told TMZ that Boosie was trying to defend a female relative who was being escorted from the club and said the defense was seeking surveillance video from the venue.

“We plan to vigorously investigate and defend Mr. Hatch against these allegations,” Moore told TMZ, adding that he wanted people to reserve judgment while the case plays out in court.

The new charge comes less than five months after Boosie resolved a federal firearm case in California without additional prison time. In January, a federal judge in San Diego sentenced him to three years of supervised release, 300 hours of community service and a $50,000 fine after he pleaded guilty to being a felon in possession of a firearm and ammunition.

Boosie also said in his social media video that he contacted his supervision officer about the new charge.

The Houston case adds another legal complication for one of Southern rap’s most outspoken veterans. Boosie has built a career on raw, direct street narratives, but his name has often moved through courtrooms as much as clubs and stages. This time, the question is not only what happened inside the nightclub, but whether surveillance video, witness accounts and court filings will support the version of events that made the case a felony.

Boosie’s next court date is expected in September.

Peabo Bryson, Singer of 'Beauty and the Beast' and R&B Classics, Suffers Stroke

Peabo Bryson appears in an undated photo posted to his official Facebook page. Bryson, 75, has suffered a stroke and is under medical care, according to a statement from his representative. (Credit: Peabo Bryson/Facebook)

Peabo Bryson’s voice has lived in slow dances, quiet-storm dedications, wedding receptions and Disney memories shared across generations. Smooth, controlled and unmistakably rooted in R&B, it carried romance with a kind of dignity that never needed to shout.

That made Sunday’s news hit hard.

Bryson, 75, the two-time Grammy-winning singer known for “Beauty and the Beast,” “A Whole New World (Aladdin’s Theme)” and decades of romantic R&B ballads, has suffered a stroke and is under medical care, according to a statement from his representative.

No additional details about Bryson’s condition have been publicly released. His family asked for privacy as he receives treatment. The statement said the ‘thoughts, prayers and love’ of friends and fans are welcomed.

The support began moving through R&B circles quickly. Stephanie Mills, one of Bryson’s contemporaries and a defining voice of her own generation, posted a message of support for him on social media.

“Right now for my friend @peabobryson2,” Mills wrote. “I truly love you. I am here for your family while you recover. ABUNDANT #POWER AND #STRENGTH.”

For casual listeners, Bryson may be most widely known as one of the voices behind two of the most recognizable movie duets of the early 1990s. He won Grammys for “Beauty and the Beast,” performed with Celine Dion, and “A Whole New World (Aladdin’s Theme),” performed with Regina Belle. Both songs won best pop performance by a duo or group with vocal.

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

Born Robert L. Bryson in Greenville, South Carolina, he came through the Southern music circuit before becoming one of contemporary R&B’s premier male vocalists. His catalog includes “Feel the Fire,” “I’m So Into You,” “If Ever You’re in My Arms Again,” “Can You Stop the Rain” and “Tonight, I Celebrate My Love,” his duet with Roberta Flack.

Those records belonged to a tradition that treated romantic ballads as serious craft. Bryson’s best work had polish, but the polish never flattened the feeling. He could make longing sound composed without making it cold, and tenderness sound powerful without turning it theatrical.

That restraint became part of his signature. It let him move from soul radio to adult contemporary and into Disney’s early 1990s run without sounding like a visitor in any room. He brought the grammar of R&B with him — the patience, the breath, the glide, the quiet command.

Two Eras of 1970s R&B Mourn as The Commodores’ Ronald LaPread and The Sylvers’ Foster Sylvers Die

Foster Sylvers, left, and Ronald LaPread are shown in a composite illustration honoring two figures from 1970s R&B and soul. Sylvers, a child star with the Sylvers, died at 64, and LaPread, a founding member and former bassist for the Commodores, died at 75. 

Two R&B bloodlines that helped define the sound of the 1970s were being mourned this weekend, as the deaths of Ronald LaPread of the Commodores and Foster Sylvers of the Sylvers were reported by multiple outlets.

LaPread, a founding member and former bassist for the Commodores, died at 75 after helping anchor one of Motown’s most durable funk and soul machines. Foster Sylvers, the gifted child star whose voice and musicianship helped carry the Sylvers from family act to disco-era hitmakers, died at 64 after a cancer battle.

The losses hit different corners of the same musical universe — one rooted in Tuskegee, Alabama, and Motown’s polished rise through the 1970s; the other in the bright, youthful harmonies of a Los Angeles family group that gave R&B and pop one of the era’s most infectious records.

Soraya LaPread announces the death of her father, Ronald LaPread, a founding member and former bassist for the Commodores, in an Instagram Story. LaPread, whose bass helped anchor the group’s classic funk and soul sound, died at 75. (Credit: Soraya LaPread/Instagram)

LaPread’s daughter, music producer Soraya LaPread, announced his death on social media Saturday. TMZ reported that the New Zealand Herald said LaPread died after a sudden medical event in Auckland, New Zealand, where he had lived for decades.

LaPread was part of the original Commodores lineup with Lionel Richie, Walter “Clyde” Orange, William “WAK” King, Milan Williams and Thomas McClary. The group formed in 1968 at Tuskegee Institute, now Tuskegee University, and became one of Motown’s defining acts of the 1970s and early 1980s, moving easily between hard funk, lush ballads and crossover soul.

As the group’s bassist, LaPread helped give shape to records that became part of the American songbook, including “Brick House,” “Easy” and “Three Times a Lady.” His role was not always the one that drew the spotlight, but it was central to the Commodores’ identity: the pocket, the weight, the movement underneath the melodies that made the band both radio-ready and deeply funky.

The Recording Academy lists the Commodores with one Grammy win and nine nominations. Their lone Grammy win came for “Nightshift,” the 1985 tribute to Marvin Gaye and Jackie Wilson that earned best R&B performance by a duo or group with vocal. By then, the group had already lived through Richie’s departure and the turbulence that followed, but the record showed how much musical force remained in the Commodores name.

LaPread’s death also came days after the Commodores withdrew from the Freedom 250 concert series tied to the Great American State Fair in Washington, D.C., amid backlash over the event’s political connections. That controversy may have placed the group back in the headlines, but LaPread’s legacy rests much deeper — in the grooves that made the Commodores a bridge between Southern musicianship, Motown discipline and the mass appeal of late-20th-century Black popular music.

Hours after LaPread’s death was reported, TMZ reported that Foster Sylvers had died in hospice care. Reports differed on the specific cancer diagnosis, but Leon Sylvers III confirmed to multiple outlets that his brother died after a cancer battle.

Foster Sylvers entered the music world young, and with rare command. His 1973 solo single “Misdemeanor,” written by Leon, became a breakout R&B hit and later took on a second life through hip-hop sampling, including its use on the D.O.C.’s “It’s Funky Enough.” That afterlife matters: Foster’s work did not simply sit in the ’70s. It echoed forward into the sample-based language that helped build hip-hop’s golden age.

With the Sylvers, Foster became part of one of the decade’s most recognizable family groups, a sibling act often remembered alongside the broader wave of Black family bands that included the Jackson 5 and the Five Stairsteps. The Sylvers’ biggest pop moment came with “Boogie Fever,” which reached No. 1 on the Billboard Hot 100 in 1976. The record was bright, polished and impossible to shake, but beneath its pop sheen was the architecture of a serious family band — harmonies, rhythm, choreography and production moving as one.

The Sylvers also scored with records such as “Fool’s Paradise” and “Hot Line,” while Foster built a reputation beyond the family name as a bassist, singer, songwriter, producer and multi-instrumentalist. He worked in the same lineage as his brother Leon, whose production and songwriting later helped shape the sound of SOLAR Records and acts including Shalamar and Dynasty.

The deaths of LaPread and Foster Sylvers are not connected beyond timing, but together they mark the passing of two musicians whose work lived inside the machinery of classic Black music rather than outside it. LaPread helped drive a band that could make funk muscular and ballads feel monumental. Foster Sylvers helped bring youthful electricity to a family sound that crossed from soul into disco and later found its fingerprints in hip-hop.

They came from different bands, different regions and different roles. But both belonged to a generation of musicians who built songs strong enough to outlive the charts, the trends and even the eras that first made them famous.

Jazz Titan Sonny Rollins Dead at 95

Jazz legend Sonny Rollins performs with his tenor saxophone in 1974. Rollins, a towering figure in the development of modern jazz, passed away on Monday, May 25, 2026, at age 95.

Sonny Rollins, the tenor saxophonist whose commanding improvisations and robust tone are credited with helping shape the trajectory of modern jazz, died Sunday at his home in Woodstock, New York. He was 95.

His death was confirmed Monday through a statement released by his family on social media.

"It is with deep sorrow and profound love that we announce the passing of Sonny Rollins," the statement read.

While a specific cause of death was not provided, Rollins had been managing a respiratory illness that prompted his retirement from public performance in 2012.

It is with deep sorrow and profound love that we announce the passing of Sonny Rollins. The Saxophone Colossus died this afternoon at his home in Woodstock, NY at the age of 95. 1/2 https://t.co/6AGmFrB7x4 pic.twitter.com/OA0PzpPfGR

— Sonny Rollins (@sonnyrollins) May 26, 2026

Widely revered as the "Saxophone Colossus" — a moniker cemented by his landmark 1956 album of the same name — Rollins stood as one of the last living architects of the post-World War II jazz landscape. His capacity to weave complex, extended musical narratives during live solos forever shifted the paradigm of the instrument.

Born Theodore Walter Rollins on Sept. 7, 1930, in Harlem, New York, he came of age in a culturally rich environment alongside future peers like Jackie McLean. By the 1950s, he had firmly established his presence in the bebop and hard bop scenes, sharing the stage and studio with titans including Miles Davis, Thelonious Monk, Charlie Parker and Max Roach.

Rollins contributed heavily to the definitive jazz songbook, penning enduring compositions such as the calypso-inspired "St. Thomas," "Oleo," "Doxy" and "Airegin." His extensive catalog is highlighted by defining works like "Tenor Madness," "Way Out West" and "The Bridge." The latter project famously materialized after a rigorous, self-imposed sabbatical where Rollins spent hours practicing alone on the pedestrian walkway of the Williamsburg Bridge to refine his technique.

A perpetual student of his own craft, Rollins was celebrated with the highest honors in American art, receiving a Grammy Award for Lifetime Achievement in 2004, the National Medal of Arts in 2010 and Kennedy Center Honors in 2011.

He is survived by his nephew, Clifton Anderson, and an expansive global community of musicians influenced by his sound. His wife and longtime manager, Lucille Pearson Rollins, died in 2004.

52nd AMAs Pivot to Nostalgia With Queen Latifah, Pussycat Dolls

Queen Latifah, right, poses with partner Eboni Nichols, their son, Rebel, and Kaavia on the red carpet before the 52nd American Music Awards at MGM Grand Garden Arena in Las Vegas on Monday. Latifah hosted a show built around millennial-era nostalgia and legacy collaborations. (Photo Credit: Dick Clark Productions)

The 52nd Annual American Music Awards transformed the MGM Grand Garden Arena into a celebration of millennial nostalgia on Memorial Day, proving the enduring influence of 1990s and 2000s urban contemporary music.

Rap pioneer and actress Queen Latifah returned to anchor the live CBS and Paramount+ broadcast as the solo host, 31 years after she first co-hosted the event in 1995.

The telecast served as a proving ground for the lasting power of millennial anthems, expanding its lineup to feature major legacy collaborations. The Pussycat Dolls made a highly anticipated return to the stage, performing alongside veteran artist Busta Rhymes. Nostalgia continued to rule the broadcast with appearances by foundational pop and R&B figures, including a performance from Teyana Taylor.

Acknowledging the cultural dominance of legacy acts, the AMAs introduced 12 new categories this year, including Best Throwback Song. The inaugural award in that category went to the Black Eyed Peas for their hit “Rock That Body.”

While the veterans provided the night’s foundation, modern stars heavily influenced by the 1990s and 2000s dominated the hip-hop award categories. Cardi B swept the block, taking home Best Female Hip-Hop Artist, Best Hip-Hop Song for “ErrTime” and Best Hip-Hop Album for “AM I THE DRAMA?”. Kendrick Lamar took home the trophy for Best Male Hip-Hop Artist, while Monaleo secured Breakthrough Hip-Hop Artist.

Bruno Mars mirrored that dominance in the R&B categories with wins for Best Male R&B Artist, Best R&B Song for “I Just Might” and Best R&B Album for “The Romantic.” The R&B genre also saw major victories for SZA, who won Best Female R&B Artist, and Leon Thomas, who secured Breakthrough R&B Artist. Tyla dominated the Afrobeats and social categories, winning Best Afrobeats Artist and Social Song of the Year for “CHANEL.”

The night’s highest overall honors belonged to a mix of global superstars and rising talent. BTS claimed the coveted Artist of the Year award, as well as Song of the Summer for “SWIM” and Best Male K-Pop Artist. Breakout group KATSEYE claimed New Artist of the Year, Breakthrough Pop Artist and Best Music Video for “Gnarly.”

Additionally, Karol G took home Best Latin Album for “Tropicoqueta” and was presented with the rare International Artist Award of Excellence by John Legend.

To view the full list of the night's winners click here.

Federal Jury Orders Ye to Pay Over $430,000 in Copyright Lawsuit Over Uncleared Sample

Rapper and entrepreneur Ye, right, stands alongside former Adidas executive Eric Liedtke in front of a Yeezy promotional display. A federal jury in Los Angeles recently ordered Ye and his affiliated companies, including Yeezy LLC, to pay over $430,000 in damages following a copyright infringement trial over an uncleared song sample.

A federal jury has ordered the artist legally known as Ye to pay more than $430,000 in damages for using an uncleared sample during a massive stadium listening event in 2021.

The unanimous verdict, delivered last week in Los Angeles, concluded a copyright infringement lawsuit brought by a group of musicians including veteran hip-hop producer DJ Khalil (Khalil Abdul-Rahman), Sam Barsh, Dan Seeff and Josh Mease. The plaintiffs alleged that Ye, formerly Kanye West, unlawfully used their 2018 instrumental track "MSD PT2" as the backbone for an early, unreleased version of his Grammy-winning song "Hurricane."

During the six-day trial, the court heard that Ye played the uncleared version of "Hurricane" for 40,000 fans at a listening party for his 10th studio album, "Donda," at Atlanta's Mercedes-Benz Stadium in July 2021.

Plaintiffs' attorney Irene Lee successfully argued that the stadium event generated an estimated $5.5 million through ticket sales, merchandise and a streaming deal with Apple Music, rendering the unauthorized broadcast a commercial copyright violation.

"There was no deal, no agreement, no license, and no clearance," Lee told the jury during closing arguments.

The jury found Ye personally liable for $176,153, while his company Yeezy LLC was ordered to pay the exact same amount. Two of his affiliated companies, Yeezy Supply LLC and Ox Paha Inc., were additionally found liable for $41,625 and $44,627, respectively.

Ye testified in person during the trial, telling jurors that he believed his team had gone through standard industry procedures to clear the sample. The "MSD PT2" sample was ultimately removed and replaced with recreated elements before the final version of "Hurricane" — which featured The Weeknd and Lil Baby and later won a Grammy for Best Melodic Rap Performance — received its official commercial release.

Following the verdict, a spokesperson for Yeezy dismissed the outcome as a "failed shakedown," noting the plaintiffs had initially sought up to $30 million before the judge dismissed several of the more lucrative composition claims prior to trial.

"The moral of the story? There is a cost attached to thinking you can take advantage of Ye," the spokesperson said.

Britton Monts, a manager for Artist Revenue Advocates, the company that represented the four musicians in the lawsuit, celebrated the jury's decision.

"It's a victory for working artists, who typically lack the resources to go against someone like Ye, a megastar and celebrity," Monts said. "The underdogs got their day in court."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2026 BET Awards

The Complete Nominations Board

The Leaderboard

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

The Complete List

Album of the Year

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

Best Male Hip Hop Artist

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

Best Female Hip Hop Artist

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

Best Male R&B/Pop Artist

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

Best Female R&B/Pop Artist

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

Best Group

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

Best Collaboration

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

Video of the Year

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

Video Director of the Year

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

Best New Artist

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

BET Her Award

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

The Fashion Vanguard Award (NEW)

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

The Pulse Award (NEW)

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

Viewers’ Choice

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

Dr. Bobby Jones Best Gospel/Inspirational Award

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

Best Actress

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

Best Actor

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

Best Movie

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

YoungStars Award

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

Sportswoman of the Year Award

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

Sportsman of the Year Award

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

Clarence Carter, Southern Soul Pioneer Who Sang ‘Strokin’,’ Dies at 90

Southern soul legend Clarence Carter performs on stage in Baltimore in 1995. Carter, the blind singer and guitarist known for 1960s R&B hits and the enduring party anthem "Strokin'," died Wednesday, May 13, 2026, near Atlanta at the age of 90. (Photo by John Mathew Smith & www.celebrity-photos.com)

Clarence Carter, the blind Southern soul pioneer who scored deep-feeling R&B hits in the 1960s before securing a permanent, multi-generational legacy with the bawdy cookout anthem "Strokin'," has died. He was 90.

Carter died Wednesday. Bill Carpenter, a spokesman for his former wife and fellow soul singer Candi Staton, confirmed the passing on Thursday. According to reports, Carter had recently been diagnosed with stage four prostate cancer and died from complications including sepsis and pneumonia. Rodney Hall, president of FAME Studios in Muscle Shoals, Alabama, where Carter recorded many of his biggest hits, also confirmed the news to Rolling Stone.

Born in Montgomery, Alabama, Carter lost his sight to glaucoma as an infant. He attended the Alabama School for the Blind and later earned a music degree from Alabama State College, using his formal education to develop a signature, blues-soaked baritone and a hard-driving rhythm guitar style.

Signing with FAME Records, Carter became a formidable force on the R&B charts in the late 1960s and early 1970s. He delivered a string of emotionally complex, brass-heavy hits, most notably the 1968 cheating ballad "Slip Away" and the 1970 Grammy-nominated tearjerker "Patches," a spoken-word hybrid about rural poverty that crossed over to the top of the pop charts.

But for the hip-hop and 90s/00s throwback generation, Carter’s cultural footprint extends far beyond traditional soul radio.

His raw, unfiltered 1968 holiday track "Back Door Santa" famously provided the foundational, blaring horn sample for Run-D.M.C.’s 1987 classic "Christmas in Hollis".

More prominently, Carter achieved a rare feat of cultural permanence in 1986 with the release of "Strokin'." Driven by a relentless synthesizer and Carter's unapologetic, spoken-word sexual humor, the track was deemed too explicit for mainstream radio play. Instead, it bypassed the industry entirely, thriving in nightclub jukeboxes and on mixtape cassettes to become an undisputed standard at cookouts, family reunions, and block parties for the next four decades.

Carter's ability to seamlessly pivot from heart-wrenching soul to working-class, juke-joint humor allowed him to survive changing musical eras that left many of his peers behind. He continued to tour and release music deep into his later years, keeping the Southern soul circuit alive while leaning heavily into his status as a cult-classic icon.

Kodak Black Held Without Bond in Orange County Following Mdma Trafficking Arrest

Rapper Kodak Black (legal name Bill Kapri) is facing a felony MDMA trafficking charge. (Photo: Orange County Corrections Department)

Florida rapper Kodak Black has found himself back in police custody after being arrested in central Florida on a felony drug trafficking charge.

The 28-year-old artist, whose legal name is Bill Kapri, was booked into the Orange County Corrections Department late Wednesday night. According to official jail records, Kapri is facing a charge of trafficking in MDMA and is currently being held without bond.

The arrest reportedly stems from a November 2025 investigation. According to details shared by his legal representation, the incident began when police officers approached two parked vehicles that smelled of marijuana. While Kapri was in the vicinity, his lawyer states he was not inside either vehicle at the time of the search.

During the search, officers discovered a bag next to a passenger in one of the cars. The bag contained Kapri's identification card and a bottle of prescription cough syrup. Authorities allege that fingerprints found on the bottle matched the rapper.

Official Arrest Record

Subject: Bill Kapri (Kodak Black)
Agency: Orange County Sheriff's Office
Booking Number: 26016178
Charge: Trafficking MDMA, Statute: 893.135(1)(K)

View Official Booking Report (PDF) 

Bradford Cohen, the attorney representing Kapri, has publicly criticized the arrest, arguing that the trafficking charge has a "weak legal basis." Cohen contends that while possessing the prescription bottle without authorization is illegal, merely touching it is not, especially given that his client was not inside the vehicle when it was discovered.

"We look forward to yet another fruitful resolution to another case that should have never been filed," Cohen told media outlets Thursday morning.

The rapper, known for his breakout 2018 album "Dying to Live" and hits like "Super Gremlin," has a lengthy history of legal troubles, including previous arrests for drug and weapons possession. In 2021, his federal prison sentence for a firearms charge was famously commuted by then-President Donald Trump.

Kapri's legal team has indicated they plan to aggressively fight the new trafficking charge and are working to secure a bond hearing before the weekend.

Cardi B Demands Immediate Action After Tasha K Discusses Offset Gambling, Stefon Diggs

Rapper Cardi B is seeking further financial sanctions in federal bankruptcy court against blogger Tasha K, alleging repeated violations of a non-disparagement agreement. (Photo by Anthony Kane, CC BY-SA 3.0, via Wikimedia Commons)

The multi-million dollar legal feud between Cardi B and blogger Tasha K has escalated dramatically this week, with the Grammy-winning rapper demanding heavy financial penalties over a deliberate game of "cat and mouse" — and accusing the blogger's legal team of citing fake, AI-generated court cases.

According to official motions filed in the U.S. Bankruptcy Court for the Southern District of Florida, Cardi B (legal name Belcalis Almánzar) is seeking immediate sanctions against YouTube personality Latasha Transrina Kebe, known online as Tasha K. The rapper's legal team alleges Kebe is engaging in an "unabated pattern of deliberate, calculated, and contumacious violations" of a court-mandated non-disparagement agreement.

The court documents, which began hitting the docket in April and were updated this Monday, detail at least 25 specific violations. Cardi B's legal team, led by attorney Lisa Moore, alleges Kebe uses "thinly coded" language designed for her audience of over 1 million followers. Among the infractions, the filings point out that Kebe repeatedly refers to Cardi B as "#11," a reference to a recent Billboard chart ranking.

Official Court Record

Document: Motion to Enforce Settlement Agreement and for Sanctions
Court: U.S. Bankruptcy Court for the Southern District of Florida
Case Name: In re: Latasha Transrina Kebe
Case Number: 1:23-bk-14304-EPK
Creditor: Belcalis Almanzar (Cardi B)

View the Court Docket

The filings also highlight a GoFundMe account Kebe launched in March to help pay down her debts. Cardi B's legal team argues the campaign was specifically meant to frame Almánzar as a "financial antagonist" and incite public sympathy against her.

The dispute boiled over again this week following Kebe's recent comments regarding Offset and NFL star Stefon Diggs. In a filing submitted on Monday, May 4, Cardi's attorneys pointed out that Kebe recently discussed the former Migos rapper's alleged gambling habits, reportedly stating he "would probably still be in a certain relationship if he wasn't gambling away all that money."

In a formal response filed last Friday, Kebe's legal representation argued against the sanctions. Her attorneys claimed the non-disparagement clause prohibits defamatory statements about Almánzar and her family, but "does not grant her a veto over all public commentary regarding independent third parties" involved in newsworthy events.

Cardi B's legal team fired back on Monday, calling Tasha K's arguments excuses from someone with a "delusional belief that the law does not apply to her" who is trying to weaponize the settlement as a "revenue-generating business model."

In a surprising twist, Cardi's lawyers also accused Kebe's team of submitting a legal defense that included a citation to a completely fabricated court case.

"Using fake and hallucinated cases casts a shadow of invalidity on the judicial process," attorney Lisa Moore wrote. "Ms. Almánzar does not presume to know whether this citation was generated through AI assistance [or] some other mechanism. What she does know [is that it] does not exist."

The ongoing bankruptcy stipulations stem from Cardi B’s massive 2022 defamation victory, in which a federal jury found Kebe liable for slander, libel, and invasion of privacy, ultimately awarding the rapper roughly $4 million. Cardi B is now asking the federal judge for an immediate order to halt all disparagement and force Kebe to cover the attorneys' fees.

"Without concrete sanctions that make violations economically painful," Cardi B's legal team states, "there is every incentive to continue."

M.I.A. Removed From Kid Cudi Tour After Claiming To Be a ‘Canceled Republican Voter'

Rapper Kid Cudi announces the immediate removal of British artist M.I.A. from his "Rebel Ragers Tour" in a statement posted to his Instagram Story on Monday. The dismissal comes after Cudi's fanbase expressed heavy disappointment regarding a politically charged, controversial rant M.I.A. delivered during a weekend tour stop in Dallas. (Kid Cudi via Instagram)

The nostalgia-heavy "Rebel Ragers Tour" has officially lost one of its biggest opening acts following a weekend of onstage controversy and heavy crowd backlash.

On Monday, alternative hip-hop pioneer Kid Cudi announced that he has officially removed British artist M.I.A. from his ongoing summer tour. The swift dismissal comes just two days after the "Paper Planes" singer delivered a politically charged, highly controversial rant during her opening set at the Dos Equis Pavilion in Dallas, Texas.

According to fan-shot footage and widespread social media reports from the May 2 concert, M.I.A. addressed the crowd between songs, stating, "I've been canceled for many reasons. I never thought I would be canceled for being a brown Republican voter."

The situation escalated when she referenced her 2010 track "Illygirl" (often stylized as "Illygal"). The singer reportedly told the crowd, "We can't perform 'Illegal,' though some of you could be in the audience."

The Dallas crowd responded with overwhelming boos. M.I.A. attempted to clarify her statement on stage, adding, "All right, I'm illegal. Half of my team are not here because they didn't get the visa, OK? I want you to know that."

By Monday afternoon, Kid Cudi took to his Instagram Story to confirm that her run on the tour was immediately terminated.

"TOUR UPDATE: M.I.A is no longer on this tour," Cudi wrote in his statement. "I told my management to send a notice to her team before we started tour that I didn't want anything offensive at my shows, cuz I already knew what time it was, and I was assured things were understood. After the last couple shows, I've been flooded with messages from fans that were upset by her rants."

I WROTE ILLYGAL ON THE MAYA LP A SONG FROM 2010.
I STARTED THIS INTRO TO THE SONG WITH THE STATEMENT SAYING I'M ILLYGAL, AND I SAID MY TEAM HASN'T GOTTEN VISAS YET. THEN PLAYED A SONG THAT HAD LYRICS SAYING "FU&% THE LAW", WHICH I STILL BELIEVE, IF THE LAW IS UNJUST F@%& IT.

DO… https://t.co/3xZk2OTBMb

— M.I.A. ⊕ II II II (@MIAuniverse) May 4, 2026

Cudi concluded, "This, to me, is very disappointing and I wont have someone on my tour making offensive remarks that upsets my fanbase. Thank you for understanding. Rager."

M.I.A., who is a British and Sri Lankan citizen and therefore ineligible to vote in United States elections, responded defensively on social media Monday. In a lengthy, all-caps post, the singer accused critics of gaslighting her words, reiterating that her onstage comments were an introduction to her 2010 song.

"I wrote Borders and Illygal and Paper Planes before you thought immigrant rights were cool," M.I.A. wrote. "I don't need this virtue signal era to all of a sudden erase an entire life I've led."

In a follow-up post addressing her political affiliations, she added, "Don't be an agent of division, I can't vote in the US, and 48% of Latin community voted trump. So are you going to hate them all?"

M.I.A.'s dismissal marks the latest chapter in her increasingly erratic public persona. In recent years, the former critical darling has drawn intense backlash for embracing right-wing conspiracy theories, including anti-vaccine rhetoric and launching a clothing line on Alex Jones' Infowars platform that claims to block 5G and 10G cellular signals.

Kid Cudi's "Rebel Ragers Tour," which also features legendary Outkast member Big Boi, is scheduled to continue without M.I.A. on Tuesday in Birmingham, Alabama.

Parliament-Funkadelic Founder George Clinton Praises Kendrick Lamar in New Interview

FILE — In this undated promotional photo, Parliament-Funkadelic architect George Clinton poses in his signature eccentric eyewear and a rhinestone-draped fur hat. The 84-year-old funk legend recently made headlines after publicly praising modern hip-hop icon Kendrick Lamar, comparing the rapper's cultural permanence to Motown and The Beatles. (Courtesy Photo)

The godfather of funk is giving his ultimate co-sign to the current king of the West Coast.

In a newly published tribute for The New York Times Magazine's "30 Greatest Living American Songwriters" list, Parliament-Funkadelic architect George Clinton offered profound praise for Kendrick Lamar, placing the Compton lyricist in the same historical echelon as The Beatles and Motown.

Clinton, whose 1970s funk catalog was heavily sampled to create the foundational 1990s G-Funk sound championed by Dr. Dre and Snoop Dogg, did not mince words regarding Lamar's cultural permanence.

"I'll put it like this: He, along with Motown, Sly Stone, the Beatles — that kind of institution is going to last," Clinton told the publication. "There are a lot of slick writers out here nowadays with lyrics and things, but he writes with soul."

The 84-year-old icon, who directly collaborated with Lamar on the opening track of the rapper's 2015 studio album, "To Pimp a Butterfly," went on to compare that specific project to one of the most important soul albums ever recorded.

"It was like Marvin Gaye's 'What's Going On,'" Clinton noted. "And he's starting all over each time he puts an album out — he's like a brand-new kid."

For fans of '90s hip-hop, Clinton’s words carry the ultimate historical weight. Without Clinton's "Atomic Dog" or "Flash Light," the 1990s West Coast dominance would simply not exist. To hear him validate a modern artist with such reverence highlights Lamar's unique ability to bridge generational divides.

"He's a young kid, but when I met him, he sounded my age," Clinton explained. "He's like a psychiatrist on record — he talks about [expletive] that most people are afraid to talk about. He's at that point where he can move the conversation. Nobody will talk about these topics, and he talks about them so matter-of-factly that you don't even think, 'You can't say that.'"

Lamar, who recently set a new Grammy record by becoming the most-awarded rapper in history with 27 wins — surpassing Jay-Z's 25 — has managed to do what very few artists can: maintain a vice grip on both the older hip-hop heads and the new generation.

"Kids today, they want their new artist; they don't want their older brother or sister's artist or their mother and father's," Clinton concluded. "Kids don't like you after a few years. When you can go past that and have the next generation after that still talking about you, you're doing something."

Rock & Roll Hall of Famer Nedra Talley-Ross Dead at 80, Marking the End of the Ronettes

In this 1966 promotional photo, members of the pioneering R&B and pop trio The Ronettes, from left, Estelle Bennett, Veronica "Ronnie" Spector, and Nedra Talley, pose for a portrait. Talley-Ross, the group's last surviving original member, died Sunday, April 26, at the age of 80.

The final voice of one of the most influential girl groups in music history has been silenced.

Nedra Talley-Ross, a founding member of the legendary 1960s R&B and pop trio The Ronettes, died on Sunday, April 26. She was 80.

The news was confirmed via social media by her daughter, Nedra K. Ross, who stated that her mother passed away peacefully on Sunday morning.

"At approximately 8:30 this morning our mother Nedra Talley Ross went home to be with the Lord," her daughter wrote in a Facebook statement. "She was safe in her own bed at home with her family close, knowing she was loved. Thank you Lord."

Formed in the early 1960s by Talley-Ross alongside her cousins Veronica "Ronnie" Spector and Estelle Bennett, The Ronettes became the defining face of the famous "Wall of Sound" production style. With their towering beehive hairstyles, heavy eyeliner, and striking vocal harmonies, the trio shattered the mold for female artists. They released a string of timeless classics, including "Be My Baby," "Baby, I Love You," and "(The Best Part of) Breakin' Up," laying the direct groundwork for the explosion of female-led R&B groups in the '90s and '00s.

While the music world is still processing the fresh news of her passing. the group's towering legacy has long been championed by their most legendary contemporaries.

During The Ronettes' 2007 induction into the Rock & Roll Hall of Fame, Keith Richards of The Rolling Stones recalled watching the trio rehearse during a 1964 tour where the Stones served as their opening act.

"I realized that despite Jack Nitzsche's beautiful arrangements, they could sing all the way right through a Wall of Sound," Richards said during his induction speech. "They didn't need anything. They touched my heart right there and then, and they touch it still."

Similarly, Beach Boys architect Brian Wilson has famously cited their signature hit "Be My Baby" as his "all-time favorite song," heavily crediting the trio's vocal arrangements with shaping his own pop masterpieces.

Following the group's dissolution in the late 1960s, Talley-Ross famously stepped away from secular music, embracing her Christian faith and successfully transitioning into contemporary Christian music alongside her husband, the late Christian broadcaster Scott Ross, who died in 2023. Talley-Ross occasionally returned to the public eye to celebrate the group's legacy, notably performing alongside Ronnie Spector at their 2007 Rock Hall induction.

Her passing marks the definitive end of an era for the foundational group. Estelle Bennett passed away in 2009 at age 67, and Ronnie Spector died in 2022 at age 78.