Rap Legend Luther Campbell Weighs Congressional Run After Years of Civic Work

Luther Campbell

Luther Campbell has spent most of his adult life being told to shut up — by police, by politicians, by prosecutors, and by critics who never imagined he would still be here long enough to be taken seriously.
So when Uncle Luke says he wants to listen, it lands differently.

On Monday, Campbell posted a message to Instagram saying he is considering a run for Congress in Florida’s 20th District, but emphasized that no decision would come before conversations with the people who live there.

He said he plans to meet residents where they are — at community meetings, churches, parks and neighborhood gatherings — to hear concerns and better understand what the district needs.

“I’m considering a run for Congress in CD-2,” Campbell wrote. “But before anything, I want to have real conversations with the people who live here.”

There was no campaign launch, no slogans, no platform rollout. Instead, Campbell framed the moment as exploratory — listening first, deciding later. For an artist whose name is permanently tied to free-speech battles and confrontations with authority, the tone was notably restrained.

It was also consistent with how he has operated for decades: show up, assess, then move.

The post came as Campbell steps away from his role as head football coach at Miami Edison Senior High School, where he spent six years rebuilding a program that had nearly collapsed. When he arrived in 2018, Edison had eight players and one win the previous season. Under Campbell, the Red Raiders progressed steadily, eventually reaching a regional championship game last season.

That coaching success was not an outlier. Campbell has spent years investing in youth development, most notably through the Liberty City Optimist Club he founded in 1994. The program has produced multiple national championships and a long list of professional athletes, including Chad Johnson, Antonio Brown, Lavonte David and Devonta Freeman.

His coaching résumé also includes stints as a defensive coordinator, internships with the New York Giants and volunteer work at college satellite camps, where he developed relationships with prominent coaches across the sport.

Campbell said stepping away from Edison was about focus — a recognition that running for Congress, even tentatively, requires time and attention he was unwilling to split at the expense of young athletes. He has set Feb. 15, 2026, as the date by which he will decide whether to formally enter the race.

The political backdrop makes the timing notable. Florida’s 20th District, a heavily Democratic, majority-Black seat long held by the late Rep. Alcee Hastings, is currently represented by Rep. Sheila Cherfilus-McCormick, who is facing a federal indictment tied to alleged misuse of campaign and FEMA-related funds.

Campbell previously explored challenging Cherfilus-McCormick in 2024 but ultimately did not qualify for the ballot, despite forming a PAC and registering with the Federal Election Commission.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

Bruno Mars Signals Next Chapter With New Album and 2026 Stadium Tour

Bruno Mars is pictured in promotional artwork for “The Romantic Tour,” which coincides with the completion of his first solo album since 2016’s “24K Magic.” The tour marks a major return to stadium stages for the Grammy-winning artist.

Bruno Mars has never been prolific by modern standards, but his absences have often mattered as much as his releases. That pattern continued this week when Mars confirmed that his long-awaited fourth solo album, “The Romantic,” is complete and that a large-scale stadium tour is planned for 2026 — his first full album-and-tour cycle since “24K Magic” reshaped pop, R&B and live performance nearly a decade ago.

The announcement arrives after years in which Mars remained visible but deliberately peripheral to the solo-album churn that now defines mainstream pop. Since “24K Magic” produced era-defining singles such as “24K Magic,” “That’s What I Like” and “Versace on the Floor,” Mars has resisted traditional follow-ups, opting instead for tightly controlled collaborations, residencies and selective appearances that preserved his profile without exhausting it.

That strategy reached its peak with Silk Sonic, his collaborative project with Anderson .Paak. Songs like “Leave the Door Open” and “Smokin Out the Window” leaned heavily into classic soul and funk aesthetics, drawing from a lineage that predates streaming metrics and algorithmic trends. The project earned critical acclaim and multiple Grammy Awards, but it also functioned as a detour — a side chapter rather than a replacement for a Bruno Mars solo statement.

“The Romantic” is positioned as that statement.

Mars first hinted at the album’s completion with a brief social media post confirming it was finished, offering no additional context. In an era dominated by extended rollouts and constant content, Mars’ approach suggested confidence in the music’s ability to speak without prolonged preamble.

The accompanying “Romantic Tour” places him back in stadiums across North America, Europe and the United Kingdom, environments that have historically separated hitmakers from true performers. Mars’ reputation was built not only on chart success but on command of the stage — live bands, disciplined choreography and an understanding of Black American performance traditions that stretch from funk and soul revues to early-2000s R&B tour culture.

Tour dates for Bruno Mars’ upcoming “The Romantic Tour,” his first full global stadium run in nearly a decade, which will take the singer across North America, Europe and the United Kingdom in 2026.

Anderson .Paak’s presence on all dates, performing as DJ Pee .Wee, reinforces that grounding. Their creative relationship has been defined less by novelty than by shared musical fluency, rooted in rhythm, musicianship and showmanship. Select dates will also feature Victoria Monét, RAYE and Leon Thomas, artists whose work emphasizes craft and vocal presence over spectacle alone.

What remains unresolved is how “The Romantic” will position Mars within a pop landscape that has shifted dramatically since his last solo release. In his absence, the center of the charts has moved younger, faster and more fragmented. The question is not whether Mars can still produce hits, but whether he intends to engage the current moment directly or continue operating just outside it, as he has in recent years.

That tension gives the announcement weight. Mars has rarely chased relevance, but he has consistently understood timing. His most durable work has arrived when the culture was receptive, not when demand was loudest.

For more information on the tour, or to purchase tickets click here.

Late Rapper DMX to Receive Posthumous Ordination in New York

DMX, born Earl Simmons, was known for blending raw street realism with unfiltered prayer throughout his music and public life. The late rapper’s spiritual legacy will be formally recognized this week with a posthumous ordination as a minister in New York. (Photo courtesy of UMusic)

For most of his career, DMX never asked for permission to pray.

He did it on platinum albums. On festival stages. In interviews that veered from chaos to confession without warning. Long before faith became a branding lane in hip-hop, Earl Simmons made his belief unavoidable — raw, imperfect and public.

That lifelong tension between devotion and struggle will be formally acknowledged this week, when Simmons is posthumously ordained to the office of minister nearly five years after his death.

The Gospel Cultural Center announced this week that Earl Simmons, the Yonkers rapper known globally as DMX, will be posthumously ordained as a minister during a ceremony scheduled for Saturday at Foster Memorial A.M.E. Zion Church in Tarrytown, New York. Simmons died in April 2021 at age 50.

Founded in 1860, Foster Memorial A.M.E. Zion Church is recognized as a historic Underground Railroad “Safe House,” a designation organizers say mirrors the themes of refuge, struggle and deliverance that ran through Simmons’ music and public life. The ordination is being framed as a symbolic acknowledgment of what the Center calls Simmons’ lifelong ministry — one carried out not from a pulpit, but through microphones, stages and records consumed by millions.

“Earl Simmons wrestled with God in the public square, turning his pain into a ministry of raw truth,” said Bishop Dr. Osiris Imhotep, founder of the Gospel Cultural Center, in a statement announcing the service. “This ordination recognizes the divine calling he fulfilled every time he spoke a prayer into a microphone.”

The Gospel Cultural Center is a faith-based cultural organization that focuses on the intersection of Black history, spirituality and contemporary art. While it is not a traditional denominational authority, the Center has previously organized public ceremonies and educational programming intended to reinterpret cultural figures through a spiritual lens. Organizers emphasized that the ordination is not meant to retroactively position Simmons as a conventional clergy member, but rather to formally recognize the spiritual leadership he exercised in public view.

That leadership was never subtle.

From his 1998 debut “It’s Dark and Hell Is Hot” through the height of his commercial run and beyond, DMX made prayer inseparable from his artistic identity. Nearly every studio album included a spoken or sung prayer — moments of vulnerability that stood in stark contrast to the aggression and volatility surrounding them.

Those prayers weren’t ornamental. They were confessions.

On “Prayer (Skit)” from “It’s Dark and Hell Is Hot,” “Ready to Meet Him” from “Flesh of My Flesh, Blood of My Blood,” “Prayer III” on “And Then There Was X,” “Prayer IV” on “The Great Depression,” “Prayer V” on “Grand Champ,” and later “Lord Give Me a Sign” from “Year of the Dog… Again,” Simmons repeatedly returned to the same themes: fear, accountability, temptation, mercy.

He prayed on record the way others flexed — publicly, imperfectly and without reassurance that redemption was guaranteed.

That tension reached its most vivid expression in the “Damien” trilogy, a three-part narrative spread across albums in which Simmons dramatized conversations with the devil, temptation embodied, and the internal war between faith and self-destruction. Rather than resolve the conflict, the songs left it open — a refusal of tidy salvation arcs that made his spiritual struggle feel uncomfortably real.

Off record, the pattern continued. DMX frequently broke into prayer during concerts, award appearances and interviews, moments that disarmed audiences and confounded expectations of what a rap superstar was supposed to sound like. His faith was not performative piety; it was confrontation.

The ordination announcement has been met with reflection rather than spectacle — a response that mirrors Simmons’ complicated legacy. For many fans, the idea of DMX as a minister feels less like reinvention and more like acknowledgment of something already present.

In April 2021, following Simmons’ death, Black Westchester published a tribute issue examining his cultural and spiritual impact. In an essay titled “DMX Was a Modern-Day Paul the Apostle,” the argument wasn’t that Simmons was righteous, but that he was relentless — unwilling to separate belief from brokenness.

That refusal is what made his prayers resonate then — and why they still do.

The upcoming service does not resolve the contradictions that defined Earl Simmons’ life. It doesn’t erase addiction, violence or failure. It doesn’t pretend faith fixed what suffering didn’t.

What it does — carefully, symbolically — is place those contradictions inside a longer Black spiritual tradition: one that allows testimony without triumph, prayer without purity, and ministry without perfection.

For an artist who spent his career asking God for strength rather than forgiveness, that framing may be the most honest recognition of all.

Don Bryant, Memphis Songwriter Whose Work Bridged Soul and Hip-Hop, Dies at 83

Don Bryant poses for a press photograph during the promotion of his 2017 comeback album “Don’t Give Up on Love.” The Memphis soul singer and songwriter, whose work included co-writing Ann Peebles’ classic “I Can’t Stand the Rain,” died Dec. 26 after a series of health issues. He was 83. (Matt White, CC BY-SA 4.0, via Wikimedia Commons)

Don Bryant, a Memphis soul singer and songwriter whose work helped define the sound of Hi Records and whose songs continue to echo through modern R&B and hip-hop, has died. Bryant, the husband and chief collaborator of Ann Peebles, died Dec. 26 after a series of health issues, according to posts shared on his official social media accounts. He was 83.

“Don loved sharing his music and songs with all of you and it gave him such great joy to perform and record new music,” his family wrote. “He was so appreciative of everyone who was part of his musical journey and who supported him along the way.”

Bryant’s legacy is inseparable from one of the most enduring recordings in Southern soul: “I Can’t Stand the Rain,” the 1973 Peebles hit he co-wrote with her and Bernard “Bernie” Miller. Built on spare instrumentation and emotional restraint, the song became a masterclass in atmosphere — intimate, tense and unflinching. Decades later, it took on a second life when its opening rhythm was sampled for Missy Elliott’s debut solo single, “The Rain (Supa Dupa Fly),” extending Bryant’s Memphis-born sensibility into the DNA of modern hip-hop.

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Born in Memphis and raised in the church, Bryant learned early that soul music was as much about discipline as expression. His father sang in a gospel group, and rehearsals often took place in the family home. Bryant later recalled listening closely, absorbing harmony and phrasing, then attempting to recreate the sound with his brothers — an informal education that shaped both his voice and his pen.

By the late 1950s, Bryant was already writing songs, some of which were recorded by the Five Royales and bandleader Willie Mitchell. As a teenager, he sang with various vocal groups and began performing regularly, eventually drawing the attention of influential Memphis radio figures who encouraged his move from gospel into secular music.

That determination carried him into Hi Records’ orbit during the 1960s. Bryant recorded as a solo artist, releasing the 1969 album “Precious Soul” and singles that blended country, blues and deep soul without sacrificing grit. 

As Hi’s roster expanded, he shifted behind the scenes, becoming a staff songwriter whose catalog would grow to more than 150 credited songs. Writing for artists including Solomon Burke, Albert King and Etta James, Bryant developed a reputation for adaptability and precision. 

He later explained that studying an artist’s phrasing and delivery helped him tailor material to their voice. “When I was writing for an individual I could always come up with something that would fit them,” Bryant said in an interview with Blues Blast Magazine.

The defining partnership of Bryant’s life began in the early 1970s, when he met Peebles, a young singer newly signed to Hi. “That’s when I wrote ‘99 Pounds’ — that’s the one I wrote especially for Ann when she first came in,” Bryant recalled in later interviews. “To tell you the truth, I fell in love with Ann then, when I heard her sing.” The two married in 1974 and remained partners for the next four decades, creatively and personally.

Bryant wrote or co-wrote many of Peebles’ signature songs, helping her deliver a body of work that balanced sensuality with resolve and vulnerability with strength. His writing favored economy over excess — songs built around mood, tension and emotional truth rather than ornamentation. That restraint is precisely what allowed records like “I Can’t Stand the Rain” to age so well, surviving reinterpretation across genres without losing their core.

For years, Bryant placed his own recording ambitions aside, focusing on Peebles’ career while continuing to sing in church and release gospel recordings. When Peebles suffered a stroke in 2012, her touring life came to a halt. With her encouragement, Bryant returned to secular music late in life, recording “Don’t Give Up on Love” in 2017 — his first non-gospel album in nearly five decades. The record was widely praised not as a novelty comeback, but as the work of an artist who had simply been waiting for the right moment to speak again.

He followed with “You Make Me Feel,” released in 2020, which earned him his first Grammy nomination in the Best Traditional Blues Album category. The recognition arrived when Bryant was 78, a rare acknowledgment of a career that had quietly shaped American music for more than half a century.

Big Sean Expands Pistons Role as Team Pushes Global, Culture-Led Growth

Big Sean poses in Detroit Pistons gear in a promotional image shared on Instagram. The Detroit native was recently named the franchise’s creative director of global experience as part of an expanded partnership focused on culture, design and international fan growth. (Photo via Instagram / @bigsean)

The Detroit Pistons are leaning harder into culture — and into Big Sean — as the franchise tries to sell Detroit Basketball to the world in a moment when teams don’t just need wins, they need identity.

On Sunday, the Pistons announced an expanded partnership with the Detroit rapper and entrepreneur, naming him the team’s Creative Director of Global Experience and rolling out a new initiative called “Creatives Across Continents” tied to World Basketball Day, which is observed each year on Dec. 21.

The move is framed as part of the team’s push for global fan growth and a bigger cultural footprint — the modern sports playbook where music, fashion and design don’t sit on the sidelines, they are an integral part of the game experience.

In the Pistons’ announcement, the team said Sean will be involved in future community engagement and international fan development, and that the initiative will invite designers and artists worldwide to create original work inspired by Detroit Basketball, with a collaborative retail collection planned for 2026.

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“Big Sean’s influence reaches far beyond music — he’s a global creative visionary who already brings Detroit wherever he goes,” Pistons Chief Marketing Officer Alicia Jeffreys said in a statement. She called the program “the next step in introducing Detroit Basketball to the world.”

Sean, in his own statement, positioned the role as both hometown loyalty and infrastructure — less “brand ambassador,” more “build something that hires and opens doors.”

“Detroit has always been rich with talent and culture, and my mission is to keep opening doors and hiring our city’s creatives to shine alongside one of the most iconic franchises in sports,” he said, adding that he’s “grateful to the Pistons for trusting me to help define what the culture of Detroit Basketball really means.”

For the Pistons, the headline is that the franchise is treating creative direction as an actual department with an actual title, then attaching it to a Detroit name that has always been intentional about Detroit as brand and birthplace. It also continues a relationship the team says has already included merchandise and experience work, with more details promised around future events and retail collaborations in the year ahead.

What the announcement does not include: financial terms, how finalists for the design initiative will be selected, or what creative control looks like in practice — the part that determines whether this becomes a real pipeline for artists or another glossy concept that lives mostly in a press release.

Still, the direction is clear. The Pistons aren’t just selling tickets. They’re selling a story about Detroit — and betting Big Sean can help translate it in a language the world already understands.

Lizzo Scores Partial Legal Victory as Fat-Shaming Claims Are Dropped

Lizzo performs on President James Madison’s 1813 crystal flute during a visit to the Library of Congress in Washington on Sept. 26, 2022. The Grammy-winning artist, known for her musicianship and advocacy for body positivity, recently celebrated a partial legal victory after former dancers dropped fat-shaming allegations in an ongoing lawsuit. (Photo by Shawn Miller/Library of Congress)

Lizzo called it “devastating” to stay silent while the world picked her apart. On Monday, the Grammy winning singer finally spoke — not through a press release, but through a social-media video — confirming that one of the loudest accusations against her has fallen away.

“The fat-shaming claims against me have been officially dropped by my accusers,” she wrote across the screen. “They conceded it had no merit in court. There was no evidence that I fired them because they gained weight — because it never happened. Now the truth is finally out.”

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It was the first major turn in a lawsuit that’s shadowed Lizzo since 2023, when three former backup dancers — Arianna Davis, Noelle Rodriguez and Crystal Williams — accused her of creating a hostile work environment filled with sexual misconduct and body-shaming. Their most publicized claim, that she punished or fired employees for weight gain, has now been withdrawn after a judge dismissed it under California’s anti-SLAPP statute and the plaintiffs declined to appeal.

But while this moment clears a major piece of her legal slate, it doesn’t end the story. Other parts of the case — including allegations of inappropriate behavior and tour-related misconduct — remain active. Lizzo says she’ll fight them all.

“This claim has haunted me since the day it came out,” she said. “It has been devastating to suffer through this in silence, but I let my lawyers lead, and I’m so grateful for this victory. I am still in a legal battle. I am not settling. I will be fighting every single claim until the truth is out.”

The case, filed in Los Angeles County Superior Court, has become one of pop culture’s most polarizing. It’s a collision between celebrity image and workplace ethics, fame and accountability, and a test of how quickly social media can rewrite a reputation before a court ever rules.

Antone 'Chubby' Tavares, Lead Singer of R&B Group Tavares, Dies at 81

Antone “Chubby” Tavares, lead singer of the Grammy-winning R&B group Tavares, is pictured in a later-career promotional portrait. Known for his smooth falsetto on classics like “Heaven Must Be Missing an Angel,” Tavares helped define the sound of 1970s soul and disco.

Before the Bee Gees made disco global, a group of Cape Verdean brothers from Massachusetts gave the genre its heartbeat. Antone “Chubby” Tavares — the frontman whose falsetto carried “Heaven Must Be Missing an Angel” and helped shape the sound of ’70s R&B — died Nov. 29 at his home in New Bedford. He was 81.

His son, Antone Tavares Jr., shared the news on Facebook, writing that his father “passed last night at home in peace & comfort” after a year of declining health. “Dad and his brothers touched many people and brought joy worldwide,” he wrote. “They were blessed to experience many places and things.”

 

Tavares’ surviving brothers confirmed the news on the group’s official Facebook page, asking fans for privacy and prayers. “We do know that he is now eternally with our Lord,” the post read. “We thank you in advance for allowing us to mourn privately as a family. We love you and God bless you all.”

Chubby Tavares and his brothers — Ralph, Arthur “Pooch,” Feliciano “Butch,” Perry “Tiny,” and Victor — first performed as Chubby and the Turnpikes before signing with Capitol Records and reintroducing themselves as Tavares. Their breakthrough single “Check It Out” launched a string of R&B and pop hits that helped define a generation of dance-floor soul.

The brothers’ clean harmonies and smooth arrangements drove classics like “It Only Takes a Minute,” “Whodunit,” and the era-defining “Heaven Must Be Missing an Angel.” Their soulful take on the Bee Gees’ “More Than a Woman” landed on the “Saturday Night Fever” soundtrack — one of the best-selling albums in history — earning them a share of the 1979 Album of the Year Grammy.

 

While Tavares never sought the spotlight like some of their contemporaries, their influence stretched far beyond their chart run. Their grooves and melodies have been sampled and reinterpreted by generations of R&B and hip-hop artists — from LL Cool J’s “Around the Way Girl” lineage to producers shaping Beyoncé’s retro-soul moments — keeping the Tavares sound alive in modern music. Their harmonies remain a blueprint for any artist trying to bridge church, street, and disco with equal grace.

Tavares in 1977 — From left: Arthur “Pooch,” Ralph, Antone “Chubby,” Feliciano “Butch” and Perry “Tiny” Tavares. The Grammy-winning brothers behind “Heaven Must Be Missing an Angel” helped define the sound of 1970s R&B and disco. (Capitol Records, Public domain, via Wikimedia Common)

He was preceded in death by brothers Ralph (2021) and Arthur “Pooch” (2024). He is survived by brothers Perry “Tiny” and Feliciano “Butch” Tavares, along with his children and extended family.

A proud son of New Bedford, Chubby Tavares was a pillar of the Cape Verdean-American community, representing an often-overlooked lineage in American soul. In 2024, the city honored the family’s legacy by naming a downtown street “Tavares Brothers Way.” “They’ve been around the world, and every time they were introduced, New Bedford, Mass., was attached to it,” Councilor Derek Baptiste said at the dedication. “They were at the forefront of a whole era.”

After decades of touring with his brothers, Chubby released solo albums "Jealousy" (2012) and "Can’t Knock Me Down" (2015), proving his voice still carried the warmth and sincerity that made Tavares a household name.

Nicki Minaj Calls for Global Action on Nigeria’s Religious Violence in Rare Diplomatic Moment

Nicki Minaj speaks at a United Nations event in New York on Tuesday, pausing at the podium between the U.S. flag and a United Nations backdrop as she delivers prepared remarks calling attention to violence against Christians in Nigeria. The rapper addressed diplomats, officials and attendees during the session, which highlighted reports of church burnings, displacement and religiously targeted attacks in several regions of the country.

Nicki Minaj is usually trending for explosive feuds, late-night livestreams, or the latest culture-war crossfire. But today, the woman who shook hip-hop with alter egos and internet smoke stepped into the United Nations with a tone no one associates with her anymore: calm, measured and deadly serious.

The rap superstar delivered a composed address about the persecution of Christians in Nigeria, calling attention to burned churches, displaced families, and communities living in fear. “Religious freedom means we all can sing our faith,” she said, thanking Ambassador Mike Waltz for the invitation and acknowledging Donald Trump for elevating the issue — a detail that instantly raised eyebrows far beyond the U.N. floor.

Her message was straightforward and rooted in verified reports of violence across parts of Nigeria. But the moment wasn’t simple. It came in the middle of one of the most turbulent stretches of Minaj’s career, when her public persona has been defined less by advocacy and more by social-media battles, political backlash and nonstop controversy.

Nigeria’s Violence Crisis

Nigeria faces overlapping conflicts involving extremist militias, armed criminal groups, ethnic clashes and separatist violence. Attacks against Christian communities have been documented across parts of the Middle Belt and northern states, including church burnings and mass killings.

Muslim civilians are also victims, especially in the northeast, where Boko Haram and ISIS–West Africa have carried out deadly assaults on mosques and Muslim communities.

Conflict analysts agree the violence is driven by several factors: religious extremism, land-use conflicts, organized kidnapping operations, political instability and weak state security forces.

Across all sources, the consensus remains the same: the suffering is widespread and real, even if experts differ on the exact causes.

That’s why the optics hit so hard. A star known for turning timelines into minefields was suddenly standing in front of diplomats talking about universal human rights. And behind that microphone sat a political machine that also benefited from her presence. Waltz — a former congressman tightly aligned with Trump — has made Nigeria’s crisis a major talking point. Trump himself has used it to argue for more aggressive U.S. action. Minaj’s appearance didn’t just highlight suffering; it amplified a narrative already central to their agenda.

Online, the reactions split fast. Supporters praised her for using her platform for something meaningful. Critics questioned whether she was being used for a photo op. Nigerians asked why a celebrity was chosen to spotlight a crisis that activists say needs resources and strategy, not celebrity packaging. And longtime Barbz — especially those uneasy with her recent political alignment — wondered if this was sincere, strategic, or both.

Still, inside the U.N., Minaj didn’t posture. She didn’t provoke. She didn’t fight. She delivered the speech straight, without theatrics, ending on a note that felt almost like a vow: “For the rest of my life, I will care if anyone anywhere is being persecuted for their beliefs.”

Whether today was a heartfelt pivot, a carefully timed reset, or a calculated moment engineered by people around her, one thing is undeniable: Nicki Minaj added a new chapter to her unpredictable storyline — and she did it on one of the biggest stages on earth.

Watch the entire speech below.

Cardi B Announces Birth of Her Baby and a New Chapter Focused on Reinvention

Photo Credit: Warner Music

Cardi B didn’t just introduce her new baby to the world Tuesday afternoon — she declared a shift in her entire life.

In a deeply personal Instagram post, the Bronx superstar confirmed the arrival of her fourth child and her first with New England Patriots wide receiver Stefon Diggs, framing motherhood and reinvention as the driving force behind her next era.

“My life has always been a combination of different chapters and different seasons,” she wrote. “I brought new music and a new album to the world. A new baby into my world — and one more reason to be the best version of me.”

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The announcement closed weeks of speculation surrounding the due date, following both Diggs’ confirmation that the baby was a boy (she did not reveal the name) and Cardi’s own "CBS Mornings" interview in September revealing she was pregnant again. It also follows her recent rollout for her “Little Miss Drama” tour, which she said she was preparing for “while creating a baby.”

In Tuesday’s post, Cardi framed the moment not as a soft reset but a full transformation. “This next chapter is Me vs. Me,” she wrote, describing a season of healing, discipline, and purpose. “It’s me against all odds… getting my body right, getting my mind right. There’s nothing that’s gonna stop me from giving you guys the performance of a lifetime.”

Sources close to the couple — and Diggs’ own comments to People — have consistently described this pregnancy as grounding for both artists. Diggs told the outlet he was “100% team boy” prior to the birth and said he was ready for fatherhood “real soon.”

Cardi’s post arrives at a pivotal moment for her career. She released her long-awaited sophomore album this fall, marking her first full project since “Invasion of Privacy,” and opened the door for a new sonic era steeped in vulnerability, sharpened confidence, and hard-earned growth.

Cardi closed her message with a simple declaration that reads as much like a thesis for her next era as it does a promise to herself: “I’ve learned, I’ve healed, and I’m loving the woman I’ve become.”

Rapper Young Bleed Dead at 51 After Brain Aneurysm, Son Confirms

Young Bleed shown in a promotional image circa 2024.Young Bleed’s son, Ty’Gee Ramon, confirmed his father’s death in a video posted Monday on Instagram, saying the Baton Rouge rapper “gained his wings” on Saturday following complications from a brain aneurysm.

Baton Rouge rapper Young Bleed, whose 1998 anthem “How Ya Do Dat” became a Southern rap classic and helped define the bridge between No Limit’s street realism and Cash Money’s mainstream rise, has died at 51 following complications from a brain aneurysm.

His eldest son, Ty’Gee Ramon, confirmed the news Monday in an emotional Instagram video, saying his father “gained his wings” on Saturday. “It’s unreal,” Ramon said. “He never dealt with real health issues, but he did have high blood pressure and took medicine. It was a natural thing.”

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The Louisiana native — born Glenn Clifton Jr. — suffered a brain aneurysm on Oct. 25, days after performing at the Cash Money–No Limit Verzuz event in Las Vegas and appearing at ComplexCon. He had been hospitalized in critical condition since then.

The sudden loss comes less than two weeks after his sister, Tedra Johnson-Spears, publicly pleaded for fans to stop spreading false death reports while Young Bleed remained in intensive care. “He is still currently in ICU,” she wrote at the time, asking for privacy and respect for the family.

In the days before his hospitalization, Bleed was enjoying a late-career renaissance, celebrating both his roots and his influence as a Baton Rouge trailblazer. Known for his poetic storytelling and unhurried drawl, he brought a philosopher’s calm to the chaos of late-’90s Louisiana rap — a sound that turned regional slang and hustler ethos into national conversation.

His debut album, “My Balls and My Word,” released through No Limit and Priority Records, debuted in Billboard’s Top 10 in 1998. The album’s breakout single, “How Ya Do Dat,” featuring C-Loc and Master P, became a Gulf Coast rallying cry that cemented Bleed’s legacy. The project went gold, earning Young Bleed a place among the first Baton Rouge rappers to reach a mainstream national audience.

Cardi B Says She’s Expecting a Baby With NFL Star Stefon Diggs

Cardi B during a “CBS Mornings” interview. The rapper confirmed she is expecting her fourth child — her first with boyfriend and NFL wide receiver Stefon Diggs — and said the baby is due before her February arena tour. (Image via CBS/Youtube)

Cardi B turned album week into family news — on her terms.

In an exclusive “CBS Mornings” interview, the 32-year-old rapper confirmed she’s pregnant with her fourth child, her first with boyfriend and NFL wide receiver Stefon Diggs, and said the baby is due before her arena tour begins in February.

“I’m having a baby,” she said, adding, “I’m excited. I’m happy… I feel very strong, very powerful that I’m doing all this work while I’m creating a baby.”

 

She explained why she waited to share the news amid weeks of speculation: “Can I just say it on my own time?… on my time, on my own terms. Let me close some deals first… Let me see a couple more sonograms. Let my baby be healthy.” She laughed that, as of the taping, she still hadn’t told her parents — “I’m very scared of my parents!” — and turned the reveal into a playful pitch: “Now that I talked about it… now y’all could buy my album so I could buy Pampers and diapers.”

Cardi said Diggs has been a steadying force during the pressure of a high-profile rollout. “He just makes me feel safe and very confident and very strong,” she said, recalling a recent panic attack tied to online blowback and his no-nonsense pep talk: “Girl, you better get it together.” Asked about the timing, she said the tour will stay on schedule: she’s already “at the gym” and “taking dance classes,” and rehearsals will start soon after delivery. “I don’t come from weak women.”

“Am I the Drama?” — her long-awaited sophomore album — arrives Friday. The pregnancy news makes the release week even more personal, but the message was clear: she wanted to share it herself, when she was ready, and she’s preparing to juggle motherhood and a full arena run this winter.

Lil Nas X To Stay in Inpatient Program as Los Angeles Felony Case Moves Forward

HOTSPOTATL, CC BY 3.0, via Wikimedia Commons

At a brief hearing in Van Nuys on Monday, a Los Angeles County judge allowed Lil Nas X to remain in an inpatient treatment program out of state while his felony case proceeds. The Grammy winner, born Montero Hill, did not appear; his attorneys told the court he has entered treatment and is complying with release conditions.

“We’re doing what is best for Montero from a personal standpoint and a professional standpoint — but most importantly, for his well-being,” defense attorney Drew Findling said outside the courthouse, reiterating that Hill is surrounded by “an amazing family” and support team.

Judge Shellie Samuels modified Hill’s release terms to permit him to stay in treatment out of state, with the understanding that the arrangement will be revisited if his status changes to outpatient. The court kept his next appearance on the calendar for Nov. 18, 2025.

Lil Nas X seeking inpatient “treatment" of an undisclosed nature after his arrest and felony charges last month

“We’re doing what is best for [him] from a personal standpoint and a professional standpoint, but most importantly, for his well-being," lawyer Drew Findling says pic.twitter.com/zufDW0Vwgx

— Nancy Dillon (@Nancy__Dillon) September 15, 2025

Hill is charged with three felony counts of battery with injury on a police officer and one felony count of resisting an executive officer stemming from an Aug. 21 encounter in Studio City. Police said they were called to Ventura Boulevard around dawn after reports that a man was walking in the street wearing only underwear and boots. In a complaint cited by multiple outlets, prosecutors allege Hill used “force and violence” that injured three officers and attempted, “by means of threats and violence,” to deter a fourth officer from doing his duty.

US rapper, Lil Nas X arrested into custody, following a suspected drug overdose incident, where he was seen almost naked on the streets of Los Angeles. pic.twitter.com/1wIJ4JgYaW

— SIKAOFFICIAL🦍 (@SIKAOFFICIAL1) August 22, 2025

Hill pleaded not guilty on Aug. 25. That day, a judge set $75,000 bail — down from an initial amount of $300,000 after the court noted he had no prior convictions and was not considered a flight risk — and ordered him to attend four Narcotics Anonymous meetings per week while on release, according to reports. Police initially said Hill was transported to a hospital after his arrest for a possible overdose; Hill’s father, Robert Stafford, told reporters his son did not take illegal drugs and asked for “grace and mercy” as the family sought help. Defense lawyer Christy O’Connor told the court, per the Associated Press, that the episode, even “assuming the allegations here are true,” would be “an absolute aberration” in Hill’s life.

The Los Angeles County District Attorney’s Office has said the charges carry a potential sentence of up to five years in state prison if there is a conviction. As in all criminal cases, the charges are allegations; Hill is presumed innocent unless and until proven guilty.

After he was released from custody on Aug. 25, Hill posted a brief message of reassurance on Instagram Stories, describing the previous four days as “terrifying” but adding, “your girl is gonna be all right.”

Billboard News: Lil Nas X rounded up all of his new friends for one star-studded run through of "Old Town Road" at the 2020 #Grammys. #BillboardNews pic.twitter.com/4Jet9YIb8W

— billboard (@billboard) January 27, 2020

The treatment update arrives at a complex moment for one of pop’s most visible young stars. Hill broke through globally with “Old Town Road,” winning two Grammys in 2020 with Billy Ray Cyrus and later earning a CMA award for the collaboration — milestones that made him a rare Gen-Z, openly gay Black artist operating at the center of mainstream pop. Monday’s ruling keeps the criminal case moving while prioritizing care, a balance Judge Samuels underscored from the bench.