Snoop Dogg to Bring West Coast Heat to Australia’s AFL Grand Final Stage

Snoop Dogg will headline the pre-game entertainment at the 2025 AFL Grand Final on Sept. 27 at the Melbourne Cricket Ground. 

The AFL has locked in one of hip-hop’s most recognizable voices for its biggest day, announcing Snoop Dogg as the headline act for the Telstra pre-game entertainment at the 2025 Toyota AFL Grand Final on Sept. 27 at the Melbourne Cricket Ground.

The Australian Football League — founded in 1897 as the Victorian Football League and rebranded in 1990 — is the premier competition in Australian rules football, with its Grand Final regularly drawing over 100,000 fans in person and millions more watching nationally.

Snoop Dogg’s Biggest Sports & Entertainment Hosting Moments

• Super Bowl LVI Halftime Show (2022) — Performed alongside Dr. Dre, Eminem, Kendrick Lamar, Mary J. Blige, and 50 Cent in a set hailed as one of the NFL’s most memorable shows.
• WrestleMania 32 (2016) — Took the mic at AT&T Stadium, performed live, and was inducted into WWE’s Hall of Fame celebrity wing.
• NBA All-Star Weekend Appearances — Provided live performances and fan engagement at multiple NBA events, bringing music to the heart of the sport.
• NHL Stadium Series & Charity Games — Delivered high-energy sets at major hockey events, blending his West Coast style with global sports culture.
• American Song Contest (2022) — Co-hosted NBC’s music competition with Kelly Clarkson, showcasing his live-event charisma.

For Snoop, it will be his first-ever performance at the MCG and his highest-profile Australian sporting event appearance to date. The West Coast rap legend, who rose to fame on Dr. Dre’s 1992 album "The Chronic" before releasing his multi-platinum debut "Doggystyle," has delivered three decades of chart-topping tracks, including “Gin and Juice,” “Drop It Like It’s Hot” and “Young, Wild & Free.”

“It’s an absolute honor to be hitting the stage at the AFL Grand Final — it’s one of the biggest events on the Aussie calendar,” Snoop said in a statement released by the league. “Can’t wait to bring the energy and celebrate with the fans. Let’s make it unforgettable.”

AFL CEO Andrew Dillon said the addition of Snoop reflects the league’s push to make Grand Final day a cultural event as well as a sporting one. “Snoop Dogg is a pioneer, a performer, and a true entertainer,” Dillon said. “He’s played to packed stadiums around the world — but we think 100,000 fans at the MCG might just be his most iconic crowd yet.”

The AFL has a recent track record of bringing in global headliners for Grand Final entertainment, including Katy Perry, Robbie Williams, and The Killers. This year’s show will again be produced by the Mushroom Group, whose CEO Matt Gudinski promised “an unforgettable spectacle” and hinted at more Australian artists joining the bill.

Snoop’s relationship with Australia has had its twists. In 2007, he was denied a visa over past convictions in the United States, but the ban was lifted in 2008, allowing him to tour the country multiple times since. His most recent visit was part of a sold-out 2023 arena run.

Telstra executive Brent Smart said the company is “thrilled” to host the pre-game entertainment for the fifth straight year. “We’re passionate about delivering unforgettable experiences for fans. We’re confident Snoop Dogg will make this year’s celebration one to remember.”

The pre-game show will take place roughly an hour before the 2:30 p.m. bounce, following the traditional motorcade of coaches and players from the competing teams. Additional performers for the 2025 AFL Grand Final are expected to be announced in the coming weeks.

NYC Immortalizes DJ Mister Cee, Fatman Scoop With Street Co-Namings

Street signs honoring the late Fatman Scoop in East Harlem and the late DJ Mister Cee in Brooklyn were unveiled over the weekend, cementing the hip-hop legends’ place in New York City history.

New York City immortalized two of its most celebrated voices with street co-namings over the weekend — forever linking DJ Mister Cee and Fatman Scoop to the boroughs where they made history.

On Saturday afternoon, the corner of 109th Street and 5th Avenue in East Harlem became Isaac “Fatman Scoop” Freeman III Place. The crowd heard from Kurtis Blow, who painted a vivid picture of Scoop’s influence:

“When you went into a club and the club was packed and they threw on a Fatman Scoop record, you knew you were at the place to be. Just hearing his voice, you knew it was time to do your best dance moves.”

🎤 “Fatman Scoop ain’t nothing to play with!” — Hip-hop legend @KurtisBlow1 sharing his remarks at the Harlem street co-naming of Isaac “Fatman Scoop” Freeman III Place at E 109th St & 5th Ave. 🗽✨ pic.twitter.com/2y2rZ2R0it

— Okayplayer (@okayplayer) August 9, 2025

Scoop — whose unmistakable hype voice turned countless tracks into anthems — died on August 30, 2024, at the age of 56 after collapsing onstage in Hamden, Connecticut. The Connecticut Office of the Chief Medical Examiner determined the cause as hypertensive and atherosclerotic cardiovascular disease, ruling his death from natural causes.

 

On Sunday afternoon, Brooklyn’s Classon and Lafayette Avenues were officially co-named DJ Mister Cee Way in honor of the DJ, producer, and tastemaker who championed Big Daddy Kane, The Notorious B.I.G., and countless others. Public Advocate Jumaane Williams attended, while Mayor Eric Adams called him a “true hip-hop legend taken too soon” in a social post.

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DJ Mister Cee’s son, DJ Magic, shared a heartfelt tribute on Instagram:

“Today was a major day for Pops aka DJ Mister Cee… Classon & Lafayette co-naming unveiling. We will never forget you, Pop. I love you and miss you.”

DJ Mister Cee was a true hip-hop legend taken too soon.

Thank you for all you gave to the culture and to Brooklyn. This street co-naming will honor your lasting legacy. pic.twitter.com/NYXeSAYFDz

— Mayor Eric Adams (@NYCMayor) August 10, 2025

Mister Cee — born Calvin LeBrun — passed away April 10, 2024, at age 57. The New York City Medical Examiner listed his cause of death as diabetes-related coronary artery and kidney disease.

Atlanta Rapper T-Hood Killed in Georgia Shooting at 33

Rapper T-Hood  was killed in Snellville, Georgia, after a domestic dispute outside his home.

Southern hip-hop is in mourning. Tevin Hood — better known as T-Hood — was shot and killed Friday at a residence in Snellville, Georgia, according to Gwinnett County police. He was 33.

Officers were dispatched around 7 p.m. to the 3900 block of Lee Road following reports of a dispute at the home. First responders found Hood with gunshot wounds, rendered aid, and transported him to a hospital, where he died from his injuries. One individual was detained at the scene and is currently being interviewed; the shooting is being investigated as a homicide. Authorities emphasized there is no active threat to the public.

RIP T HOOD 💔 one of the first people to hop on me and @Deedotwill vivid trap beats.

he was literally the only person to hop on this melody i did from scratch. I ain’t fuckin with this at all i’m ngl. pouring up for my all my niggas tonight pic.twitter.com/uVJAPPVuhJ

— glick attachment (@cashgangrott) August 9, 2025

Hood’s mother, Yulanda, confirmed his identity to local media and rejected claims of a party taking place at the time of the shooting. Family members spoke with Channel 2 Action News, validating the tragic news.

Known for his work in Southern rap, T-Hood released tracks including “Ready 2 Go,” “Perculator,” “Girls in the Party” and “Big Booty” with B.o.B. He was also named Trendsetter of the Year at the 2025 Black Only Awards.

i been all over the place trying to find a way to process the passing of my dawg. i knew t hood a while and he used to always go crazy at every stage he was on.

he really went crazy with his talent and im fortunate to have got some work in with him. one of the few artists who… pic.twitter.com/YQqzJ2Vh9X

— DJ Blak Boy (@DJBlakBoy) August 10, 2025

Just weeks prior, Hood shared an eerie Instagram video promoting his song “Grave Diggerz.” Wearing a ghost costume in a cemetery, he joked, “Come down to the cemetery. I have a spot for you… Just die today.” Fans have since called the clip chillingly prophetic amid the tragedy.

Producer Deddotwill, a frequent collaborator, expressed his grief online: “We was just on the phone all day. I can’t believe you are gone. REST IN PEACE T-HOOD, I LOVE YOU BROTHER.”

DJ Blak Boy added his personal tribute: “I knew T-Hood a while… he was a light of energy… always supported everybody… a friend I’ll miss.”

Former Assistant Sues Busta Rhymes, Alleges Repeated Abuse

Busta Rhymes kneels beside his newly unveiled star on the Hollywood Walk of Fame in July 2025. A former assistant has filed a federal lawsuit accusing the rapper of physical assault and creating a toxic work environment.

Busta Rhymes is facing a federal lawsuit from a former assistant who claims the hip-hop legend physically assaulted him, subjected him to a hostile work environment, and then derailed his career after a violent incident earlier this year.

Dashiel Gables filed the 13-page complaint in the Eastern District of New York on Monday. The suit outlines a range of allegations, including assault, battery, wage and hour violations, and intentional infliction of emotional distress.

According to the complaint, Gables was hired by Rhymes — born Trevor Smith Jr. — in 2024 at a rate of $200 per day. Over time, Gables claims he was forced to work excessively long hours, including 18-hour days without overtime, while enduring verbal abuse, unreasonable demands, and escalating threats.

The breaking point came in January 2025, when Gables says Rhymes punched him twice in the face after yelling at him for texting his daughter during a break. Gables sought medical treatment and filed a police report. Rhymes turned himself in and was charged with assault, but the criminal case remains pending.

In a statement released to the press, Rhymes denied the allegations, calling them "categorically false." He claimed the employment arrangement with Gables was short-lived and did not work out. "Apparently, Dashiel has decided to respond to being let go by manufacturing claims against me in an attempt to attack and damage my reputation," he said. Rhymes also announced plans to countersue, alleging an attempted "shake-down."

The lawsuit paints a different picture. Gables alleges a toxic pattern of behavior that included screaming, spitting, name-calling, and public humiliation. He says he remained in the job because he needed the work but ultimately could not tolerate the physical abuse.

"I worked my heart out for Busta," Gables said in a statement. "Long hours, day and night, weekends, you name it. He bullied me from day one. He regularly insulted me, called me names and slurs, screamed at me in front of other people ... But I stuck around, because I needed the work and I thought things would get better. But instead, he punched me twice in the face."

Gables also claims the incident and the resulting criminal charges caused him to be "frozen out" of the music industry, leaving him with "substantial future lost wage damages."

This is not the first time Busta Rhymes has faced legal issues involving assault. In 2008, he pleaded guilty to assaulting a former driver and a fan. In 2015, he was arrested for throwing a protein drink at a gym employee during an altercation.

Rhymes, 53, was recently honored with a star on the Hollywood Walk of Fame and made a cameo in the reboot of "The Naked Gun." His hits include "Gimme Some More," "Break Ya Neck," and "Woo Hah!! Got You All in Check."

Hip-Hop Mourns Howie Tee, Sonic Force Behind Special Ed and Chubb Rock

Hitman Howie Tee, born Howard Thompson, is dead at 61. The influential producer helped launch the careers of Special Ed and Chubb Rock and co-produced hits for Color Me Badd.

Hip-hop has lost a giant.

Hitman Howie Tee — the Brooklyn-based producer, DJ and sonic architect behind pivotal records from Special Ed, Chubb Rock, The Real Roxanne and Color Me Badd — has died at 61. His death was confirmed in early August by close collaborators and friends including DJ Premier and Questlove, though the exact cause and date have not been publicly disclosed.

Born Howard Thompson in London to Jamaican parents and raised in Brooklyn’s East Flatbush neighborhood, Howie Tee carved out a legendary career by fusing breakbeats, funk, jazz, and even cartoon samples into an unmistakable sound that helped define East Coast hip-hop in the late 1980s and early 1990s.

 

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A post shared by Questlove (@questlove)

He first made his mark as a member of CDIII and later as the in-house producer for Select Records, where he shaped the signature styles of future legends. With Special Ed, he delivered “I Got It Made,” a coming-of-age anthem that turned a teenage MC into a star. With Chubb Rock, he produced classics like “Treat ’Em Right,” “Ya Bad Chubbs” and “Just the Two of Us,” blending boom-bap energy with wit and rhythm.

His sound wasn’t limited to rap. In the early ’90s, Howie Tee co-produced Color Me Badd’s No. 1 hits “I Wanna Sex You Up” and “All 4 Love,” the latter famously topping Michael Jackson’s “Black or White” on the Billboard Hot 100. His ear for crossover appeal made him one of the most versatile producers of the era, with remixes for Madonna, Heavy D, Maxi Priest and Raven-Symoné further proving his reach.

 

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Questlove remembered him as “another legend from my childhood,” calling him a “superhero superproducer” who helped hip-hop evolve by blending TV themes and pop melodies with hard drums. DJ Premier recalled long conversations with Howie Tee about music and life, crediting him for inspiring his own early production aspirations.

From Whistle’s playful “(Nothing Serious) Just Buggin’” to Special Ed’s “I’m the Magnificent” and deep cuts like Little Shawn’s “Hickeys on Your Chest,” Howie Tee’s catalog remains a masterclass in groove, grit and experimentation. He was a sonic bridge between the park jam spirit of old-school hip-hop and the polished swagger of the New Jack Swing era.

Though never one to chase the spotlight, his influence stretched far beyond the studio. He helped shape the sound of an entire generation — and gave some of hip-hop’s most beloved voices their earliest hits.

VMAs 2025: Gaga, Bruno Mars, Lamar Top Nominations; Beyoncé Could Make History

Beyoncé, tied with Taylor Swift as the VMAs’ most awarded artist with 26 wins, is up for Artist of the Year at the 2025 ceremony. A win would put her alone in first place. 

The MTV Video Music Awards are back — and hip-hop is once again at the heart of the conversation. The 2025 nominations, announced Tuesday, blend chart‑topping pop dominance with a deep bench of rap and R&B heavyweights, setting up one of the most competitive races in recent memory.

Lady Gaga leads all artists with 12 nods, followed closely by Bruno Mars (11) and Kendrick Lamar (10), whose “Not Like Us” became both a hit record and a cultural rallying cry. Rosé and Sabrina Carpenter earned eight apiece, while Ariana Grande and The Weeknd pulled seven each. Billie Eilish grabbed six.

For hip-hop and R&B, the ballot reads like a celebration of legends and next‑gen stars. Lamar is nominated in major categories including Video of the Year and Best Hip-Hop, while LL Cool J returns to the VMAs ballot alongside Eminem for “Murdergram Deux.” Drake, Doechii, GloRilla, Sexyy Red, Travis Scott and PartyNextDoor also secured key nods. In R&B, Chris Brown, Mariah Carey, SZA, Summer Walker and The Weeknd lead a lineup that reflects the genre’s continued chart and cultural dominance.

The race for most‑ever VMA wins could see history made: Beyoncé, tied with Taylor Swift at 26 career wins, is up for Artist of the Year. A win would put her alone in first place, extending her reign as the show’s most awarded artist.

First‑time nominees add new flavor to the mix. Brent Faiyaz and Mac Miller (posthumously) are both recognized, along with Gigi Perez, The Marías and Lainey Wilson. Rosé earns her first solo nods — eight in total — signaling a breakout year for the Blackpink member.

New categories — Best Country and Best Pop Artist — widen the field, but hip-hop’s fingerprints are everywhere, from Lamar’s collaborations with SZA to Travis Scott’s double Afrobeats nominations.

The 2025 VMAs air live Sunday, Sept. 7, from UBS Arena in New York, simulcast on CBS, MTV and streaming on Paramount+. Fan voting is open through Sept. 5 at vote.mtv.com, with special “power hours” and Instagram boosts in select categories.

Full List of 2025 MTV Video Music Awards Nominees

Nominees are listed in alphabetical order by first name. (**) = New category.

VIDEO OF THE YEAR

Ariana Grande – “brighter days ahead” – Republic Records

Billie Eilish – “BIRDS OF A FEATHER” – Darkroom/Interscope Records

Kendrick Lamar – “Not Like Us” – pgLang/Interscope Records

Lady Gaga & Bruno Mars – “Die With A Smile” – Interscope Records

Rosé & Bruno Mars – “APT.” – Atlantic Records

Sabrina Carpenter – “Manchild” – Island

The Weeknd, Playboi Carti – “Timeless” – XO/Republic Records

ARTIST OF THE YEAR

Bad Bunny – Rimas Entertainment

Beyoncé – Parkwood Entertainment/Columbia Records

Kendrick Lamar – pgLang/Interscope Records

Lady Gaga – Interscope Records

Morgan Wallen – Big Loud Records/Mercury Records

Taylor Swift – Republic Records

The Weeknd – XO/Republic Records

SONG OF THE YEAR

Alex Warren – “Ordinary” – Atlantic Records

Billie Eilish – “BIRDS OF A FEATHER” – Darkroom/Interscope Records

Doechii – “Anxiety” – Top Dawg Entertainment/Capitol Records

Ed Sheeran – “Sapphire” – Gingerbread Man Records/Atlantic Records

Gracie Abrams – “I Love You, I'm Sorry” – Interscope Records

Lady Gaga & Bruno Mars – “Die With A Smile” – Interscope Records

Lorde – “What Was That” – Republic Records

Rosé & Bruno Mars – “APT.” – Atlantic Records

Tate McRae – “Sports Car” – RCA Records

The Weeknd, Playboi Carti – “Timeless” – XO/Republic Records

BEST NEW ARTIST

Alex Warren – Atlantic Records

Ella Langley – SAWGOD/Columbia Records

Gigi Perez – Island

Lola Young – Island

Sombr – SMB Music/Warner Records

The Marías – Nice Life/Atlantic Records

BEST POP ARTIST **

Ariana Grande – Republic Records

Charli XCX – Atlantic Records

Justin Bieber – Def Jam Recordings

Lorde – Republic Records

Miley Cyrus – Columbia Records

Sabrina Carpenter – Island

Tate McRae – RCA Records

MTV PUSH PERFORMANCE OF THE YEAR

Aug 2024 – Shaboozey – “A Bar Song (Tipsy)” – American Dogwood/Empire

Sept 2024 – Ayra Starr – “Last Heartbreak Song” – Mavin Records/Republic Records

Oct 2024 – Mark Ambor – “Belong Together” – Hundred Days Records/Virgin Music

Nov 2024 – Lay Bankz – “Graveyard” – Artist Partner Group Inc.

Dec 2024 – Dasha – “Bye Bye Bye” – Warner Records

Jan 2025 – Katseye – “Touch” – Hybe/Geffen Records

Feb 2025 – Jordan Adetunji – “Kehlani” – 300 Entertainment

Mar 2025 – Leon Thomas – “Yes It Is” – EZMNY Records/Motown Records

Apr 2025 – Livingston – “Shadow” – Republic Records

May 2025 – Damiano David – “Next Summer” – Sony Italy/Arista Records

June 2025 – Gigi Perez – “Sailor Song” – Island

July 2025 – Role Model – “Sally, When The Wine Runs Out” – Interscope Records

BEST COLLABORATION

Bailey Zimmerman with Luke Combs – “Backup Plan (Stagecoach Official Music Video)” – Atlantic Records/Warner Music Nashville

Kendrick Lamar & SZA – “Luther” – pgLang/Interscope Records

Lady Gaga & Bruno Mars – “Die With A Smile” – Interscope Records

Post Malone ft. Blake Shelton – “Pour Me A Drink” – Mercury Records

Rosé & Bruno Mars – “APT.” – Atlantic Records

Selena Gomez, Benny Blanco – “Sunset Blvd” – SMG Music/Friends Keep Secrets/Interscope Records

BEST POP

Alex Warren – “Ordinary” – Atlantic Records

Ariana Grande – “brighter days ahead” – Republic Records

Ed Sheeran – “Sapphire” – Gingerbread Man Records/Atlantic Records

Lady Gaga & Bruno Mars – “Die With A Smile” – Interscope Records

Rosé & Bruno Mars – “APT.” – Atlantic Records

Sabrina Carpenter – “Manchild” – Island

BEST HIP-HOP

Doechii – “Anxiety” – Top Dawg Entertainment/Capitol Records

Drake – “Nokia” – OVO/Santa Anna/Republic

Eminem ft. Jelly Roll – “Somebody Save Me” – Shady/Aftermath/Interscope Records

GloRilla ft. Sexyy Red – “Whatchu Kno About Me” – CMG/Interscope Records

Kendrick Lamar – “Not Like Us” – pgLang/Interscope Records

LL Cool J ft. Eminem – “Murdergram Deux” – Def Jam Recordings

Travis Scott – “4x4” – Cactus Jack/Epic Records

BEST R&B

Chris Brown – “Residuals” – Chris Brown Entertainment/RCA Records

Leon Thomas & Freddie Gibbs – “Mutt (Remix)” – EZMNY Records/Motown Records

Mariah Carey – “Type Dangerous” – Gamma.

PARTYNEXTDOOR – “N o C h i l l” – OVO Sound

Summer Walker – “Heart Of A Woman” – LVRN/Interscope Records

SZA – “Drive” – Top Dawg Entertainment/RCA Records

The Weeknd, Playboi Carti – “Timeless” – XO/Republic Records

BEST ALTERNATIVE

Gigi Perez – “Sailor Song” – Island

Imagine Dragons – “Wake Up” – KIDinaKorner/Interscope Records

Lola Young – “Messy” – Island

mgk & Jelly Roll – “Lonely Road” – EST 19XX/Interscope Records

Sombr – “back to friends” – SMB Music/Warner Records

The Marías – “Back To Me” – Nice Life/Atlantic Records

BEST ROCK

Coldplay – “All My Love” – Atlantic Records

Evanescence – “Afterlife (From the Netflix Series 'Devil May Cry')” – Netflix Music

Green Day – “One Eyed Bastard” – Reprise Records/Warner Records

Lenny Kravitz – “Honey” – Roxie Records Inc./BMG Rights Management GmbH

Linkin Park – “The Emptiness Machine” – Warner Records

Twenty One Pilots – “The Contract” – Fueled By Ramen

BEST LATIN

Bad Bunny – “Baile Inolvidable” – Rimas Entertainment

J Balvin – “Rio” – Capitol Records

Karol G – “Si Antes Te Hubiera Conocido” – Bichota Records/Interscope Records

Peso Pluma – “La Patrulla” – Double P Records

Rauw Alejandro & Romeo Santos – “Khé?” – Sony Music US Latin

Shakira – “Soltera” – Sony Music US Latin

BEST K-POP

Aespa – “Whiplash” – SM Entertainment/Virgin Music Group

Jennie – “like JENNIE” – OA Entertainment/Columbia Records

Jimin – “Who” – BigHit Music

Jisoo – “Earthquake” – Warner Records

Lisa ft. Doja Cat & Raye – “Born Again” – Lloud Co./RCA Records

Stray Kids – “Chk Chk Boom” – JYP/Imperial/Republic

Rosé – “toxic till the end” – Atlantic Records

BEST AFROBEATS

Asake & Travis Scott – “Active” – YBNL Nation/Empire

Burna Boy ft. Travis Scott – “TaTaTa” – Spaceship/Bad Habit/Atlantic Records

Moliy, Silent Addy, Skillibeng & Shenseea – “Shake It To The Max (Fly) (Remix)” – Gamma.

Rema – “Baby (Is It A Crime)” – Mavin Global Holdings Ltd./Jonzing World Entertainment/Interscope Records

Tems ft. Asake – “Get It Right” – RCA Records/Since ’93

Tyla – “Push 2 Start” – FAX Records/Epic Records

Wizkid ft. Brent Faiyaz – “Piece Of My Heart” – Starboy/RCA Records

BEST COUNTRY **

Chris Stapleton – “Think I'm In Love With You” – Mercury Nashville

Cody Johnson with Carrie Underwood – “I’m Gonna Love You” – CoJo Music/Warner Music Nashville

Jelly Roll – “Liar” – BBR Music Group/BMG/Republic Records

Lainey Wilson – “4x4xU” – Broken Bow Records

Megan Moroney – “Am I Okay?” – Columbia Records

Morgan Wallen – “Smile” – Big Loud Records/Mercury Records

BEST ALBUM

Bad Bunny – “Debí Tirar Más Fotos” – Rimas Entertainment

Kendrick Lamar – “GNX” – pgLang/Interscope Records

Lady Gaga – “Mayhem” – Interscope Records

Morgan Wallen – “I'm The Problem” – Big Loud Records/Mercury Records

Sabrina Carpenter – “Short n' Sweet” – Island

The Weeknd – “Hurry Up Tomorrow” – XO/Republic Records

BEST LONG FORM VIDEO

Ariana Grande – “brighter days ahead” – Republic Records

Bad Bunny – “Debí Tirar Más Fotos (Short Film)” – Rimas Entertainment

Damiano David – “Funny Little Stories” – Sony Italy/Arista Records

Mac Miller – “Balloonerism” – Warner Records

Miley Cyrus – “Something Beautiful” – Columbia Records

The Weeknd – “Hurry Up Tomorrow” – XO/Republic Records

VIDEO FOR GOOD

Burna Boy – “Higher” – Spaceship/Bad Habit/Atlantic Records

Charli XCX – “Guess” (featuring Billie Eilish) – Atlantic Records

Doechii – “Anxiety” – Top Dawg Entertainment/Capitol Records

Eminem ft. Jelly Roll – “Somebody Save Me” – Shady/Aftermath/Interscope Records

Selena Gomez, Benny Blanco – “Younger And Hotter Than Me” – SMG Music/Friends Keep Secrets/Interscope Records

Zach Hood ft. Sasha Alex Sloan – “Sleepwalking” – Arista Records

BEST DIRECTION

Ariana Grande – “brighter days ahead” – Republic Records

Charli XCX – “Guess” (featuring Billie Eilish) – Atlantic Records

Kendrick Lamar – “Not Like Us” – pgLang/Interscope Records

Lady Gaga – “Abracadabra” – Interscope Records

Rosé & Bruno Mars – “APT.” – Atlantic Records

Sabrina Carpenter – “Manchild” – Island

BEST ART DIRECTION

Charli XCX – “Guess” (featuring Billie Eilish) – Atlantic Records

Kendrick Lamar – “Not Like Us” – pgLang/Interscope Records

Lady Gaga – “Abracadabra” – Interscope Records

Lorde – “Man Of The Year” – Republic Records

Miley Cyrus – “End of the World” – Columbia Records

Rosé & Bruno Mars – “APT.” – Atlantic Records

BEST CINEMATOGRAPHY

Ariana Grande – “brighter days ahead” – Republic Records

Ed Sheeran – “Sapphire” – Gingerbread Man Records/Atlantic Records

Kendrick Lamar – “Not Like Us” – pgLang/Interscope Records

Lady Gaga – “Abracadabra” – Interscope Records

Miley Cyrus – “Easy Lover” – Columbia Records

Sabrina Carpenter – “Manchild” – Island

BEST EDITING

Charli XCX – “Guess” (featuring Billie Eilish) – Atlantic Records

Ed Sheeran – “Sapphire” – Gingerbread Man Records/Atlantic Records

Kendrick Lamar – “Not Like Us” – pgLang/Interscope Records

Lady Gaga – “Abracadabra” – Interscope Records

Sabrina Carpenter – “Manchild” – Island

Tate McRae – “Just Keep Watching (From F1: The Movie)” – Atlantic Records

BEST CHOREOGRAPHY

Doechii – “Anxiety” – Top Dawg Entertainment/Capitol Records

FKA twigs – “Eusexua” – Atlantic Records

Kendrick Lamar – “Not Like Us” – pgLang/Interscope Records

Lady Gaga – “Abracadabra” – Interscope Records

Tyla – “Push 2 Start” – FAX Records/Epic Records

Zara Larsson – “Pretty Ugly” – Epic Records

BEST VISUAL EFFECTS

Ariana Grande – “brighter days ahead” – Republic Records

Lady Gaga – “Abracadabra” – Interscope Records

Rosé & Bruno Mars – “APT.” – Atlantic Records

Sabrina Carpenter – “Manchild” – Island

Tate McRae – “Just Keep Watching (From F1: The Movie)” – Atlantic Records

The Weeknd – “Hurry Up Tomorrow” – XO/Republic Records

Judge Denies Diddy’s Latest Bail Bid

Sean “Diddy” Combs, shown in a file photo, will remain in custody until his Oct. 3 sentencing after a federal judge in New York denied his renewed request for bail on Monday. 

Sean “Diddy” Combs will remain behind bars after a federal judge in New York denied his latest bid for bail, rejecting defense arguments that he’s not a danger to the community and should be released ahead of his October sentencing.

The ruling came Monday from U.S. District Judge Arun Subramanian, who wrote that Combs “fails to satisfy his burden to demonstrate an entitlement to release” under the narrow exceptions to mandatory detention for his crimes of conviction. Combs, 55, was found guilty last month on two counts of transportation to engage in prostitution but acquitted of more serious racketeering conspiracy and sex trafficking charges.

Subramanian pointed to evidence — already cited when he first denied bail after the verdict — of Combs’ admitted history of violence in personal relationships. “Increasing the amount of the bond or devising additional conditions doesn’t change the calculus,” he wrote. The judge noted that, despite defense claims about unsafe conditions at the Metropolitan Detention Center in Brooklyn, staff “has been able to keep him safe and attend to his needs” even during a recent incident where another inmate threatened him.

The decision also addressed the competing narratives at the heart of Combs’ upcoming sentencing. “While Combs may contend … this evidence should be discounted and that what happened was nothing more than a case of willing ‘swingers’ utilizing the voluntary services of escorts for their mutual pleasure, the Government takes the opposite view: that Cassie Ventura and Jane were beaten, coerced, threatened, lied to, and victimized by Combs,” Subramanian wrote. That, he said, put the case “outside the narrow exception to detention that Congress otherwise deemed mandatory.”

The denial comes after Combs’ defense submitted a letter from Virginia “Gina” Huynh — identified in the case as Victim 3 — asking the court to release him. Huynh, a former girlfriend once subpoenaed to testify for the prosecution but who disappeared from the witness list before trial, told the court she does not view Combs as dangerous and believes “he has not been violent in many years.”

Prosecutors have argued the opposite, pointing to testimony and video evidence from other women, including Ventura, who described years of abuse. Letters from several accusers urged the court to keep Combs detained.

Each count of Combs’ conviction carries a potential maximum of 10 years, though prosecutors have indicated sentencing guidelines point to a prison term of roughly four to five years. He will receive 10 months’ credit for time served since his September 2024 arrest. Sentencing is set for Oct. 3 in Manhattan federal court.

Diddy Accuser Resurfaces, Asks Judge To Grant Bail

Virginia Huynh, known as “Gina,” pictured in an image posted to her verified Instagram account. The former girlfriend of Sean “Diddy” Combs publicly identified herself as Victim 3 in his criminal case in a letter to the judge supporting his release. (Credit: @gina.huynh / Instagram)

One of the key women in the federal case against Sean “Diddy” Combs has come forward by name — not to testify against him, but to plead for his release.

Virginia Huynh, previously identified in court only as “Victim 3,” has submitted a letter to the judge overseeing Combs’ case urging that the disgraced music mogul be granted bail while he awaits sentencing. The move marks a dramatic shift in tone and timing, as Huynh had originally been expected to testify for the prosecution before abruptly going silent in the days before trial. Prosecutors revealed in court they had lost contact with her and her legal team and could not confirm her participation.

But in a two-page letter filed Friday by Combs’ attorneys as part of their $50 million bond motion, Huynh describes Combs as a father, family man, and businessman — someone who “has not been violent for many years” and who, she writes, is not a threat to her or the public.

“Our relationship, like many, was not always perfect,” Huynh wrote. “But he was willing to acknowledge his mistakes and make better decisions in the future… by the time our relationship ended, he embodied an energy of love, patience and gentleness that was markedly different from his past behavior.”



The letter arrives as Combs’ legal team makes a final push to keep him out of custody ahead of his Oct. 3 sentencing. Last month, a jury convicted Combs of two federal charges — both related to the interstate transportation of women for prostitution — while acquitting him of racketeering and sex trafficking. The conviction could still carry years of prison time.

During trial, Huynh’s name surfaced multiple times. Cassie Ventura, Combs’ ex-girlfriend and the prosecution’s star witness, testified that Combs had cheated on her with Huynh for years during their 11-year relationship. Former assistant George Kaplan also testified that he once saw Combs throw apples at Huynh inside his Miami home.

Huynh’s new statement doesn’t deny the past, but paints a different present. “To my knowledge,” she wrote, “he has not been violent for many years, and he has been committed to being a father first.”

She also emphasized that she never considered Combs a danger to her or the community. “Throughout the investigation and proceedings,” she wrote, “he has been cooperative, respectful and compliant… Granting him bond would allow him to continue caring for his family and fulfilling his responsibilities.”

The defense’s bond motion includes Huynh’s letter as one of several exhibits meant to counter the judge’s earlier decision to deny bail. At the time, the court cited Combs’ “pattern of violence” and the strength of the evidence presented, including a 2016 hotel surveillance video showing Combs assaulting Ventura — footage first aired by CNN and later entered into trial.

The defense has also filed a separate motion seeking to overturn the conviction altogether, calling it “unconstitutional” and “a misapplication of the Mann Act.” That motion remains pending.

In contrast to Huynh, other victims — including Ventura — previously submitted letters asking the court to keep Combs incarcerated, citing ongoing concerns for their safety.

Watch: Busta Rhymes Honored With Walk of Fame Star

The gravel-throated flow. The animated delivery. The unmatched visuals. After more than three decades of shaping the sound, look, and intensity of hip-hop, Busta Rhymes has earned his place on the Hollywood Walk of Fame.

The Brooklyn-raised legend was officially honored with the 2,818th star on the iconic boulevard today — a long-overdue recognition for an artist who, as LL Cool J put it during the ceremony, has remained “a disruptor” since his very first bars.

“I’m grateful for the blessing that has been bestowed upon me,” Rhymes said, visibly emotional as he reflected on his journey. “I’ve been through so many things in life, and I’ve never stopped.”

Flanked by Chuck D, Big Boy, LL Cool J and his children, Rhymes used the moment to reflect not just on his accolades — platinum plaques, Guinness records, Grammy nominations — but on the culture that birthed him and the legacy he’s still building. “This isn’t the destination,” he said. “This is fuel to keep going.”

Born Trevor Smith Jr., Busta’s career began in the late 1980s with Leaders of the New School, but his rise was meteoric after a legendary guest verse on A Tribe Called Quest’s “Scenario.” By the mid-’90s, he was headlining with solo classics like “Woo Hah!! Got You All in Check,” “Put Your Hands Where My Eyes Could See” and “Dangerous,” blending high-concept visuals with apocalyptic energy and breathless lyricism.

“He was the original visualizer,” Chuck D said. “Before music videos became billion-dollar business, Busta made every frame matter.”

Known for his versatility, Rhymes has collaborated across genres with artists like Janet Jackson, Mariah Carey, Eminem, Missy Elliott and Kendrick Lamar. His videos — often directed by the likes of Hype Williams — weren’t just cinematic. They were cultural events.

But behind the spectacle was substance. Busta was a fierce defender of hip-hop as an art form. He famously squared off in rhyme with Jay-Z, Nas and others, but always brought the energy back to unity and celebration.

“He’s the guy who could bring KRS-One and Diddy into the same room,” Big Boy joked. “And still make it feel like a cookout.”

Even with nine solo albums, 12 Grammy nominations and a Guinness World Record for most syllables rapped in a single hit, Busta’s not slowing down. He teased his upcoming album, “Vengeance,” during the ceremony — and he appears in Paramount’s recently released “The Naked Gun” reboot, joining a cast led by Liam Neeson, Pamela Anderson, Cody Rhodes and CCH Pounder. It marks his first feature film performance in nearly a decade.

Victory Pours and Big Mama Vibes: Latto Leads New D’Ussé Push

Latto stars in the new D’Ussé Friday campaign, revealing the brand’s VSOP Magnum Edition bottle as her “mystery date” in a short film that nods to her Atlanta roots, upcoming music and swirling public speculation linking her to a well-known rapper. 

D’Ussé Friday is back — and this time, it’s more than just a toast.

Once a Roc Nation office tradition that marked the end of a hard week, the cognac-fueled ritual returns as a national campaign led by Grammy-nominated rapper Latto. The summer relaunch arrives with a cheeky short film where Latto reveals her “mystery date” — not a man, but the D’Ussé VSOP Magnum Edition bottle.

But beyond the gimmick is a cultural reset. The campaign centers on what it calls “victory pours” — an attempt to shift from grind culture to a space of acknowledgment and pause. With her “Big Mama” persona in full effect, Latto headlines a slate of events in Atlanta and elsewhere alongside breakout singer-songwriter Ravyn Lenae.

There’s even a custom cocktail — the “D’Ussé Peach Lemonade” — referencing her 2024 "Georgia Peach" LP and Atlanta roots.

At face value, it's a seasonal brand push. But behind it lies a long, complex relationship between hip-hop and cognac.

Long before Jay-Z’s involvement, cognac was embedded in rap’s DNA — from Tupac’s odes to Hennessy to luxury shoutouts by Busta Rhymes and Biggie. By the 2000s, the drink had become a staple in Black nightlife and music videos. Analysts estimate that Black consumers have accounted for over 60 percent of cognac’s U.S. sales in past decades — despite having little ownership in the brands they helped build.

That changed in 2012 when Jay-Z co-founded D’Ussé with Bacardi, shifting from endorsement to equity. His role was more than symbolic. Even after selling his majority stake in 2023 in a deal that reportedly valued the company at $750 million, D’Ussé's cultural identity remains inseparable from the blueprint he authored.

This latest rollout doesn’t just reference that legacy — it extends it. While Latto and Ravyn Lenae are the campaign’s faces, the undercurrent is about reclaiming space — economically, culturally, and narratively.

“Everyone knows the grind is nonstop and a lot of times we're not taking a second to celebrate the wins,” Latto said in the official announcement. Her quote, while polished, reinforces a larger truth: in a culture that prizes hustle, the pause often says just as much.

The campaign arrives at a time when more artists are taking control of their narratives — not just what they drink or promote, but what they own and influence.

What began as a low-key Friday tradition inside Roc Nation now lives as something bigger — a nod to the long week, the long road, and the longer game.

Victory, in this case, is served with context.

Judge Weighs $50M Bond Request From Diddy Ahead of Sentencing

Sean “Diddy” Combs appears in a social media video posted in May 2024, in which he apologized following the release of surveillance footage tied to abuse allegations. The hip-hop mogul is now seeking release on a $50 million bond ahead of his October 3, 2025 sentencing for federal prostitution-related convictions. (Photo via Instagram)

Sean "Diddy" Combs is asking a federal judge to release him from jail on a $50 million bond while he awaits sentencing on two federal prostitution-related convictions.

In a motion filed Tuesday, Combs' attorneys urged U.S. District Judge Arun Subramanian to reconsider an earlier decision that kept the hip-hop mogul behind bars following a July 2 verdict that acquitted him of sex trafficking and racketeering conspiracy but convicted him of transporting individuals across state lines to engage in prostitution.

Sean “Diddy” Combs’ lawyers are trying to get him out of jail.

“There are exceptional
circumstances warranting a departure from mandatory detention and ensuring that Sean Combs is released.” https://t.co/CxWtj2Key9 pic.twitter.com/1FFrvFqdbF

— Meghann Cuniff (@meghanncuniff) July 29, 2025

“Sean Combs should not be in jail for this conduct,” his attorney Marc Agnifilo wrote. “In fact, he may be the only person currently in a United States jail for being any sort of john.”

Each of the two counts carries a maximum sentence of 10 years. However, federal prosecutors have acknowledged that sentencing guidelines likely recommend significantly less. Combs, 55, is scheduled to be sentenced on October 3.

His legal team argues that continued confinement at the Metropolitan Detention Center in Brooklyn places him at risk. They cited fights in his unit, poor jail conditions, and the nonviolent nature of his convictions as factors justifying release. “There is no plausible reason why he should not be treated like everyone else convicted of a similar offense,” Agnifilo added.

Combs has been detained since September 2024. His lawyers claim that such lengthy pre-sentencing incarceration is rare for defendants convicted solely of prostitution-related charges—especially when those defendants did not financially profit from the acts in question.

The AUSA office has released their petition to the judge to keep Diddy in jail. pic.twitter.com/nlgQhMTTcc

— 𓃶¹𝕁𝕚𝕘 (@JudusMaximus) July 2, 2025

Prosecutors alleged at trial that Combs used threats, physical violence, and his business resources to coerce two former girlfriends into drug-fueled sexual encounters involving male sex workers—events referred to in court as "freak-offs." Combs pleaded not guilty and argued that the encounters were consensual.

Judge Subramanian denied an earlier request for Combs' release immediately following the verdict, citing the “ample evidence” presented during the trial of violent acts committed by the Bad Boy Records founder.

If granted, Combs would be one of the most high-profile defendants in recent memory released on bond after a partial conviction in a federal sex crimes case.

Beyoncé Closes Record-Breaking ‘Cowboy Carter Tour’ With Destiny’s Child Reunion

Michelle Williams, Beyoncé and Kelly Rowland reunite as Destiny’s Child during the final stop of the "Cowboy Carter Tour" in Las Vegas, Saturday, July 26, 2025. (Photo via Beyoncé/Instagram)

It wasn’t just a tour — it was a statement.

Beyoncé’s "Cowboy Carter Tour" wrapped Saturday night in Las Vegas, bringing 32 stadium shows to a triumphant close. The tour grossed $407.6 million and sold 1.6 million tickets, according to Billboard Boxscore — officially making it the highest-grossing country music tour of all time.

Cowboy Carter Tour: By the Numbers

• Total Gross: $407.6 million
• Total Tickets Sold: 1.6 million
• Average Gross Per Show: $12.7 million
• Average Attendance Per Show: 49,900
• Average Ticket Price: $255.36
• Highest-Grossing City: New York City — $70.3M (5 shows)
• Most Shows in One City: London — 6 nights at Tottenham Hotspur Stadium
• Boxscore Records Broken: 40+
• Tour Cities: 9 (New York, L.A., Houston, Atlanta, Chicago, D.C., Paris, London, Las Vegas)

That record builds on her 2023 "Renaissance World Tour," which grossed $579.8 million, setting the bar for R&B tours. With both tours surpassing $400 million, Beyoncé is now the first woman and first American artist to achieve that twice — a distinction shared only with Coldplay, Ed Sheeran, and the Rolling Stones.

Instead of touring dozens of cities, Beyoncé centered the "Cowboy Carter Tour" on nine stadium markets: New York, Los Angeles, Houston, Atlanta, Chicago, Washington, D.C., Paris, London and Las Vegas. Each stop featured multi-night residencies. Her five shows at MetLife Stadium in New York sold 250,000 tickets and grossed $70.3 million, making it reportedly the highest-grossing single-venue run ever reported by Boxscore. In London, six nights at Tottenham Hotspur Stadium generated $61.4 million from 275,000 fans.

In her hometown of Houston, Beyoncé played two shows at NRG Stadium. In L.A., five at SoFi Stadium. In Atlanta, four nights at Mercedes-Benz Stadium. On average, the tour pulled in $12.7 million per night, drew about 49,900 fans per show, and commanded an average ticket price of $255.36. She reportedly broke more than 40 individual Boxscore records during the run.

DESTINY'S CHILD ENDING THE COWBOY CARTER TOUR WITH A BANG !!!!!!!!!#CowboyCarterTour #Beyonce pic.twitter.com/pRR15ZXyYq

— KaMorian (Sparkling Alien 💫) (@ka_morian0121) July 27, 2025

The finale in Las Vegas delivered the tour’s most unforgettable moment: Destiny’s Child reunited onstage for the first time since Coachella 2018. Kelly Rowland and Michelle Williams joined Beyoncé for a high-energy medley that included “Lose My Breath,” “Bootylicious,” and “Energy,” complete with the crowd-favorite “mute challenge.” Jay-Z made a surprise appearance for “Crazy in Love” and “N——s in Paris,” while Shaboozey joined her for their country collaboration “Sweet Honey Buckin’.” Blue Ivy also appeared, drawing loud cheers as she performed choreography from “Déjà Vu” — one last nod to family and legacy before the curtain fell.

 Top-Grossing Country Tours of All Time

1. Beyoncé — "Cowboy Carter Tour" (2024): $407.6 million
2. George Strait — "Cowboy Rides Away Tour" (2014): $100+ million
3. Shania Twain — "Come On Over Tour" (1998–99): $95+ million
4. Garth Brooks — "World Tour" (1996–98): $93+ million
5. Kenny Chesney — "Trip Around the Sun Tour" (2018): $87 million

Source: Billboard Boxscore, confirmed July 22, 2025

The "Cowboy Carter Tour" was more than a financial juggernaut — it was a reinvention. With live instrumentation, southern visual motifs, and an unapologetically Black Southern narrative, Beyoncé reshaped what a modern country concert experience could be.

Critics heralded the tour’s ambition and storytelling. Rolling Stone deemed it “a masterclass in genre liberation”; Variety called it “a transformational moment in country” — not just because of the blockbuster numbers, but because of what it stood for.

Before Beyoncé, the highest-grossing country tour belonged to George Strait’s "Cowboy Rides Away Tour" from 2014, which grossed just over $100 million. Beyoncé’s total completely redefined that standard.

With "Cowboy Carter," Beyoncé didn’t just break records. She reimagined them.

Rapper GloRilla Charged After Break-in at Georgia Home Sparks Investigation

Courtesy Forsyth County Sheriff's Office

It wasn’t the performance that made headlines — it was what happened back home.

Memphis rapper GloRilla, born Gloria Hallelujah Woods, was arrested Tuesday on felony drug charges after a break-in at her Georgia home uncovered more than just intruders. The twist? She wasn’t even there when it happened — she was performing at the WNBA All-Star Game in Indianapolis the same night.

The Forsyth County Sheriff’s Office confirmed officers responded to a burglary call at Woods’ house around 1:30 a.m. Saturday. According to reports, three men entered the property, not knowing family members were inside. Someone in the house fired a warning shot, and the suspects fled.

But what started as a break-in quickly shifted focus. Deputies say they smelled a strong odor of marijuana and obtained a search warrant. During that search, officers reportedly found more than an ounce of marijuana and a controlled substance in the master bedroom. That discovery led to Woods being charged with felony drug possession — despite the fact she hadn’t even been home at the time.

Her attorneys are calling the situation upside down. According to their statement, GloRilla is “the victim of a violent crime,” and the search should have focused on finding the suspects who endangered her family — not what was in her closet. No one has been arrested for the actual break-in.

Woods turned herself in Tuesday and was booked into Forsyth County Jail. She posted a $22,260 bond and was released the same day. The arrest came just days after she performed a medley of her songs “Let Her Cook,” “Typa,” and “TGIF” during the WNBA All-Star halftime show.

While the Forsyth County Sheriff’s Office confirmed the burglary and drug-related charges, Sheriff Ron Freeman also acknowledged the larger context. “The homeowner is a victim of a serious crime, and we are committed to bringing the suspects to justice,” he said in a statement.

But for now, the headlines aren’t about the suspects. They’re about GloRilla — and the legal storm that followed her absence.

Watch: 'Hip Hop Was Born Here' Goes Deeper Than Diamonds in LL Cool J’s Soulful New Series

It doesn’t just start in New York — it starts with the truth.

That’s the heartbeat behind “Hip Hop Was Born Here,” a new five-part docuseries hosted, executive produced, and co-created by LL Cool J that debuted Tuesday on Paramount+. More than a nostalgic look back, the project is a cultural reckoning — a reclaiming of hip-hop’s roots, spirit, and legacy.

Produced by MTV Entertainment Studios, Rock The Bells, and Peyton Manning’s Omaha Productions, the series journeys through the boroughs and birthplaces of hip-hop. It puts a spotlight not on flashy headlines or rap beefs but on the origin stories that shaped the genre from block parties to global dominance.

“You really want to understand hip-hop?” LL said in a recent CBS interview about the show. “Then you need to understand the spirit behind it. The dreams of making it out. The messages of empowerment. That’s what this is about.”

Through interviews with legends like Big Daddy Kane, Doug E. Fresh, Method Man, Rev Run, Roxanne Shanté, Salt of Salt-N-Pepa, and more, “Hip Hop Was Born Here” traces how the genre was built — not in boardrooms or algorithms, but on stoops, subways, and street corners.

“It’s not about who’s on the cover of Forbes,” LL says. “It’s about the art, the inspiration, the real message behind the culture.”

He brings that message to life not just as a host, but as a fan. Throughout the series, he joins guests in freestyle sessions, revisits formative neighborhoods, and seamlessly quotes verses mid-conversation. The result is something both journalistic and deeply personal — a tribute told by someone who lived it.

Viewers can expect candid moments, like Rev Run reminiscing about bringing turntables out to the front stoop or Salt talking about what first moved her to rhyme. LL COOL J connects each thread with the respect of a curator and the reverence of a student, learning new things even after decades as one of hip-hop’s most decorated icons.

“This was about going deeper — not just what happened, but why it mattered,” he told CBS. “It’s about artists tapping into who they really are, and where that energy came from.”

“Hip Hop Was Born Here” arrives just weeks after LL’s return to the charts with “The FORCE,” his 2024 Q-Tip–produced album that helped mark the 40th anniversary of Def Jam and made LL the first rapper to chart Billboard entries across five decades. He also remains the driving force behind Rock The Bells, the platform and SiriusXM channel dedicated to preserving hip-hop’s golden era.

But here, LL trades performer for documentarian. He invites audiences to reflect on the question he poses to each guest: What does legacy mean to you?

Maybe the answer lies in one of the show’s opening scenes: LL pointing to the same Bronx street corner where DJ Kool Herc once set up his speakers and changed music forever.

Or maybe it’s in the boom boxes, the basement tapes, the stripped-down hunger of a generation that refused to be silenced.

“Hip Hop Was Born Here” doesn’t just tell you where it all began — it reminds you why it still matters.

All five episodes are now streaming on Paramount+.

Grammy-Nominated Givēon Sets Fall Tour in Support of Top‑10 album 'Beloved'

Givēon, pictured ahead of his “Dear Beloved” tour, returns to the spotlight with a cinematic new album and his signature baritone, marking a powerful comeback after three years away from the stage.

It’s been too long — and Givēon knows it.

After three years away from the stage, the Grammy-nominated baritone behind “Heartbreak Anniversary” has officially announced “Dear Beloved, The Tour,” his third headlining run and the long-awaited live counterpart to his sophomore album “Beloved,” released July 11.

The project debuted at No. 8 on the Billboard 200 and currently sits at No. 1 on Apple Music’s R&B chart and No. 3 overall. It marks his first solo album to debut in the Top 10 — a rare feat for a featureless R&B project in today’s streaming-heavy landscape.

Givēon's return to touring follows his 2022 “Give or Take Tour” and 2021’s “Timeless Tour.” Created through live jam sessions with longtime collaborators Sevn Thomas, Peter Lee Johnson, and Matthew Burnett, “Beloved” trades digital slickness for analog depth. Givēon helped write every track, leaning into his signature baritone and live instrumentation to craft an album that feels cinematic and lived-in.

 

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A post shared by GIVĒON (@giveon)

“How this album is going to translate to the live show — I think it’s going to be magical because the album was made live, so it’s made to be performed live,” he told Rolling Stone earlier this month. He added that he plans to bring strings, horns, background vocals, and an eight-to-ten-piece band depending on venue size. “The album is really a movie,” he said. “I want the night to feel like that.”

Tickets to the tour, produced by Live Nation, go on sale to the public Friday, July 25 at 10 a.m. local time at 313Presents.com, LiveNation.com, giveonofficial.com and Ticketmaster.com. Artist presales began earlier today. PT. VIP packages — including early entry, exclusive merch, and premium ticketing options — are available at VIPNation.com.

Givēon previewed his return to the stage during a surprise appearance with Drake at the Wireless Festival in London, a nod to their 2021 collaboration “Chicago Freestyle.” But “Dear Beloved” marks his full solo return.

On Instagram, Givēon told fans: “Dear Beloved, The Tour…. It’s finally time to take this show on the road. It’s been too long… ‘Beloved’ was made to be experienced live.. I cannot wait to see you all.”

His comeback has been met with acclaim — including a four-star Rolling Stone review — and renewed appreciation for an artist who continues to move differently. In an era often dominated by high BPMs and viral hooks, Givēon lingers in stillness. His music doesn’t chase moments. It creates them.

Critics from Variety, Uproxx, Hypebeast and the Associated Press have praised the album’s cohesion and maturity, calling it a standout in a crowded summer slate.

Givēon – Dear Beloved, The Tour (2025)

Select North American dates – full schedule at giveonofficial.com

Oct 1 – Seattle, WA – WAMU Theater

Oct 2 – Vancouver, BC – Doug Mitchell Thunderbird Sports Centre

Oct 4 – San Francisco, CA – Bill Graham Civic Auditorium

Oct 7 – Los Angeles, CA – The Greek Theatre

Oct 10 – Las Vegas, NV – BleauLive Theater at Fontainebleau

Oct 11 – Phoenix, AZ – Arizona Financial Theatre

Oct 14 – Dallas, TX – The Pavilion at Toyota Music Factory

Oct 15 – Houston, TX – Smart Financial Centre at Sugar Land

Oct 18 – Atlanta, GA – Synovus Bank Amphitheater at Chastain Park

Oct 20 – Chicago, IL – Byline Bank Aragon Ballroom

Oct 23 – Detroit, MI – Fox Theatre with Charlotte Day Wilson & Sasha Keable

Oct 25 – Philadelphia, PA – Freedom Mortgage Pavilion

Oct 27 – Toronto, ON – Coca-Cola Coliseum

Oct 30 – Washington, D.C. – The Anthem

Nov 1 – Charlotte, NC – Skyla Credit Union Amphitheatre

Nov 4 – Boston, MA – MGM Music Hall at Fenway

Nov 6 – New York, NY – Madison Square Garden with Charlotte Day Wilson

VIP packages and additional details available at giveonofficial.com and vipnation.com. Tickets on sale Friday, July 25 at 10 a.m. local time.