Lamonte McLemore, Architect of the 5th Dimension’s Sound, Dies at 90

The 5th Dimension features (clockwise from top left) Ron Townson, Florence LaRue, Marilyn McCoo, LaMonte McLemore and Billy Davis Jr. in a promotional photo. McLemore, who recruited the members to form the "Champagne Soul" quintet that broke racial barriers in pop music, died Tuesday at age 90. (Photo by John Engstead/Courtesy of 2911 Media)

The smooth, anchoring bass of “Champagne Soul” has gone silent.

LaMonte McLemore, the founding member of The 5th Dimension whose vision — both musical and photographic — helped define the aesthetic of the 1960s and 70s, died Tuesday at his home in Las Vegas. He was 90.

According to a statement confirmed by Jeremy Westby of 2911 Media, McLemore passed peacefully from natural causes, surrounded by his family. He had been recovering from a stroke suffered several years ago.

It is impossible to overstate just how critical “Mac” was to the architecture of pop culture. He wasn't just he figure with the warm baritone on “Up, Up and Away.” He was the connector, the scout and the glue. McLemore was the one who assembled the Avengers of vocal harmony. A former minor league baseball pitcher with a golden ear, he first recruited Marilyn McCoo — whom he met during a photo shoot — for a group called the Hi-Fi’s. When that dissolved, he called up his old St. Louis friends Billy Davis Jr. and Ron Townson, and then brought in a schoolteacher named Florence LaRue.

LaMonte McLemore, the founder and bass vocalist of The 5th Dimension, poses for a portrait. McLemore, known as the "glue" of the six-time Grammy-winning group and a groundbreaking photographer, died Tuesday at his home in Las Vegas. He was 90. (Photo by Benny Clay/Courtesy of 2911 Media)

The result was The 5th Dimension, a group that smashed the color barrier of pop radio. In an era when Black artists were often boxed into specific R&B lanes, McLemore’s group wore colorful bell-bottoms and sang Jimmy Webb and Laura Nyro songs with a sophistication that forced the world to listen. They were “Black joy” before the term existed, winning six Grammys and topping the charts with anthems like “Aquarius/Let the Sunshine In” and “Stoned Soul Picnic.”

McLemore’s legacy extended far beyond the grooves of a vinyl record. For over 40 years, he was the lens behind the legendary “Beauty of the Week” feature in Jet magazine. He didn't just take pictures; he celebrated the Black woman in a way that mainstream fashion magazines of the era refused to do. He shot the cover of Stevie Wonder’s first album, became the first African American photographer hired by Harper’s Bazaar and saw the culture when the rest of the media looked away.

LaMonte McLemore looks through his camera lens in this undated photo. Beyond his musical legacy, McLemore was a celebrated visual artist who spent four decades shooting the iconic "Beauty of the Week" feature for Jet magazine and became the first African American photographer hired by Harper’s Bazaar. (Courtesy of 2911 Media)

In a joint statement, his longtime friends and bandmates Marilyn McCoo and Billy Davis Jr. said, “All of us who knew and loved him will definitely miss his energy and wonderful sense of humor.” Florence LaRue added that his “cheerfulness and laughter often brought strength and refreshment to me in difficult times,” noting that they were “more like brother and sister than singing partners.”

McLemore is survived by his wife of 30 years, Mieko, his daughter Ciara, his son Darin and his sister Joan. 

Search Intensifies for DJ Young Slade, Son of Rapper Lil Jon, in Metro Atlanta

A missing person flyer issued by the Milton Police Department details the disappearance of 27-year-old Nathan Smith in Milton, Georgia, on Tuesday. Smith, also known as DJ Young Slade and the son of rapper Lil Jon, was last seen leaving his home on foot and may be disoriented. (Courtesy of Milton Police Department)

The music world is rallying around Lil Jon as police in Georgia intensify the search for his adult son, Nathan Smith.

Smith, a 27-year-old DJ and producer who performs under the name DJ Young Slade, was reported missing on Tuesday morning in Milton, Georgia. According to the Milton Police Department, Smith was last seen around 6 a.m. near the intersection of Baldwin Drive and Mayfield Road, an area about 30 miles north of downtown Atlanta.

The circumstances of the disappearance are concerning. Authorities state that Smith "ran out of his house" on foot and did not take his phone with him. The police advisory noted he "may be disoriented and in need of assistance," leading friends and family to fear for his safety.

In a statement released to the press on Wednesday, a representative for Lil Jon addressed the situation briefly but poignantly.

"The family is asking for privacy at this time," the statement read. "We are also asking for continued prayers for Nathan to come home safe. Thank you."

Search crews were spotted scouring the neighborhood and the nearby Mayfield Lake on Tuesday afternoon, though no significant leads have been publicly reported.

Smith is the only child of Lil Jon (born Jonathan Smith) and his ex-wife, Nicole Smith. He has spent much of his life following in his father’s footsteps, carving out his own lane in the industry as a DJ. The two have frequently appeared together at red carpet events and in the booth, sharing a close bond that the elder Smith has often spoken about with pride.

"It’s literally in your kid’s genes to do what you do," Lil Jon said in a 2023 interview. "He was destined to be in the music business."

Smith is described as 5 feet, 9 inches tall, weighing approximately 150 pounds, with brown eyes and black hair. Police have urged anyone who spots him or has information regarding his whereabouts to contact the Milton Police Department at 678-297-6300.

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

The uncanny valley may have officially been conquered.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Culture Scoreboard: 2026 Grammy Highlights

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

View Full Winners List →

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

‘Citizennika’: Minaj Claims Trump Gifted Her $1M Immigration Perk

In this photo posted to X, rapper Nicki Minaj holds a "Trump Gold Card" featuring the likeness of President Donald Trump. The artist, who refers to herself as "CitizenNIKA," claimed the president gifted her the card to expedite her U.S. citizenship process, waiving the typical investment fees. (Nicki Minaj via X)

The courtship between the White House and the self proclaimed Queen of Rap has moved from mutual praise to high-value policy perks.

Hours after declaring herself President Donald Trump’s "number one fan" at a Treasury Department summit, Nicki Minaj revealed she has received a "Trump Gold Card"— a premium immigration fast-pass typically reserved for wealthy investors — courtesy of the president himself.

In a social media post that sent shockwaves through both political and hip-hop circles, Minaj shared an image of the gold-hued card, which features Trump’s likeness, a bald eagle, and the Statue of Liberty. While the program usually requires a $1 million investment and a $15,000 processing fee to expedite U.S. residency, Minaj boasted that hers came "free of charge."

"Finalizing that citizenship paperwork as we speak as per MY wonderful, gracious, charming President," Minaj wrote on X (formerly Twitter). She capped the announcement with a new moniker for her era of political alignment: "CitizenNIKA."

The revelation adds a tangible, transactional layer to the rapper's recent MAGA pivot. Just a day prior, Minaj, 43, stood onstage with Trump and "Shark Tank" investor Kevin O'Leary to tout "Trump Accounts," a child investment initiative to which she pledged financial support. But the "Gold Card" gift suggests the alliance is far more personal — and potentially legally significant — than a simple celebrity endorsement.

For Minaj, who was born in Trinidad and Tobago and moved to Queens, N.Y., as a child, the path to citizenship has been a long-running narrative. In the past, she openly discussed arriving in the U.S. as an undocumented immigrant and criticized Trump’s previous hardline immigration policies, particularly family separations. Now, she appears to be bypassing the standard hurdles of the immigration system via direct presidential intervention.

The "Trump Gold Card" was introduced as a replacement for the EB-5 investor visa program, designed to offer residency to foreigners who can "substantially benefit the United States" through financial means. By waiving the seven-figure price tag for Minaj, the president has effectively designated her celebrity influence as a currency equal to the standard buy-in.

Critics have been quick to point out the stark contrast between Minaj’s VIP treatment and the administration's broader deportation efforts. Democratic strategists and online commentators argue the move highlights a two-tiered system where fame and loyalty buy access that is denied to ordinary immigrants.

Unbothered by the backlash, Minaj continues to double down. "The hate... does not affect me at all," she said at the summit. "It actually motivates me to support him more."

With "CitizenNIKA" now trending and the paperwork reportedly in motion, Minaj’s transformation from "Black Barbie" to MAGA matriarch appears complete, sealed with a golden ticket that money — or at least, her money — didn't have to buy.

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

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

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

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

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

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

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

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

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

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

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

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

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