‘Jealous Kind of Fella’ Singer Garland Green Dead at 83

The cover art for Garland Green's 1969 debut album, "Jealous Kind of Fella," features the singer in his prime. Green, whose title track became a defining anthem of the Chicago soul era, died over the weekend at the age of 83. (Courtesy of Uni Records)

Chicago soul lost one of its essential voices this week.

Garland Green, the Mississippi-born, Chicago-bred singer whose 1969 hit “Jealous Kind of Fellow” became a defining anthem of romantic vulnerability in the late-’60s soul era, has died. He was 83.

The news was confirmed Monday in a public Facebook post by Marshall Thompson, founding member of The Chi-Lites, who wrote that Green “has passed away this morning” and described him as a Chicago hero who “will never be forgotten.” Additional details were not immediately available.

Born Garfield Green Jr. in Dunleith, Mississippi, in 1942, Green was the tenth of 11 children. He relocated to Chicago in 1958 during the latter wave of the Great Migration, arriving at 16 and immersing himself in the city’s rapidly evolving soul scene.

According to multiple biographical accounts, Green was discovered while singing in a pool hall, where local entrepreneur Argia B. Collins heard his voice and helped finance his musical training at the Chicago Conservatory of Music — a formative investment that refined his raw gospel-blues delivery into something both streetwise and orchestral.

 

His breakthrough came in 1969 with “Jealous Kind of Fellow,” released on Uni Records. The song climbed to No. 5 on Billboard’s R&B chart and No. 20 on the Billboard Hot 100, establishing Green as a prominent voice in Chicago’s lush, string-driven soul movement. The record’s restrained anguish — equal parts pleading and pride — made it a staple of dance floors and stepper culture for decades.

While the single remains his most widely recognized recording, Green maintained a steady presence in soul throughout the 1970s. He later recorded for Cotillion Records and worked alongside notable musicians of the era, including Donny Hathaway, further cementing his place within Chicago’s interconnected soul network.

 

Though his commercial visibility waned as disco and later R&B trends shifted, Green continued performing. He relocated to California in 1979 and recorded intermittently for independent labels before stepping away from the studio for an extended period.

He returned in 2012 with the album “I Should’ve Been the One,” a late-career project that demonstrated his voice retained its grit and emotional clarity. In recent years, he continued making select appearances, including performances well into his 80s.

Green’s passing marks another loss in the lineage of Chicago soul architects whose contributions often ran parallel to — but distinct from — Motown’s more heavily mythologized narrative. His catalog may not have been vast, but his signature record remains embedded in the city’s musical DNA.

Lil Jon’s Son, DJ Young Slade, Found Dead at 27 in Georgia Park

Rapper Lil Jon, left, poses with his son, Nathan Smith, following Smith's graduation from New York University in a photo posted to the late producer's social media. Smith, 27, known professionally as DJ Young Slade, was found dead Friday in Milton, Georgia, after being reported missing earlier in the week. (Courtesy of Nathan Smith/Instagram)

After a frantic, agonizing three-day search that held the city’s music community in a suspended state of collective prayer, the worst fears were realized Friday afternoon. Nathan Smith, the 27-year-old producer and DJ known to the world as DJ Young Slade — and to Lil Jon simply as his only child — was found dead in Milton, Georgia.

The discovery came around noon, when divers from the Cherokee County Fire Department recovered Smith’s body from a pond in Mayfield Park, a quiet green space just hundreds of feet from the home where he was last seen running barefoot and disoriented on Tuesday morning.

For a generation raised on the high-octane, tear-the-club-up energy of Lil Jon, the statement issued by the hip-hop legend on Friday was jarring in its devastating quiet.

“I am extremely heartbroken for the tragic loss of our son, Nathan Smith,” Lil Jon said, confirming the news that had begun to ripple through industry text threads earlier in the day. “His mother, Nicole Smith, and I are devastated. Nathan was the kindest human being you would ever meet. He was immensely caring, thoughtful, polite, passionate, and warmhearted.”

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For those who track the lineage of Southern hip-hop, Nathan Smith was the heir apparent to a dynasty. He wasn't a "nepo baby" coasting on a famous surname; he was a skilled technician — an NYU graduate who mastered the boards and possessed an ear that his father frequently credited as the secret weapon in his later career. They were a fixture together, often spinning back-to-back sets at major festivals where the chemistry was undeniable.

The circumstances surrounding his death remain a blur. Police say Smith walked away from his home early Tuesday without his phone or wallet, prompting a massive search involving K-9 units and drones. While the investigation is technically active, authorities were quick to note Friday that there is "no indication of foul play," leaving a grieving family to grapple with a tragedy that feels as senseless as it is final.

“We loved Nathan with all of our hearts and are incredibly proud of him,” the family’s statement concluded, asking for privacy in a moment where the entire culture feels the loss.

Watch: 50 Cent Turns Doordash Super Bowl Ad Into Savage Takedown of Rival Diddy

If pettiness was a currency, Curtis Jackson would be the Federal Reserve.

While most brands are spending $8 million for 30 seconds of airtime to make you cry about Clydesdales or nostalgic car rides, DoorDash just let 50 Cent do what he does best: monetize his enemies. In a new campaign released Thursday ahead of Super Bowl LX, the rapper-turned-mogul officially graduated from "Internet Troll" to "Corporate Troll," and the result is a masterclass in disrespect.

The spot, titled "The Big Beef," is technically about getting food delivered. But let's be real — this is a diss track with a corporate budget. And yes, he absolutely went there with the prison sentence.

The Art of the "Big Beef"

The commercial opens with 50 Cent sitting on a leather couch—bottle of his own Branson Cognac visibly placed on the table, because of course it is—addressing the elephant in the room with the smirk of a man who knows he’s untouchable.

"It's come to my attention that everyone's calling me a troll," he says. "Some have said even the 'King of Trolls.' First of all, I'm flattered. But I'm done with all that."

He then claims he would never "literally deliver beef when millions of people are watching," before the screen cuts to a title card that simply reads: "50 Cent Would."

From there, it’s open season. As he unpacks a DoorDash bag, he offers a tutorial on how to handle "beef," noting that it is "more of an art than science." And this is where the references start flying over the heads of casual viewers and landing directly on the chin of Sean "Diddy" Combs.

The Breakdown: How 50 Cent Dissected Diddy

If you blinked, you missed the daggers. Here is how 50 Cent turned a grocery run into a breakdown of his rival:

• The "Puffs" Gag: While explaining that "you don't want to be too obvious," 50 pulls out a bag of Cheese Puffs. He holds them up just long enough for the "Puff" reference to register, stares at the camera, and deadpans the line about subtlety.

• The "Combs" Disrespect: The most blatant moment comes when he reaches back into the bag and pulls out a multipack of hair combs. "Oh, they sell combs," he says, examining the package with mock surprise. "What a coincidence." He then tosses them over his shoulder like trash.

• The "Branson/50 Months" Synergy: This is the killshot. 50 pulls out a bottle of his own Branson Cognac, noting that it pairs perfectly with beef. He then delivers the line that made the timeline freeze: "Aged 4 years... or 50 months, who's counting?"

The Context (For Those Who Missed It)

This is a triple-layered joke. First, he's plugging his liquor (Branson VSOP is aged 4 years). Second, he's referencing the passage of time.

Third, and most ruthlessly, he is mocking Diddy’s specific prison sentence. For those who haven't checked the Bureau of Prisons roster, Diddy was sentenced to exactly 50 months in prison last October. 50 Cent isn't just throwing out a random number; he is using his own product's specs to mock his rival's incarceration.

Why It Works

In an era where Super Bowl commercials try too hard to be "viral," this one succeeds because it feels authentic to who 50 Cent is. He isn't acting; he's just being the same guy who executive produced Sean Combs: The Reckoning.

Most importantly, he’s multitasking. In 40 seconds, he sold you a DoorDash discount, promoted his own cognac, and danced on his enemy's legal grave.

Authentic is one word for it. Ruthless is another. Either way, 50 Cent just proved that while other rappers release diss tracks, he releases business ventures.

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.