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

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

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

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

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

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

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

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

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

Full List of 2025 MTV Video Music Awards Nominees

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

VIDEO OF THE YEAR

Ariana Grande – “brighter days ahead” – Republic Records

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

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

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

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

Sabrina Carpenter – “Manchild” – Island

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

ARTIST OF THE YEAR

Bad Bunny – Rimas Entertainment

Beyoncé – Parkwood Entertainment/Columbia Records

Kendrick Lamar – pgLang/Interscope Records

Lady Gaga – Interscope Records

Morgan Wallen – Big Loud Records/Mercury Records

Taylor Swift – Republic Records

The Weeknd – XO/Republic Records

SONG OF THE YEAR

Alex Warren – “Ordinary” – Atlantic Records

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

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

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

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

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

Lorde – “What Was That” – Republic Records

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

Tate McRae – “Sports Car” – RCA Records

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

BEST NEW ARTIST

Alex Warren – Atlantic Records

Ella Langley – SAWGOD/Columbia Records

Gigi Perez – Island

Lola Young – Island

Sombr – SMB Music/Warner Records

The Marías – Nice Life/Atlantic Records

BEST POP ARTIST **

Ariana Grande – Republic Records

Charli XCX – Atlantic Records

Justin Bieber – Def Jam Recordings

Lorde – Republic Records

Miley Cyrus – Columbia Records

Sabrina Carpenter – Island

Tate McRae – RCA Records

MTV PUSH PERFORMANCE OF THE YEAR

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

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

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

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

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

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

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

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

Apr 2025 – Livingston – “Shadow” – Republic Records

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

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

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

BEST COLLABORATION

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

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

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

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

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

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

BEST POP

Alex Warren – “Ordinary” – Atlantic Records

Ariana Grande – “brighter days ahead” – Republic Records

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

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

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

Sabrina Carpenter – “Manchild” – Island

BEST HIP-HOP

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

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

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

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

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

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

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

BEST R&B

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

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

Mariah Carey – “Type Dangerous” – Gamma.

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

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

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

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

BEST ALTERNATIVE

Gigi Perez – “Sailor Song” – Island

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

Lola Young – “Messy” – Island

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

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

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

BEST ROCK

Coldplay – “All My Love” – Atlantic Records

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

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

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

Linkin Park – “The Emptiness Machine” – Warner Records

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

BEST LATIN

Bad Bunny – “Baile Inolvidable” – Rimas Entertainment

J Balvin – “Rio” – Capitol Records

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

Peso Pluma – “La Patrulla” – Double P Records

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

Shakira – “Soltera” – Sony Music US Latin

BEST K-POP

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

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

Jimin – “Who” – BigHit Music

Jisoo – “Earthquake” – Warner Records

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

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

Rosé – “toxic till the end” – Atlantic Records

BEST AFROBEATS

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

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

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

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

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

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

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

BEST COUNTRY **

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

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

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

Lainey Wilson – “4x4xU” – Broken Bow Records

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

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

BEST ALBUM

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

Kendrick Lamar – “GNX” – pgLang/Interscope Records

Lady Gaga – “Mayhem” – Interscope Records

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

Sabrina Carpenter – “Short n' Sweet” – Island

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

BEST LONG FORM VIDEO

Ariana Grande – “brighter days ahead” – Republic Records

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

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

Mac Miller – “Balloonerism” – Warner Records

Miley Cyrus – “Something Beautiful” – Columbia Records

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

VIDEO FOR GOOD

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

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

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

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

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

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

BEST DIRECTION

Ariana Grande – “brighter days ahead” – Republic Records

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

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

Lady Gaga – “Abracadabra” – Interscope Records

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

Sabrina Carpenter – “Manchild” – Island

BEST ART DIRECTION

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

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

Lady Gaga – “Abracadabra” – Interscope Records

Lorde – “Man Of The Year” – Republic Records

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

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

BEST CINEMATOGRAPHY

Ariana Grande – “brighter days ahead” – Republic Records

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

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

Lady Gaga – “Abracadabra” – Interscope Records

Miley Cyrus – “Easy Lover” – Columbia Records

Sabrina Carpenter – “Manchild” – Island

BEST EDITING

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

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

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

Lady Gaga – “Abracadabra” – Interscope Records

Sabrina Carpenter – “Manchild” – Island

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

BEST CHOREOGRAPHY

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

FKA twigs – “Eusexua” – Atlantic Records

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

Lady Gaga – “Abracadabra” – Interscope Records

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

Zara Larsson – “Pretty Ugly” – Epic Records

BEST VISUAL EFFECTS

Ariana Grande – “brighter days ahead” – Republic Records

Lady Gaga – “Abracadabra” – Interscope Records

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

Sabrina Carpenter – “Manchild” – Island

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Victory, in this case, is served with context.

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

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

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

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

Cowboy Carter Tour: By the Numbers

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

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

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

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

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

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

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

 Top-Grossing Country Tours of All Time

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

Source: Billboard Boxscore, confirmed July 22, 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

All five episodes are now streaming on Paramount+.

Actor-Musician Malcolm-Jamal Warner Dies at 54 in Costa Rica Drowning Accident

Malcolm-Jamal Warner performs with his band Miles Long at a live show in Atlanta in 2022. Warner, who died Sunday in Costa Rica at age 54, earned Grammy recognition for blending jazz-funk bass lines with spoken-word poetry. (Screenshot via YouTube/Miles Long Live, “Spark & Tingle” performance)

Malcolm‑Jamal Warner — Emmy‑nominated actor turned Grammy‑winning bassist and spoken‑word poet
— drowned Sunday while swimming with relatives at Playa Cocles on Costa Rica’s Caribbean coast. He was 54.

According to Costa Rica’s Judicial Investigation Department, Warner was caught in a rip current and died of accidental asphyxia. News of his death was confirmed Monday.

Born August 18, 1970, in Jersey City, New Jersey, Warner gained national attention as a teenager playing Theo Huxtable on the NBC sitcom “The Cosby Show.” His performance earned him an Emmy nomination and made him a cultural icon — but that role would become just the first act in a lifelong creative journey.

 

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A post shared by Malcolm-Jamal Warner (@malcolmjamalwar)

Off camera, Warner developed a parallel career as a musician, forming the jazz‑funk spoken‑word band Miles Long. Across multiple studio releases — including “The Miles Long Mixtape,” “Love & Other Social Issues,” “Selfless,” and “Hiding in Plain View” — Warner blended upright bass grooves with socially conscious lyrics and poetic monologues. His work drew on influences from classic soul, jazz, and hip‑hop, and earned respect across live music circles and underground poetry communities alike.

 

In 2015, Warner won a Grammy Award for best traditional R&B performance for his contribution to a reinterpretation of Stevie Wonder’s “Jesus Children of America,” recorded by Robert Glasper Experiment and featuring Lalah Hathaway. The track marked Warner’s deepening presence in music as both a collaborator and a creative voice.

“Hiding in Plain View,” released in 2022, received a Grammy nomination in 2023 for best spoken‑word poetry album. Warner’s delivery — intimate, urgent, and rooted in tradition — stood out in a crowded field and solidified his reputation as more than a former TV star.

Beyond the stage and studio, Warner remained active in television, with notable roles on “Malcolm & Eddie,” “The People v. O.J. Simpson,” “Reed Between the Lines,” and “The Resident.” He also used his platform to elevate community dialogue through the podcast “Not All Hood,” which launched in 2023 and featured conversations centered around Black identity, mental health, and creativity.

🎸 SIDEBAR: Malcolm‑Jamal Warner’s Music Legacy

Band: Miles Long
Genre: Jazz‑funk / Spoken word / Neo‑soul
Role: Bassist, bandleader, spoken‑word poet

---

🎧 Key Albums:

• “The Miles Long Mixtape” (2004)
  Warner’s first full-length musical release — a raw blend of funk basslines and lyrical poetry.
• “Love & Other Social Issues” (2007)
  A concept project tackling relationships, politics, and social justice through groove‑driven arrangements.
• “Selfless” (2015)
  Featured collaborations with Lalah Hathaway. “Spark & Tingle” became a standout track.
• “Hiding in Plain View” (2022)
  Career-defining work nominated for a 2023 Grammy for best spoken-word poetry album.

🏆 Grammy Recognition:

• Winner (2015) — Best Traditional R&B Performance
  With Robert Glasper Experiment and Lalah Hathaway on “Jesus Children of America.”
• Nominee (2023) — Best Spoken-Word Poetry Album
  For “Hiding in Plain View.”

🎙️ Live & Beyond:

• Performed at Blue Note, Playboy Jazz Festival, Indy Jazz Fest
• Collaborated with Robert Glasper, Ledisi, Lalah Hathaway
• Hosted podcast “Not All Hood” (2023), focused on Black identity & mental health

Legacy: Warner transformed a TV icon’s spotlight into a mic for truth — fusing rhythm, resistance, and reflection through every bar and bassline.

From 'Abbott Elementary' to 'Dope Thief,' Black Stars Break New Ground at Emmys

The 77th Primetime Emmy Awards, airing live Sept. 14 on CBS and Paramount+, will spotlight a competitive and diverse field — including record-breaking nominations for Quinta Brunson and Ayo Edebiri and standout first-time nods for Brian Tyree Henry and Tramell Tillman.

The 2025 Emmy nominations just dropped — and while prestige dramas like “Severance,” “The White Lotus,” and “The Penguin” soaked up the most nods, a deeper look reveals a meaningful showing for Black talent across genres, from comedy and drama to limited series and talk shows. In fact, this year's nominations saw approximately 25.5% of all acting nominations go to actors of color, with Black performers making a significant impact across categories.

Black Excellence at the 2025 Emmys

• Quinta Brunson – Nominated for lead actress in a comedy and writing. Ties Tracee Ellis Ross for most lead comedy nods by a Black woman (4 total).
• Ayo Edebiri – First Black woman nominated for both acting and directing in comedy in the same year. Youngest to earn 3 acting Emmy noms.
• Sterling K. Brown – Lead actor nod for "Paradise" marks his seventh series with Emmy recognition, tying Don Cheadle’s record.
• Brian Tyree Henry – Earned a lead actor nod for "Dope Thief." Continues building a standout post-"Atlanta" resume.
• Tramell Tillman – First-time nominee for supporting actor in drama for his breakout role in "Severance."
• Janelle James – Supporting actress nominee for her scene-stealing role in "Abbott Elementary."
• Sheryl Lee Ralph – Repeat supporting nomination for "Abbott Elementary," adding to her late-career Emmy surge.

Winners will be announced at the 77th Primetime Emmy Awards on September 14, live from Los Angeles.

Quinta Brunson and Sheryl Lee Ralph are once again representing for “Abbott Elementary,” both earning repeat nominations for their sharp, hilarious work on the ABC hit. Janelle James also picked up a supporting actress nod, keeping the entire Abbott trio in the race for another year of Emmy love. Notably, Brunson's nomination marks her fourth acting nod, tying her with Tracee Ellis Ross for third most-nominated Black woman in lead comedy actress. She also made history by tying Stefani Robinson for most writing nominations by a Black woman (three total), and is the first to achieve all three writing nominations for a single series.

“The Bear” star Ayo Edebiri landed a nomination for lead actress in a comedy — a major bump from her previous supporting win. Beyond her acting nod, Edebiri also secured a directing nomination for "The Bear" episode "Napkins," making her the first woman nominated for acting and directing in comedy in the same year, and only the second Black woman nominated for comedy directing. At 29, she also becomes the youngest Black woman to receive three Emmy acting nominations. Meanwhile, Sterling K. Brown returned to the drama lead actor field for his role in “Paradise,” a series that continues to build critical momentum after a strong first season. This nomination marks his seventh different series to receive recognition, tying Don Cheadle for the most among Black male performers.

One of the most exciting newcomers? Brian Tyree Henry, nominated for lead actor in a limited series for “Dope Thief.” It’s another milestone for the “Atlanta” standout, who’s quietly building one of the most versatile careers of his generation.

Quick Look: Top Emmy Nominees by Program

• “Severance” (Apple TV+): 27 nominations
• “The Penguin” (HBO): 24 nominations
• “The White Lotus” (HBO): 23 nominations
• “The Studio” (Apple TV+): 23 nominations
• “The Bear” (FX): 13 nominations
• “Abbott Elementary” (ABC): 6 nominations
• “Adolescence” (Netflix): 13 nominations
• “Dying For Sex” (FX): 9 nominations
• “RuPaul’s Drag Race” (MTV): 8 nominations
• “The Daily Show” (Comedy Central): 8 nominations

Full list available at Emmys.com.

Tramell Tillman made waves in “Severance” and earned his first Emmy nomination for supporting actor in a drama, sharing the category with heavyweights like Sam Rockwell and Walton Goggins. Tillman’s breakout role as the chilling Mr. Milchick has become one of the show’s most talked-about performances.

On the reality and variety side, “RuPaul’s Drag Race” picked up another nomination for best competition series, while “The Daily Show,” now led by Jon Stewart, made the cut for outstanding talk series. Both continue to reflect the shifting cultural and political discourse in television.

But for all the deserved nods, the list also left some audiences asking questions. Where was Donald Glover? And what about the cultural juggernaut “Swarm”? While "Swarm" star Dominique Fishback did earn her first Emmy nod in 2023 for Lead Actress in a Limited or Anthology Series or Movie, the series itself was noticeably absent from major nominations this year, despite its impact. Even in a year of expanding representation, some of Black TV’s most experimental and genre-bending work went overlooked.

Still, the 2025 Emmys are shaping up to be one of the most competitive — and culturally rich — in recent memory. From network comedies to Apple TV+ thrillers, the nominations reflect a growing, if uneven, appetite for inclusion and depth in storytelling. Whether the winners follow that trend when the Emmys air September 14 remains to be seen.

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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A post shared by Gavin Adcock (@gavinadcockmusic)

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