Tupac, Lenny Kravitz and A$AP Rocky Shine in Harper’s Hottest Men of All Time List

Tupac Shakur was ranked No. 2 on Harper’s Bazaar’s list of the “50 Hottest Men of All Time,” noted for his mix of poetic brilliance, political fire, and undeniable presence.

In a list stacked with silver screen legends, red carpet royalty, and pop culture crushes from every decade, it was a poet from the streets of Baltimore who stood out loudest. Harper’s Bazaar dropped its “50 Hottest Men of All Time” feature this week, and there — sandwiched between Hollywood heartthrobs and blockbuster superheroes — sat Tupac Shakur, shirtless and defiant.

Placed second only to James Dean, Tupac’s inclusion wasn’t just a nod to aesthetics. It was a reminder: style can’t be separated from substance. The magazine praised his duality, noting his ability to quote Baldwin one moment and deliver a blistering diss track the next. It was more than thirstbait — it was rare recognition from a mainstream outlet that Tupac’s magnetism wasn’t manufactured. It was revolutionary.

 

His “peak hot” moment, according to the write-up, came in the “Hit ’Em Up” video. That pick said everything. Not a red carpet photo or sanitized press image, but raw fury on tape — Tupac in full attack mode, shirt off, energy high, making sure nobody mistook him for anything less than a threat.

That kind of placement carries weight. Harper’s list reached from the golden era of Brando and Paul Newman to TikTok-era poster boys like Jacob Elordi and Charles Melton. A few names earned their spots with high cheekbones and prestige scripts. Others, like Lenny Kravitz, Bad Bunny, and Dev Patel, brought a mix of edge and cultural resonance. But for fans of true legacy, the list had some glaring omissions and unexpected wins.

There was no Biggie. No Snoop. No Rakim. No Nas. No Prince, even — an icon whose look and aura redefined masculinity in the ’80s. But Denzel made it in, honored for the abs he flexed in "The Hurricane." Michael B. Jordan got his nod for "Creed." Idris Elba and Mahershala Ali were rightfully present. Tyson Beckford — one of the original Black male supermodels — showed up near the end, low ranking considering his impact.

The biggest eyebrow-raiser? The lack of deeper hip-hop representation. If Tupac was worthy of slot No. 2, what did it say about the culture that helped shape him? If Bad Bunny’s Calvin Klein campaign made him a contender, what about LL Cool J’s shirtless “Mama Said Knock You Out” era? If Elvis could make the cut for shaking his hips in “Jailhouse Rock,” where was Bobby Brown?

Seeing Tupac listed alongside James Dean and Paul Newman signaled that hip-hop’s style icons can’t be boxed out of “sex symbol” conversations anymore. But the gaps — the glaring absence of other pioneers who made millions scream with a single look — were impossible to ignore.

Still, Tupac at No. 2 means something. It means the culture cracked through again. With the Rock & Roll Hall of Fame already behind him, holograms on festival stages, and lectures at Harvard dissecting his lyrics, this latest nod was less about heat and more about presence. Tupac stays on the list because Tupac never left.

Harper’s Bazaar: 50 Hottest Men of All Time

1. James Dean
2. Tupac Shakur
3. Charles Melton
4. Lenny Kravitz
5. Paul Mescal
6. Pedro Pascal
7. Hayden Christensen
8. Marlon Brando
9. Bad Bunny
10. Aaron Taylor-Johnson
11. Dev Patel
12. Harrison Ford
13. Jason Momoa
14. Robert Pattinson
15. Paul Newman
16. Jacob Elordi
17. Elvis Presley
18. Damson Idris
19. Keanu Reeves
20. Robert Redford
21. Jesse Williams
22. Bill Skarsgård
23. Rick Yune
24. Matthew McConaughey
25. Theo James
26. Denzel Washington
27. Heath Ledger
28. Jake Gyllenhaal
29. Henry Golding
30. George Clooney
31. Shemar Moore
32. Brad Pitt
33. Leonardo DiCaprio
34. Rami Malek
35. Clint Eastwood
36. Oscar Isaac
37. Chris Evans
38. Idris Elba
39. Ryan Gosling
40. Tyson Beckford
41. Channing Tatum
42. Michael B. Jordan
43. David Beckham
44. Mahershala Ali
45. Maluma
46. Henry Cavill
47. Zayn Malik
48. Gong Yoo
49. Chris Hemsworth
50. A$AP Rocky

Diddy’s Twin Daughters Step Into Fashion Spotlight With '12TWINTY1'

D’Lila and Jessie Combs announced their debut fashion line, “12TWINTY1,” just days after their father Sean “Diddy” Combs was denied bail on federal charges.

D’Lila and Jessie Combs have officially stepped out of their father’s shadow — and into the spotlight as fashion entrepreneurs.

The 18-year-old twin daughters of Sean “Diddy” Combs and the late Kim Porter announced this week they’re launching their first clothing brand, “12TWINTY1,” a project they say has been in the works their entire lives.

“We are launching our very own clothing line,” the twins said in a recently posted TikTok video. “This isn’t just a brand. It’s our story. Our bond. Our roots.”

Named after their shared birthday — December 21 — the brand blends numerology with personal identity. “One is bold, fearless, and marks the beginning of something powerful,” they said in the caption. “Two speaks to love, connection, and harmony — the essence of our twinhood.”

Their official Instagram account echoed the message: “12TWINTY1 was created with purpose, built from who we are, not just what we wear.”

While no pieces from the line have been revealed yet, the twins emphasized that the project is about more than aesthetics. “This brand is for everyone,” D’Lila said in another clip. “It’s comfort, confidence, and meaning.”

Jessie added, “People always ask if we think alike — and the answer is definitely. That connection is the heart of our brand.”

Their announcement comes at a complicated time for the Combs family. Just days earlier, their father, Sean “Diddy” Combs, was denied bail after a federal jury acquitted him of several top charges — including racketeering conspiracy and sex trafficking — but found him guilty on two counts of transporting women across state lines for the purpose of prostitution. He now awaits sentencing on October 3, with federal prosecutors recommending a prison term of up to 63 months.

Throughout the trial, D’Lila and Jessie were seen supporting their father in court, sometimes exiting the room during emotionally charged testimony. They also recently celebrated their high school graduation — a personal milestone largely overshadowed by their father’s legal saga and the surrounding media scrutiny.

Now, with “12TWINTY1,” they appear to be carving out their own narrative — one rooted in legacy, but reaching for something all their own.

From Compton to the Classroom: Temple Adds Kendrick Lamar to Curriculum

Kendrick Lamar's life and lyrics will be the subject of a new fall semester course at Temple University, taught by Professor Timothy Welbeck. 

Kendrick Lamar’s legacy is already cemented in music history. Now, it's making its way into the college classroom.

Starting this fall, Temple University will offer a course titled "Kendrick Lamar and the Morale of M.A.A.D City," an Afrocentric deep dive into the Pulitzer Prize-winning rapper’s life, lyrics and cultural weight. Designed and taught by professor Timothy Welbeck, a respected scholar in Africology and African American Studies, the course aims to unpack the socioeconomic, political and personal factors that have shaped Lamar — and the world that shaped him.

“This isn’t just about rap lyrics,” Welbeck told NBC10 in a recent interview. “Kendrick Lamar is one of the defining voices of his generation. His art and life reflect the Black experience in deeply telling ways.”

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Welbeck, who also serves as director of Temple’s Center for Anti-Racism and is a hip-hop artist himself, has previously taught courses on Tupac, Jay-Z and the evolution of Black culture through music. With this new offering, he hopes to explore Lamar’s full trajectory — from his Compton roots to the Grammy stage and global influence — through an Africological lens that centers Black expression and self-actualization.

The course arrives at a critical cultural moment. Lamar’s recent lyrical feud with Drake reignited debates over authenticity in hip-hop, while his explosive anthem "Not Like Us" — a searing takedown of celebrity ego and false alliances — has become a cultural flashpoint, sparking industry lawsuits and think pieces alike. At the same time, his co-headlining Grand National Tour with SZA was one of the year’s highest-grossing, cementing his status as both icon and provocateur.

Students in Welbeck’s class will study that tension head-on. From Lamar’s major-label debut "good kid, m.A.A.d city" to the densely layered "To Pimp a Butterfly" and his latest effort "GNX," the course promises a sharp examination of hip-hop as not just music, but social commentary — shaped by public policy, systemic inequality and Black resilience.

Beyond lectures, the course will include guest speakers from the music industry who have worked with Lamar, offering students rare insight into both his creative process and the business machinery behind the music.

Is Beyoncé Country Enough? Viral Critic Reignites Debate Over Genre Lines

Beyoncé rides a white horse while holding an American flag in a promotional image for her album Cowboy Carter. The project debuted at No. 1 on Billboard’s Country Albums chart, sparking debate over its genre classification. Country artist Gavin Adcock called the album “the farthest thing from country,” while supporters praised it for expanding country’s boundaries. (Photo courtesy of Parkwood Entertainment)

When Gavin Adcock — former Georgia Southern football player turned rough-edged country artist —
posted a Reel claiming Beyoncé’s "Cowboy Carter" is “the farthest thing from country,” he reignited a long-standing debate about who gets to define a genre rooted in both tradition and transformation.

The short video, now trending across Instagram and TikTok, shows Adcock shaking his head and offering a southern-fried breakdown of why he doesn’t believe "Cowboy Carter" belongs under the country umbrella.

“Lemme go ahead and clear this up — when I was a little kid, my mama raised me on real country,” Adcock says. “I’m talkin’ George Strait, Alan Jackson, Travis Tritt. I ain’t hatin’, but don’t label somethin’ country just to make it chart.”

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It’s a tone that’s part bemusement, part subtle gatekeeping — and it reveals more about country music’s discomfort with evolution than it does about Beyoncé.

Because here’s the question Adcock — and many like him — keep skirting: what exactly is “real country” in 2025?

Statistically, "Cowboy Carter" might be the most successful “country” album of the decade. Beyoncé’s genre-bending opus debuted at No. 1 on the Billboard 200, Top Country Albums, and Top Americana/Folk Albums simultaneously — making her the first Black woman in history to top the country chart.

According to Luminate, "Cowboy Carter "moved 407,000 equivalent album units in its first week, including 168 million on-demand streams — a figure far surpassing recent country releases by artists like Morgan Wallen or Luke Combs. These aren’t crossover numbers — they’re takeover numbers.

But success isn’t the only qualifier. The album’s DNA is country — just not the narrow kind historically confined to Music Row radio rotations. Beyoncé interpolates Dolly Parton, covers The Beatles’ “Blackbird” (written during the civil rights era), and resurrects Linda Martell, the first Black woman to play the Grand Ole Opry, giving her overdue voice and validation.

Genre boundaries have always shifted. Elvis shook up country. Ray Charles turned Modern Sounds in Country and Western Music into a landmark. Lil Nas X went viral and hit No. 1 with a cowboy hat and an 808. What Beyoncé’s doing isn’t a gimmick — it’s tradition, just one that doesn’t always look like what the Nashville establishment expects.

That discomfort is the point.

Beyoncé herself wrote in the album’s liner notes: “This ain’t a country album. This is a Beyoncé album.” And that’s the real story: she’s not asking permission — she’s asserting authority.

Artists like Adcock are entitled to their opinions. But the facts remain: "Cowboy Carter" didn’t break country music. It exposed how small the gate has been. And for many listeners — especially Black ones — that gate was never open to begin with.

Whether she’s standing onstage at the CMA Awards or headlining her own genre-defying global tours, Beyoncé’s presence in country isn’t an invasion.

It’s a reclamation.

So the question isn't whether "Cowboy Carter" is country enough.

The question is whether country music is ready to admit its roots were always bigger than its borders.

Watch: Living Colour Electrifies for Tiny Desk’s Black Music Month Tribute

Living Colour performs at NPR’s Tiny Desk in Washington, D.C., in a June 2025 concert celebrating the 35th anniversary of their landmark album Time’s Up. From left: Vernon Reid, Will Calhoun, Corey Glover and Doug Wimbish. (Screengrab via YouTube)

Living Colour didn’t just play behind NPR’s Tiny Desk. They detonated it.

The pioneering Black rock band delivered a searing, soul-baring performance that honored the 35th anniversary of their landmark album "Time’s Up," shook the walls of NPR’s headquarters, and reminded the world that rock, rage, and revolution still live in Black music.

Opening with their 1988 breakout “Cult of Personality” — the Grammy-winning anthem that made political theory scream — Living Colour set the tone with Corey Glover’s full-throttle vocals, Vernon Reid’s sonic sleight of hand on guitar, and a rhythm section powered by Doug Wimbish and Will Calhoun that hit like a fist through drywall.

But this wasn’t just nostalgia. It was history, fury, and deep musicianship in tight quarters.

With every song, Living Colour layered commentary on race, identity, media, and systemic distortion. “Pride” challenged American hypocrisy, “Love Rears Its Ugly Head” dissected relationship chaos and self-destruction, and “Solace of You” offered a melodic sanctuary in a world that often seeks to erase Black voice and story. Reid shouted out D.C. legends Bad Brains before launching into a blistering “Time’s Up,” turning NPR’s quiet corner into a temple of electric urgency.

“History’s a lie that they teach you in school,” Glover sang in “Pride,” over Calhoun’s tight beat. “A peaceful land that was born and civilized was robbed of its history, freedom, and pride.” It hit like gospel wrapped in punk.

The band used every inch of the stripped-down space to deliver something bigger than volume: meaning. Even with amps turned down and stage lights off, Living Colour glowed — a reminder that Tiny Desk’s size doesn’t limit the size of its message.

During their set, Glover took a moment to reflect on Black Music Month and the losses the culture has endured. “We lost Roberta Flack, we lost so many,” he said. “This song really speaks to that.”

By the end of “Solace of You,” the room didn’t just cheer — it exhaled. For Black rock fans, it was church. For everyone else, it was a lesson in what the genre has always owed to Black artists.

Watch the entire performance below.

R&B Royalty Reunite: Brandy and Monica Launch Arena Tour This Fall

Promotional artwork for “The Boy Is Mine Tour” showcases Brandy and Monica’s first-ever co-headlining arena run, which kicks off Oct. 16, 2025, in Cincinnati and wraps Dec. 7 in Houston. The 24-city tour also features Kelly Rowland, Muni Long, and American Idol winner Jamal Roberts. (Courtesy Black Promoters Collective)

More than 25 years after their chart-dominating duet "The Boy Is Mine" redefined R&B for a generation, Brandy and Monica are officially hitting the road together. The Grammy Award-winning vocal powerhouses announced their highly anticipated joint tour today on CBS Mornings, igniting fan excitement from coast to coast.

Produced by the Black Promoters Collective, The Boy Is Mine Tour launches October 16 in Cincinnati, Ohio, and will hit 24 cities before wrapping up December 7 in Houston, Texas. The tour marks the duo’s first-ever co-headlining trek and celebrates one of the most iconic collaborations in Black music history.

Originally released in 1998, "The Boy Is Mine" spent a staggering 13 weeks at No. 1 on the Billboard Hot 100 — a feat that placed the pair in elite company with Whitney Houston ("I Will Always Love You," 14 weeks) and Mariah Carey ("One Sweet Day," 16 weeks). The track earned them the 1999 Grammy Award for Best R&B Performance by a Duo or Group with Vocals and has remained a cultural touchstone ever since.

Joining Brandy and Monica on the tour are Grammy-winning superstar Kelly Rowland, chart-topping songwriter Muni Long, and American Idol Season 23 winner Jamal Roberts — a multigenerational lineup that ensures each night will be steeped in both nostalgia and new energy.

The reunion comes on the heels of a surprise appearance in Ariana Grande’s "The Boy is Mine" music video in 2024, which sparked renewed excitement for the R&B legends. They later contributed vocals to Grande’s official remix of the track, earning another Grammy nomination and bringing their chemistry to a new generation of fans.

"This really is a full-circle moment," Brandy said. "Monica and I coming together again isn’t just about the music — it’s about honoring where we came from and how far we’ve both come."

Monica echoed the sentiment, calling the tour a tribute to their individual growth and lasting connection: "Brandy and I have been on our own unique journeys. Coming back together is a reminder of the power of respect, strength, and real music."

Shelby Joyner, president of the Black Promoters Collective, called the pairing "a cultural homecoming," saying: "Their impact on R&B is immeasurable, and 'The Boy Is Mine' continues to be one of the most iconic collaborations of all time."

Tickets go on sale Friday, June 27, at 10:00 a.m. local time via Ticketmaster, with presales beginning Thursday, June 26, using the code BPC.

A cinematic tour trailer directed by Ethan Tobman — known for work with Beyoncé and Taylor Swift — has already begun generating buzz, setting the tone for a production that promises style, soul, and sisterhood.

The Boy Is Mine Tour — Dates and Cities:
10/16 – Cincinnati, OH – Heritage Bank Center
10/17 – Milwaukee, WI – Fiserv Forum
10/18 – Chicago, IL – United Center
10/19 – Indianapolis, IN – Gainbridge Fieldhouse
10/30 – Memphis, TN – FedExForum
10/31 – Atlanta, GA – State Farm Arena
11/01 – Greensboro, NC – First Horizon Coliseum
11/02 – Baltimore, MD – CFG Bank Arena
11/07 – Las Vegas, NV – T-Mobile Arena
11/08 – Oakland, CA – Oakland Arena
11/09 – Los Angeles, CA – Kia Forum
11/13 – Charlotte, NC – Spectrum Center
11/14 – Columbia, SC – Colonial Life Arena
11/15 – Birmingham, AL – Legacy Arena at BJCC
11/20 – Brooklyn, NY – Barclays Center
11/21 – Newark, NJ – Prudential Center
11/22 – Atlantic City, NJ – Jim Whelan Boardwalk Hall
11/23 – Hampton, VA – Hampton Coliseum
11/28 – St. Louis, MO – Enterprise Center
11/29 – Detroit, MI – Little Caesars Arena
11/30 – Washington, DC – Capital One Arena
12/05 – New Orleans, LA – Smoothie King Center
12/06 – Fort Worth, TX – Dickies Arena
12/07 – Houston, TX – Toyota Center

Clipse Announces Comeback Tour and Album

Photo Credit: Cian Moore

It’s official: Clipse is back. After more than 15 years, one of hip-hop’s most revered duos — brothers Pusha T and No Malice — are reuniting for a nationwide tour in support of their highly anticipated new album, "Let God Sort ’Em Out."

The tour marks a full-circle return for the Virginia Beach MCs who built their legacy on sharp lyricism, coke-rap precision, and a uniquely minimalist sound shaped by Pharrell Williams and Chad Hugo, aka The Neptunes. Fittingly, the "Let God Sort ’Em Out Tour" opens with a homecoming show at The Dome in Virginia Beach on August 10.

Tickets go on sale to the general public Friday, with VIP packages and exclusive pre-sale access already available. The album drops July 11 through Roc Nation Distribution and marks their first full-length collaboration since 2009’s "Til the Casket Drops."

Fans can expect a complete Neptunes production on the record, as Pharrell returns to the boards for every track. The rollout also includes visuals and tour merchandise designed by artist KAWS, whose stylized, irreverent aesthetic reflects the duo’s shift into cultural tastemakers as much as lyrical craftsmen.

"Let God Sort ’Em Out" isn’t just a tour or an album title — it’s a statement. It reflects the philosophical divide and eventual reunion that defined Clipse’s arc. In the early 2000s, Pusha T and No Malice (formerly just Malice) became icons for street rap with a conscience. Their 2002 debut, "Lord Willin’," featuring hits like "Grindin’" and "When the Last Time," set the tone. But it was 2006’s "Hell Hath No Fury" — widely considered a modern classic — that solidified their place in hip-hop’s upper echelon.

While Pusha T would go on to have a celebrated solo run (including Grammy nods and the infamous Drake feud), No Malice took a spiritual turn, renouncing the street life in his 2011 memoir "Wretched, Pitiful, Poor, Blind & Naked" and later releasing faith-based solo projects. The brothers’ divergence wasn’t just thematic — it was personal. For years, the idea of a full Clipse reunion seemed unlikely.

The ablum's lead single, “Ace Trumpets,” released May 30. A mid-tempo, synth-driven track produced by Pharrell, it features razor-edged lyrics from both brothers and has already been praised by Pitchfork as their "menacing return to form."
That changed in 2019 when the duo appeared together on Kanye West’s "Jesus Is King." Since then, rumors of a new album have simmered — until now.

With Pharrell at the helm, KAWS handling visuals, and both brothers locked in lyrically, "Let God Sort ’Em Out" is positioned as a rebirth. The album will be available in digital, CD and limited LP editions, with select deluxe vinyl bundles including unreleased demos and tour memorabilia.

The Virginia Beach stop on August 10 promises to be the crown jewel of the tour — a triumphant return to the city that raised them and first sparked their musical ambitions. Additional stops include:

Let God Sort 'Em Out Tour Dates (So Far)

• August 10 — Virginia Beach, VA @ The Dome
• August 14 — Atlanta, GA @ Tabernacle
• August 16 — Miami, FL @ The Fillmore
• August 20 — Chicago, IL @ House of Blues
• August 22 — New York, NY @ Terminal 5
• August 24 — Philadelphia, PA @ The Fillmore
• August 28 — Houston, TX @ Bayou Music Center
• August 30 — Los Angeles, CA @ The Wiltern
More dates to be announced soon.

For fans of true lyricism, minimalist bangers, and the cultural evolution of two of hip-hop’s sharpest voices, the Clipse comeback is more than nostalgia — it’s the next chapter.

Visit letgodsortemout.com for full tour and album details.

Doechii Calls Out Government Crackdown in Fiery BET Awards Speech

The 2025 BET Awards reminded everyone why it’s still called Culture’s Biggest Night. With sharp political statements, emotional tributes, and career-defining wins, the evening was a showcase of star power, activism and legacy.

The show kicked off with Kevin Hart in full form, joking about everything from GloRilla’s name to the baby oil in Diddy’s court case. “There won’t be any afterparties tonight,” he said. “Things could get slippery.” But beyond the humor, Hart set a celebratory tone, honoring BET’s 25th anniversary and reminding viewers of its legacy.

The night belonged to Kendrick Lamar, who picked up four major awards: Album of the Year for GNX, Best Male Hip-Hop Artist, Video of the Year for “Not Like Us,” and Best Collaboration with SZA for “Luther.” He also shared Video Director of the Year honors with longtime collaborator Dave Free.

Meanwhile, Doechii made history with her first BET Award for Best Female Hip-Hop Artist. The Grammy winner used her moment to speak out. “There are ruthless attacks creating fear and chaos in our communities in the name of law and order,” she said, referencing nearby immigration raids and protests. “Trump is using military forces to stop a protest... We all deserve to live in hope and not fear.” Her words drew applause and gave the evening its most politically potent moment.

Jamie Foxx’s tribute brought tears and cheers. Stevie Wonder surprised the crowd to present the Ultimate Icon Award, delivering heartfelt praise: “I admire and celebrate your talent and your love — for blind people.” Foxx, recovering from a 2023 medical emergency, smiled and nodded as Babyface, Ludacris, Tank, Jennifer Hudson, T-Pain and Doug E. Fresh performed a medley of his hits, including “Unpredictable” and “Blame It.” Foxx later said, “You can’t go through something like that and not testify.”

Other big winners included SZA (Best Female R&B/Pop Artist), Chris Brown (Best Male R&B/Pop Artist), and Leon Thomas (Best New Artist). Blue Ivy Carter took home the YoungStars Award in a full-circle legacy moment for the Carter family. Summer Walker earned the BET Her Award for “Heart of a Woman,” while GloRilla, Kirk Franklin, and Maverick City Music won the Dr. Bobby Jones Gospel/Inspiration Award for “Rain Down on Me.”

In film and television, Cynthia Erivo and Denzel Washington were awarded Best Actress and Actor, while Luther: Never Too Much won Best Movie. On the sports side, Angel Reese was named Sportswoman of the Year and Jalen Hurts earned Sportsman of the Year honors.

Full List of 2025 BET Awards Winners:
Best Female R&B/Pop Artist – SZA
Best Male R&B/Pop Artist – Chris Brown
Best Group – Future & Metro Boomin
Best Collaboration – “Luther” – Kendrick Lamar & SZA
Best Male Hip-Hop Artist – Kendrick Lamar
Best Female Hip-Hop Artist – Doechii
Video of the Year – “Not Like Us” – Kendrick Lamar
Video Director of the Year – Dave Free & Kendrick Lamar
Best New Artist – Leon Thomas
Album of the Year – "GNX" – Kendrick Lamar
Dr. Bobby Jones Best Gospel/Inspirational Award – “Rain Down on Me” – GloRilla feat. Kirk Franklin, Maverick City Music
Best Actress – Cynthia Erivo
Best Actor – Denzel Washington
Best Movie – "Luther: Never Too Much"
YoungStars Award – Blue Ivy Carter
Sportswoman of the Year – Angel Reese
Sportsman of the Year – Jalen Hurts
BET Her Award – “Heart of a Woman” – Summer Walker

Watch: E-40’s Tiny Desk Debut Is a Celebration of Bay Pride and Legacy

 

Bay Area rap icon E-40 brought Vallejo flavor and hyphy energy to NPR’s Tiny Desk Concerts on Monday, kicking off Black Music Month with a spirited, career-spanning set that celebrated his legacy in hip-hop and his hometown roots.

Backed by a live band and in front of an intimate audience, the veteran MC born Earl Stevens ran through a medley of his biggest hits, including "Tell Me When to Go," "Choices (Yup)" and "U and Dat." Throughout the set, he showcased not only his signature slang and unmistakable delivery but also the cultural pride and storytelling that have made him a cornerstone of West Coast rap for over three decades.

“Tell the people that Water is back!” he declared midway through the performance, nodding to both his longtime nickname and his return to the spotlight.

The set marked E-40’s first appearance on the popular YouTube concert series, which has become a landmark platform for both emerging and legendary artists. Known for revealing raw talent in stripped-down formats, Tiny Desk has previously featured performances from artists like T-Pain, Too Short, Kehlani and LaRussell.

The band elevated the energy of each track. On "Choices (Yup)," musicians leaned into the mic to echo the iconic “yup” and “nope” ad libs, creating an organic, in-the-room feel. During "U and Dat," background vocalist and music director Bosko Kante filled in seamlessly for T-Pain’s auto-tuned hook.

E-40 also used the platform to promote his entrepreneurial ventures, sipping from a glass of his Earl Stevens Mangoscato and reminding viewers it’s available at Costco and Total Wine.

Between verses, he shouted out his longtime friends and collaborators, including a heartfelt tribute to the late Stomp Down. The performance was not only a musical celebration but a nod to the community that built him.

Despite a career that spans generations, E-40 remains culturally relevant. His music still blares from Bay Area car stereos and his impact extends beyond music, with a road named after him in Vallejo and surprise political appearances — including a surreal cameo at a Joe Biden rally.

With Monday’s set, E-40 joins a growing list of Bay Area legends who’ve brought their game to the Tiny Desk stage. The show continues to affirm the cultural weight of the Bay, one classic track at a time.

Beyoncé Makes History, Janet Jackson Shines at the 2025 AMAs

Janet Jackson performs onstage at the 2025 American Music Awards at the Fontainebleau Las Vegas on May 26, 2025. (Rich Polk)

The 2025 American Music Awards, held on Monday night at the Fontainebleau Las Vegas and hosted by Jennifer Lopez, celebrated the significant and continuing impact of urban music. One of the evening's most prominent moments was the presentation of the Icon Award to Janet Jackson, recognizing her profound influence on pop, R&B and global music culture.

Jackson, dressed in a white cropped jacket, baggy blue jeans, white sneakers, and a headband, captivated the audience with a medley of her iconic hits, including “All for You,” “Rhythm Nation,” and “Together Again,” marking her first televised performance in seven years.

In her acceptance speech, she said, “I don’t consider myself an icon,” while emphasizing her family's deep commitment to music over fame. The Icon Award, first awarded in 2013, has previously been awarded to artists such as Rihanna and Lionel Richie.

Jackson’s tribute underscored the enduring relevance of urban music within the broader popular music landscape, a point further emphasized by Kendrick Lamar’s victory in the Favorite Hip-Hop Song category for “Not Like Us.” Lamar, who received the most nominations of the night with 10, once again demonstrated his artistic power, authenticity, and ability to connect with contemporary culture.

Beyoncé made history in the country genre, winning Favorite Female Country Artist for her acclaimed project, "Cowboy Carter," which also took home Favorite Country Album honors. This win represents a significant achievement for a Black artist in a category historically dominated by white artists.

SZA also had a memorable evening, taking home both Favorite Female R&B Artist and Favorite R&B Song for “Saturn.” These awards acknowledge her innovative approach to R&B, blending genres while staying true to her artistic vision, solidifying her position as a leading voice in modern R&B.

Adding to his legacy, Eminem won both Favorite Male Hip-Hop Artist and Favorite Hip-Hop Album for "The Death of Slim Shady: Coup de Grâce," highlighting his enduring relevance and impact within the hip-hop genre. Megan Thee Stallion won Favorite Female Hip-Hop Artist.

Billie Eilish was the biggest winner of the night, sweeping the major categories, including Artist of the Year, Album of the Year for Hit Me Hard and Soft, and Song of the Year for “Birds of a Feather.”

Chappell Roan was recognized as New Artist of the Year, marking a significant breakthrough for the rising star.

 

Key Winners:

• Artist of the Year: Billie Eilish
• New Artist of the Year: Chappell Roan
• Album of the Year: "Hit Me Hard and Soft" (Billie Eilish)
• Song of the Year: “Birds of a Feather” (Billie Eilish)
• Favorite Male Hip-Hop Artist: Eminem
• Favorite Female Hip-Hop Artist: Megan Thee Stallion
• Favorite Hip-Hop Song: “Not Like Us” (Kendrick Lamar)
• Favorite Female R&B Artist: SZA
• Favorite R&B Song: “Saturn” (SZA)
• Favorite Female Country Artist: Beyoncé
• Favorite Country Album: "Cowboy Carter" (Beyoncé)
• Icon Award: Janet Jackson

For a complete list of winners click here.

Dr. Dre’s $10 Million Boost Helps Redefine Compton High’s Future

Dr. Dre’s legacy has always been intertwined with Compton, and now the rap legend is giving back to the California community in a major way. On Thursday the newly rebuilt Compton High School campus was unveiled, a $225-million project that promises to reshape the future of education for the city’s youth.

At the heart of the transformation is Dre’s $10 million donation to the school’s performing arts center, ensuring that the next generation of Compton’s talent has the space to create, perform and dream big.

The 31-acre campus represents a complete overhaul of the old school, which had long been plagued by outdated facilities. The new high school is a vision of modernity, featuring a digital library, cutting-edge classrooms and athletic facilities designed for the digital age. From a football stadium to multiple sports courts and a state-of-the-art gym, this campus is built to foster both academic and athletic success.

But it’s the performing arts center that stands out as a direct reflection of Dre’s impact on the city. The $10 million donation has turned the center into a state-of-the-art venue where students can explore their passions in music, theater and dance. A mural of Dre’s face on the exterior of the building serves as a powerful reminder of his roots and his ongoing commitment to elevating his hometown.

"I didn’t have that creative outlet when I was in high school," Dre said during the unveiling. "Now these kids have that space, and it’s all about giving them the chance to express who they are and what they can become."

Dre’s involvement is a reflection of his lifelong connection to Compton. The new campus will serve 2,000 students and is funded by school-construction bonds approved by local voters. This revitalization is not just about the physical space but about creating opportunities for Compton’s youth to thrive in ways that were once out of reach.

"Compton is a breeding ground for talent," Dre added. "I’m living proof that coming from Compton, nothing can stop me. Anything is possible."

Megan Thee Stallion Dismisses ‘New Evidence’ in Lanez Shooting Case, Calls Out Harassment

Megan Thee Stallion on Monday dismissed what Tory Lanez’s legal team calls “new evidence” in his 2020 shooting case and rebuked ongoing harassment — days after Lanez, born Daystar Peterson, was stabbed 14 times in prison.

On TikTok, Megan — born Megan Pete — demanded an end to “living this s--t over and over.” “Facts are facts, he did it, it was proven in court,” she wrote. “Tory, you shot me ! ! ! Ain’t no new f---ing evidence. Y’all been saying the same s--- for years.”

Rapper Megan Thee Stallion reacts on TikTok to alleged “new evidence” in Tory Lanez’s shooting case—urging fans to stop “harassing” her just days after Lanez survived a stabbing in prison. (Courtesy TikTok/theestallion)

Lanez’s lawyers last week filed an amended criminal‐defamation claim hinging on testimony from a former bodyguard. That witness alleges he overheard Kelsey Harris — Megan’s onetime friend — admit to handling the gun the night Pete was shot in July 2020. 

The filing comes on the heels of Lanez’s May 12 stabbing at California Correctional Institution in Tehachapi, where inmate Santino Casio — serving life for murder — allegedly slashed him in the face, torso, back and head. Observers say the attack may have spurred Lanez’s team to renew efforts to contest his conviction.

Megan has consistently declined to revisit that night. Her TikTok salvo continued: “At what point are y’all gonna stop making me have to re-live being shot by Tory !? At what point are Tory and y’all fans gonna stop lying? Like, how much is the check to keep harassing me? Leave me TF alone ! ! !”

In December 2022, Lanez was found guilty of assault with a semiautomatic firearm after a dispute outside a Hollywood Hills party. He’s serving a 10-year state sentence — eligible for parole in 2029 — and faces dozens of civil suits from shooting‐related claimants.

Megan’s post closed on gratitude: despite the pain, “I’m good spirits and deeply thankful to God that I’m pulling through,” she said, echoing the Instagram update Lanez’s team issued from his hospital bed after the prison attack.

UMG Seeks to Silence Drake Suit While Lamar Leads BET Celebrations

Drake is involved in a $100 million defamation lawsuit against Universal Music Group over Kendrick Lamar's diss track "Not Like Us," with the label arguing the suit is a "meritless" attempt to "save face" after Drake lost their rap battle, a legal conflict that comes as Lamar leads nominations for the upcoming BET Awards, where Drake also received multiple nods.

Universal Music Group on Wednesday urged a federal judge to throw out Drake’s defamation lawsuit, accusing the rapper of mounting a “meritless” bid to salve his wounded pride after a public rap battle with Kendrick Lamar.

In a motion filed May 7 in U.S. District Court for the Southern District of New York, UMG called Drake’s amended complaint “astonishing,” arguing that his focus on a single censored lyric from Lamar’s hit “Not Like Us” only underscores the true target: Lamar’s commercial and creative success.

Drake first sued UMG in January, claiming the label and its distribution of Lamar’s incendiary track had defamed him. In April he amended the suit to cite Lamar’s Super Bowl LIX halftime performance on Feb. 9, 2025, contending that Lamar’s decision to omit a critical verse before a record TV audience proved the song’s reputation‑damaging power. Drake’s complaint asserts that the broadcast‑censoring “allowed millions to miss the precise words at issue and unjustly vilified my client.”

UMG counters that Drake “was pleased to use UMG’s platform to promote tracks leveling similarly incendiary attacks at Lamar. But now, after losing the rap battle, Drake claims that ‘Not Like Us’ is defamatory. It is not.” The label is asking that the amended complaint be dismissed with prejudice.

“Drake’s attack on the commercial and creative success of the artist who soundly bested him is the real grievance here,” UMG wrote, calling the lawsuit a thinly veiled attempt to weaponize the courts against artistic competition.

Lamar’s “Not Like Us” did nothing to hurt his momentum. The track swept all five of its Grammy nominations on Feb. 2, 2025, including Record of the Year and Song of the Year. This month, Lamar leads the field at the 2025 BET Awards with 10 nominations. 

The ceremony is set to air live on Monday, June 9, from the Peacock Theatre in Los Angeles. His nominations include major nods for Album of the Year for “GNX,” Video of the Year and Viewer's Choice for “Not Like Us,” Best Male Hip‑Hop Artist, and multiple Best Collaboration nominations. He bids to extend his run against competitors that include Drake, who earned six nods of his own, including Album of the Year for "$ome $exy $ongs 4 U," Video of the Year for "Family Matters," and Best Male Hip Hop Artist.

Top Nominees at the 2025 BET Awards: (Click here for the full list of nominees) 
Kendrick Lamar: 10 nominations
Doechii: 6 nominations
Drake: 6 nominations
Future: 6 nominations
GloRilla: 6 nominations
Metro Boomin: 5 nominations
SZA: 4 nominations
The Weeknd: 4 nominations

Snoop Dogg Teams with KIDZ BOP Tour and ‘PAW Patrol: The Dino Movie’

Snoop Dogg, center, appears with characters from his preschool series “Doggyland,” whose live show will open for the KIDZ BOP Live Certified BOP Tour this summer, as the rapper also lends his voice to the upcoming feature “PAW Patrol: The Dino Movie.” (Graphic courtesy of Doggyland/YouTube)

Snoop Dogg is trading G‑funk for giggles this summer, joining forces with the KIDZ BOP Live Certified BOP Tour and lending his voice to Spin Master’s upcoming feature “PAW Patrol: The Dino Movie.”

Beginning June 14 in Stamford, Connecticut, and running through Sept. 7 in Houston, Texas, the 28‑city KIDZ BOP tour will now kick off each night with a live performance of “Doggyland,” Dogg’s animated YouTube series for preschoolers. Created in 2022, “Doggyland” follows Bow Wizzle and a colorful cast of puppies who rap and sing about letters, numbers, colors and social‑emotional skills.

“‘Doggyland’ and KIDZ BOP are teamin’ up for a special tour like no other,” Snoop Dogg said in a release touting the collaboration. “We’re takin’ our animated world and bringing it to life, ya dig? We invite little kids, big kids, mamas, daddies, uncles, aunties — to join us for life lessons and some family fun. When ‘Doggyland’ links with KIDZ BOP, it’s a musical journey you will never forget.”

KIDZ BOP, which claims to be the No. 1 music brand for kids since 2001, will feature its young stars — Aleah, Cliff, Matty and Shila — performing kid‑friendly versions of today’s hits like “Espresso” and “Hot to Go!” on a stage complete with interactive elements and the return of the Daddy Dance Off.

“We’re excited to have ‘Doggyland’ join the KIDZ BOP Live Certified BOP Tour this summer as our special show opener,” added Sasha Junk, president of KIDZ BOP. “Their hip‑hop spin on classic kids’ songs — especially the viral ‘Affirmations Song' — will add fresh energy to our live events.”

Meanwhile, Dogg is also expanding his family‑friendly portfolio on the big screen. He joins a star‑studded ensemble — Jameela Jamil, Terry Crews, Paris Hilton, Bill Nye, Meredith MacNeill and Ron Pardo — in “PAW Patrol: The Dino Movie." The third theatrical installment of the animated franchise follows the rescue pups on a prehistoric adventure and is set to drop July 31, 2026.

KIDZ BOP LIVE TOUR DATES

Date	City	Venue
Saturday, June 14, 2025	Stamford, Conn.*	The Palace
Thursday, June 19, 2025	Hershey, Pa.*	Giant Center
Friday, June 20, 2025	Raleigh, N.C.*	Coastal Credit Union
Saturday, June 21, 2025	Charlotte, N.C.*	PNC Music Pavilion
Sunday, June 22, 2025	Greensboro, N.C.*	White Oak Amphitheater
Thursday, June 26, 2025	West Palm Beach, Fla.*	iTHINK Financial Amphitheatre
Friday, June 27, 2025	Jacksonville, Fla.*	Daily’s Place
Saturday, June 28, 2025	Alpharetta, Ga.*	Ameris Bank Amphitheatre
Sunday, June 29, 2025	Franklin, Tenn.*	FirstBank Amphitheater
Thursday, July 3, 2025	Gilford, N.H.*	Bank of NH Pavilion
Saturday, July 5, 2025	Bangor, Maine*	Maine Savings Bank
Sunday, July 6, 2025	Bethel, N.Y.*	Bethel Woods
Thursday, July 10, 2025	Richmond, Va.*	Allianz Amphitheater
Friday, July 11, 2025	Wantagh, N.Y.*	Northwell Health at Jones Beach
Saturday, July 12, 2025	Holmdel, N.J.*	PNC Bank Arts Center
Thursday, July 17, 2025	Wilmington, N.C.*	Live Oak Bank Pavilion
Friday, July 18, 2025	Baltimore, Md.*	Pier Six Pavilion
Saturday, July 19, 2025	Boston, Mass.* (2 shows)	Leader Bank Pavilion
Sunday, July 20, 2025	Wallingford, Conn.*	Toyota Oakdale Theater
Wednesday, July 23, 2025	Columbus, Ohio*	Ohio State Fair
Thursday, July 24, 2025	Clarkston, Mich.*	Pine Knob Music Center
Friday, July 25, 2025	Noblesville, Ind.*	Ruoff Music Center
Sunday, July 27, 2025	Cincinnati, Ohio*	PNC Pavilion at Riverbend
Friday, August 1, 2025	Saratoga Springs, N.Y.*	Broadview Stage at SPAC
Saturday, August 2, 2025	Camden, N.J.*	Freedom Mortgage Pavilion
Tuesday, August 5, 2025	West Allis, Wis.*	Wisconsin State Fair
Friday, August 8, 2025	Macon, Ga.*	Macon Amphitheater
Saturday, August 9, 2025	Tampa, Fla.*	MidFlorida Credit Union Amphitheatre
Friday, August 15, 2025	Tinley Park, Ill.	Credit Union 1 Amphitheater
Saturday, August 16, 2025	Kansas City, Mo.	Starlight Theatre
Sunday, August 17, 2025	Des Moines, Iowa	Iowa State Fair
Wednesday, August 20, 2025	Grand Rapids, Mich.	DeVos Hall
Thursday, August 21, 2025	Toronto, Ont.	Budweiser Stage
Friday, August 22, 2025	Toledo, Ohio	Toledo Zoo Amphitheater
Saturday, August 23, 2025	Syracuse, N.Y.	New York State Fair
Thursday, August 28, 2025	San Diego, Calif.	Cal Coast Credit Union Amphitheatre
Friday, August 29, 2025	Phoenix, Ariz.	Arizona Financial Theatre
Saturday, August 30, 2025	Anaheim, Calif.	Honda Center
Sunday, August 31, 2025	Mountain View, Calif.	Shoreline Amphitheater
Friday, September 5, 2025	Irving, Texas	Toyota Music Factory
Sunday, September 7, 2025	Houston, Texas	Cynthia Woods Mitchell Pavilion
Wednesday, September 10, 2025	Puyallup, Wash.	Washington State Fair

*Doggyland opening act dates

No Bars, No Flute, Just André: 3000 Unveils '7 Piano Sketches'

The cover of André 3000’s new album “7 Piano Sketches” depicts the Outkast co‑founder with a stripped‑down grand piano strapped to his back, a visual nod to the release’s sparse, lo‑fi improvisations.

There’s no flute this time. No bars, no features, no rollouts. Just André 3000, alone with a piano, playing in rooms with nothing but beds, TV screens — and feelings.

On Monday, André 3000 attended the Met Gala in New York, donning a Burberry jumpsuit and red hat, with a lightweight replica Steinway Model S baby grand piano strapped to his back. Later that day, while fashion fans were still basking in the afterglow of the gala, the Outkast co‑founder quietly released “7 Piano Sketches,” a seven‑track follow‑up to 2023’s “New Blue Sun.”

“These piano sketches are improvisations,” the eclectic artist wrote on Instagram. “To conjure them up, I spread my fingers out on the keys and randomly but with purpose move them around until I find something that feels good or interesting… I cannot name which notes, keys or chords that I’m playing. I simply like the sound and mechanics of piano playing.”

Originally titled “The Best Worst Rap Album in History,” the project contains no lyrics—and that’s the point. “It’s jokingly the worst rap album in history because there are no lyrics on it at all. It’s the best because it’s the free‑est emotionally and best I’ve felt personally. It’s like a palette cleanser for me,” he wrote in his liner notes.

Most of these sketches were recorded in Texas nearly a decade ago, when André 3000 and his son were living in a sparsely furnished house — only beds, a piano and TV screens — sharing snippets privately with friends and family. One studio‑quality track, “Blueberries,” stands out for its fidelity, but the rest are honest, lo‑fi improvisations.

He cites Thelonious Monk, Philip Glass and Joni Mitchell as key inspirations — a list as idiosyncratic and unbothered by boundaries as the artist himself.

For longtime fans who’ve waited decades for a traditional solo album, “7 Piano Sketches” may feel like another detour. But for those listening closely, it’s exactly what André 3000 has always been: open, emotional, strange and beautiful.

Chuck D Accepts Reverb Award at Stax in Tribute to Music’s Power and Purpose

Chuck D receives the inaugural Reverb Award from the Soulsville Foundation at the Stax Museum of American Soul Music in Memphis on Friday. At left is songwriter David Porter. (Photo: Claire James)

Rap pioneer Chuck D received the first-ever "Reverb Award" from the Soulsville Foundation during a powerful ceremony at the Stax Museum of American Soul Music on Friday — a moment that bridged generations of Black musical resistance, from protest soul to politically conscious rap.

The honor, part of the Foundation’s new Power of Music Honors series, celebrates artists who wield music as a tool for activism, education and real-world change. And few embody that ethos more than Chuck D, the commanding voice behind Public Enemy, whose “Fight the Power” remains a battle cry more than three decades after it was released.

“I grew up on my mom’s Stax records and to this day am still in total and complete awe of the talent, the genius, and the legacy that came out of the soul of Memphis,” Chuck D said at the ceremony. “I am humbled beyond any words to receive this honor and I share it with everyone who came before me, stands alongside me now, and will follow us all in the future.”

Presented by songwriter and soul icon David Porter — co-author of “Soul Man” and “Hold On, I’m Comin’” — the award recognized Chuck D not just for his music, but for his decades-long role as a cultural commentator, activist and music historian.

“Chuck D has utilized his platform to transcend the sequestered space of musicians as entertainment,” said Soulsville Foundation CEO Pat Mitchell Worley. “His activism and role as a music historian have fueled the knowledge and self-determination of a generation and exemplify the Power of Music Honors.”

The setting made the moment even more profound. Stax Records was never just a hit machine — it was a community anchor that created jobs, mentored local talent, and nurtured revolutionary Black artistry. During the 1960s and ’70s, it launched the careers of Otis Redding, Isaac Hayes, Booker T. & the M.G.’s and The Staple Singers, and helped define the sound of Southern soul and the pulse of Black America.

That legacy continues through the Soulsville Foundation and the Stax Music Academy, which this year celebrates its 25th anniversary. At the ceremony, soul singer Talibah Safiya and current Academy students delivered stirring renditions of “Respect Yourself” and Johnnie Taylor’s “I Am Somebody,” affirming the next generation’s connection to the music’s mission.

The Power of Music Honors will be presented annually to individuals and organizations who use music to open doors, build community, and spark cultural movements. The Reverb Award — named for the echo of impact — is the highest distinction, and Chuck D’s selection as its first recipient reflects a full-circle moment: the rebel spirit of soul finding its mirror in the fire of hip-hop.

The award also shines a spotlight on Soulsville’s ongoing work, including Music Employs, an initiative that connects young artists with training, mentors, and real-world pathways into creative industries. It’s all part of a broader mission to ensure that the power of Memphis music isn’t just remembered — it’s reimagined for the future.

USC Awards Presidential Medallion to Dr. Dre and Jimmy Iovine for Innovation in Education

Jimmy Iovine, left, and Andre “Dr. Dre” Young, right, celebrate with a graduate of the USC Iovine and Young Academy during commencement ceremonies in Los Angeles. (Photo: USC Iovine and Young Academy)

Andre “Dr. Dre” Young and fellow music industry titan Jimmy Iovine were awarded the University of Southern California’s highest honor — the Presidential Medallion — during this month’s Academic Honors Convocation, recognizing a decade of educational innovation and cultural impact through the USC Iovine and Young Academy.

The two co-founders, whose names now anchor USC’s 21st school, joined USC Dean of Religious Life Varun Soni and philanthropists Leslie and William McMorrow as the latest recipients of the medallion, which is given to individuals who bring "significant honor and distinction" to the university.

 

The announcement was made by USC President Carol Folt during April’s Academic Honors Convocation. “They’ve brought immeasurable value and innovation to the learning experience for our students,” she said. “It would be a privilege to honor everything they’ve done to usher in a new era of education.”

For Dre and Iovine, the moment represents a full-circle evolution from shaping the sound of a generation to reshaping the future of learning. In 2013, the duo donated $70 million to create the USC Jimmy Iovine and Andre Young Academy, an interdisciplinary program blending design, technology and business. The Academy has since expanded with affiliated high schools in Los Angeles and Atlanta.

“Education was siloed,” Iovine said during the ceremony. “So we said, ‘What if we create a school where people collaborate and learn to innovate together?’”

Dr. Dre, the Compton-raised hip-hop pioneer and co-founder of N.W.A., first teamed with Iovine while launching his landmark solo debut "The Chronic" under Iovine’s Interscope Records. That partnership later grew into Beats Electronics and Beats Music, companies that helped redefine consumer audio and streaming before being acquired by Apple in 2014.

Dr. Dre’s production resume includes shaping the careers of Eminem, 50 Cent, Kendrick Lamar and Anderson .Paak. He also co-produced HBO’s Emmy-nominated docuseries "The Defiant Ones."

Meanwhile, Iovine’s legacy spans decades in music and media — from engineering records for John Lennon and Bruce Springsteen to executive producing some of hip-hop’s biggest crossovers. “I think we created something really special,” Iovine told the audience. “And thank you, Dr. Dre — you’re the greatest partner and friend that ever lived.”

From ‘The Twist’ to ‘Hey Ya!’: Rock Hall’s 2025 Class Bridges Generations

Outkast’s André 3000 and Big Boi, leaders of the Rock & Roll Hall of Fame’s 2025 induction class, redefined hip-hop with a style all their own. (Photo via Rock Hall)

"What's cooler than being cool?" For Outkast, the answer might just be the Rock & Roll Hall of Fame.

The genre-bending Atlanta duo — alongside fellow hip-hop trailblazers Salt-N-Pepa and dance-floor icon Chubby Checker — lead the Rock & Roll Hall of Fame’s Class of 2025. The eclectic roster, unveiled live during American Idol on Sunday night, bridges the old school and new school with legends who rewrote the rules of sound, culture and swagger.

The Rock Hall’s chairman John Sykes said this year’s class "created their own sound and attitude that changed the course of rock and roll forever," giving "a voice to generations."

For hip-hop fans, Outkast’s enshrinement feels long overdue. From the slow-boil southern funk of Southernplayalisticadillacmuzik to the genre-bending masterpiece Stankonia and the pop brilliance of Speakerboxxx/The Love Below, André and Big Boi blew open the definition of rap, crafting albums that felt like entire worlds. Hits like “Ms. Jackson,” “Hey Ya!” and “Rosa Parks” didn’t just dominate the charts, they rewrote the rules.

Their induction underscores the Rock Hall’s slowly widening lens on hip-hop as a revolutionary musical force, not just a genre, but a movement with staying power equal to rock’s earliest legends.

Salt-N-Pepa will receive the Musical Influence Award, cementing their legacy as rap’s original bad girls — bold, sexy, self-possessed — who opened the gates for generations of women in hip-hop and pop. Long before “WAP” shook the mainstream, Cheryl James and Sandra Denton crashed it with tracks like “Push It,” “Shoop,” and “Let’s Talk About Sex,” making them household names without sacrificing their edge.

And for the oldest heads in the room, Chubby Checker’s induction feels like a homecoming decades overdue. His 1960 hit “The Twist” didn't just launch a dance craze — it transformed R&B’s relationship with youth culture forever, making dancefloor rebellion mainstream long before the Beatles or Stones caught fire.

Other honorees this year include Seattle grunge architects Soundgarden, pop trailblazer Cyndi Lauper, blues powerhouse Joe Cocker, and British rock staples Bad Company. In the Musical Excellence category, legendary Philadelphia producer Thom Bell (known for work with The Delfonics and The Stylistics), session keyboardist Nicky Hopkins, and bass pioneer Carol Kaye will be recognized, while Warner Bros. executive Lenny Waronker earns the Ahmet Ertegun Award for his behind-the-scenes influence.

The induction ceremony is set for Nov. 8 at the Peacock Theater in Los Angeles, streaming live on Disney+ and airing later on ABC. Tickets and further ceremony details are expected later this summer.

Grassroots Campaign Aims to Fund Sun Ra Arkestra’s Return to Jazz Pioneer’s Hometown

Sun Ra appears in a 1973 publicity photo for Impulse/ABC Dunhill Records. A grassroots GoFundMe campaign aims to bring the Sun Ra Arkestra to his hometown of Birmingham for a four-day celebration of what would be his 111th birthday.

A grassroots GoFundMe campaign has raised more than $22,000 (as of press time) toward a $31,000 goal to bring the Sun Ra Arkestra to Birmingham for a four-day celebration of the bandleader’s 111th birthday. All proceeds will cover travel, lodging and production costs, with concert ticket revenue supporting local venues and youth jazz programs.

Herman “Sonny” Poole Blount, better known as Sun Ra, was born in Birmingham on May 22, 1914, and died there on May 30, 1993. A pioneering composer, bandleader and Afrofuturist philosopher, he fused big-band swing with synthesizers and cosmic theatrics to forge a sound that inspired generations. Over a 50-year career and nearly 200 albums, he composed more than 1,000 pieces, pioneering free improvisation, modal jazz and early electronic keyboards. His theatrical live shows — complete with elaborate costumes, dancers and spoken-word manifestos — helped lay the foundation for Afrofuturism and influenced artists from Parliament-Funkadelic to Janelle Monáe.

 

Since Ra’s passing, saxophonist Marshall Allen has led the Arkestra, preserving Ra’s “discipline” and expansive vision on stages worldwide. Allen, who turned 100 last year, remains at the helm of a band that has sold out shows from European jazz festivals to Tokyo’s Shinjuku Pit Inn.

The campaign, “Celebrate Sun Ra’s Legacy in Birmingham,” brings together the Alabama Jazz Hall of Fame, Sidewalk Cinema, Saturn Records, Seasick Records, Southern Music Research Center and East Village Arts. Two headline concerts — May 22 at Carver Theatre and May 23 at The Nick — anchor a slate of film screenings, art exhibits, panel discussions and youth workshops. Proceeds from the May 22 concert will benefit the Hall’s Saturday Jazz Greats initiative.

“This is our chance to honor Sun Ra where it all began,” said organizer Lee Shook. “Fans from Chicago to Tokyo to Johannesburg can join us in spirit — and help launch Birmingham’s first official Sun Ra Day.”

Tentative Event schedule (May 21–24)

• May 21: Screening of Space Is the Place at Sidewalk Cinema; House of Found Objects after-party

• May 22 (Sun Ra’s birthday): Seasick Records in-store signing at noon; workshop TBA; Arkestra concert at Carver Theatre; late-night set at Saturn Records

• May 23: “An Evening with the Sun Ra Arkestra” at The Nick, site of their famed 1988 show

• May 24: Craig Legg’s “Ark in Town” exhibit at East Village Arts; Moon Stew potluck and DJ sets by Rahdu, Suaze and The Audiovore

Full schedule and donation info at gofundme.com/f/4sc93-celebrate-sun-ras-legacy-in-birmingham.