Showing posts with label lifestyle. Show all posts
Showing posts with label lifestyle. Show all posts

Thursday, September 10, 2026

Timothy Joseph, the Original Buc Wild of ‘Star & Buc Wild,’ Dies at 47

Timothy “Buc Wild” Joseph, the broadcaster who helped take “Star & Buc Wild” from Manhattan public-access television to MTV and one of the most visible morning shows in New York hip-hop radio, has died. He was 47.

His older half-brother and longtime broadcasting partner, Troi “Star” Torain, announced Joseph’s death during a livestream Wednesday, saying his brother died Sunday, Sept. 6.

A cause of death has not been publicly confirmed.

Torain described Joseph as someone who was “like a son” to him and spoke about a side of his brother that listeners rarely heard on the air. Joseph struggled with dyslexia, Torain said, and the two worked on his reading while they were at Hot 97, with station executives Tracy Cloherty and Judy Ellis among those who supported him.

For listeners who remember New York hip-hop radio at the turn of the millennium, Buc Wild was part of a name that seemed to turn up everywhere for a while — in print, on television and eventually in morning drive.

The idea started with Torain’s “Reality Check” column in The Source, where he developed the Star and Buc Wild characters during the 1990s. In 1998, the concept became a public-access television show on Manhattan Neighborhood Network, with Joseph beside his brother as Buc Wild.

A year later, MTV brought the pair to “Beat Suite,” a weekday music program that gave the act a national platform.

Radio made the name considerably bigger.

 

By March 2000, Hot 97 had moved Star and Buc Wild into morning drive alongside Miss Jones and DJ Enuff. Contemporary radio-trade coverage identified Joseph as Torain’s partner as the station assembled a show designed to compete in one of the most important and closely watched radio markets in the country.

The timing mattered.

This was an era when New York terrestrial radio could still shape the daily conversation around hip-hop. A record could gain momentum because Hot 97 played it. An interview could become news before the morning show was over. On-air personalities were not merely introducing songs; they were part of the culture surrounding them.

Torain supplied much of the confrontation that made “Star & Buc Wild” famous — and frequently infamous. Joseph played a different role.

Torain later described Buc Wild as the younger voice who helped keep him connected to artists, records and changes in the culture. That dynamic gave the show its balance: Star pushed, provoked and argued, while Buc Wild operated closer to the music and the younger audience the program was trying to reach.

The Hot 97 run lasted until 2003. Star & Buc Wild subsequently signed with Clear Channel and worked in Hartford before the brand returned to New York at rival Power 105.1.

That part of the history is more complicated than many retrospectives suggest.

By July 2005, Torain told the radio trade publication Radio & Records that Joseph had been the original Buc Wild, but another staffer, Kaheem, was then filling the role. By that point, “Buc Wild” had effectively become both Joseph’s broadcasting identity and a character within the larger Star & Buc Wild franchise.

It is an important distinction when tracing Joseph’s career.

The Power 105.1 show ended in 2006 after Torain made threatening, racist and sexually explicit remarks involving the family of rival Hot 97 personality DJ Envy. Clear Channel fired Torain after the broadcast.

Contemporary reports attributed those remarks to Torain, not Joseph.

Joseph eventually reunited with his brother on the air. In late 2007, The Associated Press reported that Torain and Joseph were preparing to return together to New York morning radio, and Pulse 87 launched in 2008 with “Star & Buc Wild” in its morning lineup.

By then, the media environment that had made their name was beginning to change.

The kind of personality-driven, free-form hip-hop conversation that once required space in a magazine, a public-access slot or a terrestrial radio signal was moving online. Blogs, streaming video, podcasts and social media would eventually make that style of commentary available to anyone with an audience.

Torain followed it there, building “The Star Report” online and continuing the confrontational broadcasting style that had defined much of his career.

Joseph became far less visible.

That makes Torain’s remembrance of his brother more revealing than another rundown of radio stations and controversies. Behind the deliberately outsized Buc Wild character was a younger brother navigating dyslexia, learning the business and helping turn an idea that began in a magazine column into a recognizable name in hip-hop media.

“Star & Buc Wild” was never built to be restrained. Provocation was part of the product, and the show repeatedly pushed — and sometimes crossed — the limits of what radio stations were prepared to put on the air.

But Joseph’s place in that history is more specific than the controversies surrounding the brand.

He was there before the major stations and before the national exposure. He was beside Torain when “Star & Buc Wild” was a public-access show, when MTV came calling and when Hot 97 put the pair in front of New York every morning.

The Buc Wild role would eventually be filled by someone else.

Timothy Joseph was the original.

Tuesday, September 8, 2026

John Legend Steps Outside His Comfort Zone With Pharrell-Produced ‘Muse’

The cover art for "Muse," the upcoming album by John Legend. Produced entirely by Pharrell Williams, the 16-track project is scheduled for release on Oct. 23. (Photo courtesy of Republic Records)

John Legend and Pharrell Williams have known each other for more than two decades.

Somehow, they had never made an album together.

That changes Oct. 23 with “Muse,” a 16-track John Legend album produced entirely by Pharrell and built around an idea that sounds considerably different from the piano ballads that have defined much of Legend’s career.

Legend announced the album Tuesday alongside “Daylight,” its first single. He previewed the song Monday during CBS’ “America’s Tailgate” special in Nashville.

The collaboration may seem overdue for two artists whose careers have overlapped since the early 2000s. Legend said that was essentially his reaction when Pharrell approached him.

“A lot of people would have imagined we’d done something like this already, but we hadn’t,” Legend said in the album announcement. “It felt past due.”

The path to “Muse” began with another reunion from that era.

Legend appeared on “The Birds Don’t Sing,” from Clipse’s 2025 comeback album, “Let God Sort ’Em Out.” Pharrell, who produced that album, heard something in Legend’s performance that made him want to build an entire project around his voice.

The two convened in Paris in January 2025, working from Pharrell’s studio at Louis Vuitton headquarters, where he serves as men’s creative director.

The idea was not to make another conventional John Legend record.

“I think my repertoire has always been very diverse, but the piano-driven ballads have gotten the most traction throughout my career,” Legend said. “I wanted to shake up the formula and do something fresh and new.”

Pharrell’s concept reached across generations of Black music, drawing from gospel, doo-wop, classic soul, standards, Afrobeat and hip-hop. Legend cited Nina Simone, Nat King Cole and Marvin Gaye among the album’s musical reference points.

The visual and sonic shorthand the pair settled on was even more specific.

Legend described Pharrell’s original vision as a “Black James Bond aesthetic” — classic and cinematic, but driven by a modern beat.

That approach can be heard across a record that puts horns and strings alongside contemporary production and occasionally pulls Legend considerably farther from his usual territory.

It also required him to surrender some control.

Legend said he recorded songs Pharrell wrote entirely himself, something he “almost never” does. Pharrell appears on six of the album’s 16 tracks, while Clipse returns the favor by appearing on “Bodies on the Floor.”

For Legend, the unusual arrangement became an exercise in trust.

“It’s not about winning the argument or ego,” he said. “It’s about the music winning. Every battle should be won by the art.”

The album also reaches backward without being designed as a nostalgia project.

Legend said the title “Muse” partly refers to the Muses of Greek mythology, but he connected the idea directly to the Black artists and traditions that shaped his own music.

“Our ancestors are our muses,” Legend said. “My music has always been me channeling the ancestors, taking what they gave us and making something new.”

Listeners have already heard one piece of the collaboration without necessarily knowing an album was coming.

“Pray For Ya,” another “Muse” track, debuted during Louis Vuitton’s Fall-Winter 2026 men’s show in January. The newly released “Daylight” is the project’s first official single.

Other songs include “Her,” which draws from gospel and doo-wop; the horn-and-string-heavy “Get Back”; “Are You OK?”; “Under the Bridge”; “Doing Me”; “Fireflies”; and “Sail Off.”

The project arrives more than 20 years after Legend introduced himself with “Get Lifted” in 2004 and Pharrell helped define the sound of the same era through his work with Chad Hugo as the Neptunes.

Legend is not treating that longevity as permission to coast.

“There are plenty of artists who get to a point in their career where they don’t make anything new,” he said. “We can just play the hits; we can stay in our comfort zone.”

For “Muse,” he chose the other option.

“I believe it’s important to keep the mindset that I have to continue to prove myself,” Legend said. “I wanted this album to have that sense of urgency — to feel like something that needed to be made and is fully worthy of my audience’s attention.”

“Muse” will be released Oct. 23 through Republic Records.


Friday, September 4, 2026

Beyoncé Reopens ‘B’Day’ 20 Years Later With Selena, Celia Cruz and Unreleased Music

Beyoncé poses with an alligator in an image from the “B’Day” era photographed by Max Vadukul. The image is part of the album’s 20th-anniversary rollout, which includes a 31-track digital deluxe edition, previously unreleased material and newly remastered videos. (Max Vadukul/Parkwood Entertainment)
Beyoncé marked her 25th birthday with the worldwide release of "B'Day."

Twenty years later, she is celebrating her 45th by opening the vault.

The superstar released an expanded 20th-anniversary edition of her second solo album Friday, turning what could have been a routine remaster into a 31-track revisit of one of the most aggressive records of her early solo career.

"B'Day (20th Anniversary Deluxe Edition)" brings together the original album, B-sides and previously unreleased material while adding new recordings that connect Beyoncé's Texas roots to Selena and reach into Afro-Cuban music through Celia Cruz.

The biggest surprise is “Irreemplazable (Como La Flor),” a new posthumous pairing that combines Beyoncé's Spanish-language “Irreplaceable” with Selena's “Como La Flor.”
 

According to Parkwood Entertainment, Selena's estate approved the use of her music for the recording. Beyoncé has said she grew up hearing Selena on the radio in Houston and credits her as an inspiration for "Irreemplazable," the Spanish-language EP Beyoncé released in 2007.

The connection is more than convenient anniversary packaging.

Beyoncé and Selena were both Texas-born performers who crossed musical and cultural boundaries on their way to international stardom. Beyoncé even recalled briefly meeting Selena at The Galleria in Houston before Selena's 1995 death, a story she discussed years later while reflecting on the singer's influence.

The anniversary edition makes that connection musical.

It also gives “Get Me Bodied” a new life.

“Cuerpo (Tumbao),” featuring Colombian star Maluma, reworks the "B'Day" favorite while sampling Celia Cruz's “La Negra Tiene Tumbao.” Parkwood said Beyoncé chose the Cruz connection in part because of her admiration for the Cuban singer's pride in her African culture and her refusal to bend in the face of racism, colorism and narrow standards of beauty.

For an album turning 20, those additions push "B'Day" outward rather than simply asking listeners to remember it.

The original was released worldwide Sept. 4, 2006, on Beyoncé's 25th birthday, with its U.S. release following a day later. It arrived three years after "Dangerously in Love" established Beyoncé as a solo superstar and while the final chapter of Destiny's Child was still fresh.

She made it quickly.

Beyoncé recorded the core of "B'Day" during an intense two-week studio stretch, working with producers including Swizz Beatz, Rodney “Darkchild” Jerkins, Rich Harrison and the Neptunes.

Two decades later, Beyoncé says the urgency was intentional.

“I wanted the album to be big, percussive, hard, up-tempo, and energized, and it was important to me that we used live instrumentation,” she recalled in a statement accompanying the anniversary release.

At a moment when hip-hop was increasingly driving popular music, Beyoncé said she wanted to preserve the bridges, melodies and harmonies she considered fundamental to R&B while finding a way to make those traditions coexist with hard drums, sampling and 808s.
 

You can hear that tension throughout "B'Day."

“Déjà Vu,” featuring Jay-Z, opens with live bass and builds into horns and percussion. “Ring the Alarm” turns relationship fury into something nearly militaristic. “Get Me Bodied” is built for movement. “Freakum Dress” makes getting dressed sound like retaliation.

Then there is “Irreplaceable,” the comparatively restrained breakup song that became one of the biggest records of Beyoncé's career.

The anniversary edition doesn't try to smooth those differences out.

Instead, it makes the album bigger.

“Morning Dew (Donk),” which Beyoncé officially released July 4 after the song leaked in 2023, is included. Beyoncé subsequently released a separate remix featuring Jay-Z in August.

The expanded set includes “Can I Watch You,” produced by Beyoncé and Pharrell Williams, along with “Lost Yo Mind,” “Creole” and “Back Up.”

“My First Time” reaches even further back. The song was originally recorded for Beyoncé's 2003 solo debut, "Dangerously in Love," but did not make that album's final track list.

The digital deluxe also gathers music from elsewhere around the "B'Day" era and its subsequent expanded releases, including “Check on It,” “Beautiful Liar” with Shakira and earlier Spanish-language recordings.

Altogether, the digital deluxe runs 31 tracks and just under two hours.

The physical rollout is substantial, too. A four-LP deluxe edition is pressed on 180-gram Bayou Blue vinyl and includes a 60-page commemorative booklet and two double-sided art prints. A standard anniversary edition is also available on vinyl and CD; the standard two-LP edition includes a 16-page booklet with never-before-seen imagery.

Beyoncé has also returned to the visual side of the project.

Parkwood describes "B'Day" as essentially an early visual album, anticipating the approach that would later become central to Beyoncé's work. Videos originally captured on 35mm have been remastered, recolored and finished in 4K, including the Sophie Muller-directed video for “Déjà Vu,” released Friday in its upgraded form.

The anniversary project also includes previously unseen photographs shot in New Orleans, where Beyoncé's family has deep Louisiana roots and where the city was rebuilding from Hurricane Katrina when "B'Day" was made.

That context makes the anniversary particularly fitting.

The Beyoncé who recorded "B'Day" was already famous, but she was still defining what a Beyoncé album could be without Destiny's Child attached to it.

Twenty years later, there is little left to prove on that front.

Instead of simply polishing an old blockbuster for its anniversary, she has gone back inside it — restoring its visuals, emptying out parts of the vault and connecting a 2006 album to musical traditions that stretched far beyond it.

"B'Day" arrived worldwide on Beyoncé's 25th birthday.

At 45, she has given it another one.

Monday, August 3, 2026

Chris Brown And Usher’s Stadium Run Gives R&B Its Box-Office Rebuttal

Chris Brown, left, and Usher are shown in artwork for “The R&B Tour.” The co-headlining stadium run has topped $100 million in reported grosses from its first eight stadiums, according to Pollstar. (Courtesy photo)
Usher said R&B belonged in stadiums.

Eight reported stadiums into the co-headlining run, the box office is doing the talking.

Chris Brown and Usher have already topped $100 million in reported grosses on “The R&B Tour,” according to Pollstar, giving the Live Nation-produced run the kind of early number that turns a genre argument into a business story.

Pollstar reported Monday that the tour has grossed $101.9 million from its first eight stadiums, based on 566,043 tickets sold across the first 13 sold-out concerts. The tour opened June 26 at Empower Field at Mile High in Denver and has moved through stadiums in Minneapolis; Detroit; Cleveland; Landover, Maryland; Charlotte, North Carolina; St. Louis; and Nashville, Tennessee.

That is not R&B asking to be taken seriously after years of “R&B is dead” talk.

That is R&B counting the money.

The numbers land a month after Usher framed the tour as something bigger than two stars sharing a stage. Speaking to The Associated Press before the opener, he said R&B has spent years feeding popular music without always getting equal respect from the live business.

“It deserves to be in a stadium,” Usher told AP. “It is not just for theaters. It is not just for arenas. We do this … too. We are major too. R&B is major too.”

He was right.

Pollstar said Brown and Usher averaged $7.8 million per concert, enough to debut at No. 1 on the trade publication’s Global Concert Pulse chart. The tour also ranked No. 2 on LIVE75 by average tickets sold per show among concerts counted in the chart’s eligibility window, behind Bad Bunny.

That makes “The R&B Tour” one of the clearest live-music stories of the summer: R&B, especially the 2000s version built on choreography, club records, slow jams and heavy radio memory, still moves at stadium scale.

That should not surprise anyone who has been watching the receipts.

Usher is coming off a run that included the Super Bowl halftime show, a major Las Vegas residency and the “Past, Present, Future” tour, which Live Nation said sold more than 1.1 million tickets in North America. Brown entered the tour after “Breezy Bowl XX,” which Live Nation said grossed nearly $300 million and drew 2 million fans across stadiums in North America, Europe and the United Kingdom.

Put together, they are not proving that either man has fans.

They are proving how many of those fans are still willing to gather in the same building.

That matters for a genre that has too often been treated like mood music when it was really infrastructure. R&B helped build the sound of pop radio, hip-hop hooks, dance floors, wedding receptions, BET countdowns, car rides, cookouts and the private emotional lives of people who may not call themselves R&B heads until the right record comes on.

The tour is turning that memory into stadium math, despite some heavy baggage.

Brown’s commercial power has never erased the record that follows him. He pleaded guilty in 2009 to felony assault for attacking then-girlfriend Rihanna. AP also reported that he pleaded not guilty in 2025 in London to charges tied to an alleged 2023 nightclub assault.

Usher told AP that Brown’s criticism and legal troubles did not factor into his decision to tour with him.

“Absolutely not,” Usher said. “He’s my brother, and he’s amazing as a performer. That’s who I see. He works hard for his fans, and his fans support him.”

“The R&B Tour” is a win for the genre’s live-business case. It is also a reminder that the live business does not always move on the same clock as the public conversation. Fans buy tickets for songs, memories, dancing, vocals, choreography and the feeling that a certain era of music still belongs to them. Promoters count demand. Venues count nights. The rest of the argument follows the crowd into the parking lot.

None of that makes the number less real.

Pollstar said the tour is scheduled to continue through Dec. 12 in Tampa, Florida, with 51 shows at 26 stadiums in the United States and Canada. Sixteen venues are booked for more than one show. Atlanta’s Mercedes-Benz Stadium is scheduled for four.

If the early average holds, Pollstar said the tour could finish in the $400 million range, with more than 2 million tickets sold.

That would not just be a big R&B tour.

It would be one of the year’s biggest tours, period.

The genre did not suddenly get bigger.

The rooms finally did.

Thursday, July 30, 2026

Too $hort Tests Hip-Hop’s Age Limit With New Lil Jon-Produced Album

Too $hort performs at iThink Financial Amphitheater in West Palm Beach, Fla., on Aug. 13, 2023. The Oakland rap pioneer is releasing “Sir Too $hort Vol. 2: Drink & Smoke,” his 23rd studio album, with Lil Jon producing the project 20 years after “Blow the Whistle.” (Rick Munroe/Wikimedia Commons, CC BY-SA 4.0)
Too $hort has reached the age where other genres would already call him an elder, hand him a lifetime achievement award and let him keep working.


Hip-hop has not always been that generous.

The Oakland rap pioneer is 60 now, still recording, still performing and still talking like nobody told him he was supposed to disappear. His new album, “Sir Too $hort Vol. 2: Drink & Smoke,” his 23rd studio album, arrives Friday with Lil Jon producing the entire project — a full-circle pairing landing 20 years after “Blow the Whistle” became one of the most durable records in Short Dog’s catalog.


The timing gives the release more weight than another veteran-rapper rollout.

Too $hort is not just promoting an album. He is making a case for rap’s older generation to keep taking up space.

“Who laid the rule down that in hip-hop you gotta stop at 40?” Too $hort told The Associated Press in an interview published Thursday.

That question sits at the center of the story.

For decades, rap treated age differently than jazz, blues, soul or rock. Older singers could tour forever. Blues players could get grayer and more respected. Funk bands could become institutions. But rappers were often expected to either become executives, nostalgia acts or punch lines once they crossed a certain line.

Too $hort never accepted that rule.


He started moving homemade tapes around the Bay Area as a teenager, built himself into one of Oakland’s defining rap voices and helped make West Coast street rap feel self-contained before the industry fully understood what was happening outside New York. His records could be filthy, funny, blunt, slick and sometimes socially pointed, often in the same stretch of music.

That is part of why his catalog lasted.

“The Ghetto” still carries its quiet weight. “Freaky Tales” remains one of the most infamous long-form talk-your-talk records in rap history. “Blow the Whistle” found another life far beyond radio, turning into an arena chant, a DJ weapon and a song that still cuts through a room before the first verse gets there.

Too $hort told AP he does not know if he could recreate the formula for “Blow the Whistle” if someone handed him the ingredients.

“It had to happen organically,” he said.

He gave Lil Jon credit for that record’s staying power, and the two are back together on “Sir Too $hort Vol. 2: Drink & Smoke.” The album also carries a more personal layer. It features work from Lil Jon’s late son, DJ Young Slade, who died in February after contributing to the project.

Too $hort told AP he was proud to be part of Slade’s legacy.

That detail keeps the project from reading like a simple party-rap victory lap. Yes, the title is “Drink & Smoke.” Yes, Too $hort is still Too $hort. Nobody is coming to this record expecting him to suddenly become careful. But the story around it is about age, grief, work and the kind of continuity hip-hop is only now old enough to fully understand.

He has company.

E-40, Snoop Dogg, Fat Joe, Ice Cube, Busta Rhymes, LL Cool J and others have all helped push rap into its elder-statesman era without fully surrendering to nostalgia. Some tour. Some still record. Some do podcasts, documentaries, brand deals or Vegas-style legacy plays. The important part is that they are still visible enough to challenge the old idea that rap belongs only to the newest voice in the room.

Too $hort and E-40 made that point together during their 2020 Verzuz appearance, which played less like a battle than a Bay Area family reunion. Short told AP he would not want to battle E-40 now, either, calling him his best friend in hip-hop. But he did float a different idea: Too $hort and E-40 against another duo.

That is vintage Too $hort — competitive without pretending the brotherhood is fake.

The larger point is simpler. Hip-hop is old enough now to have 60-year-old rappers who are not curiosities. They are part of the music’s memory bank and, in some cases, still part of its Friday release calendar.

Too $hort has no interest in aging quietly for anyone’s comfort.

The genre that once made middle age look like an exit sign is now learning what older Black music forms already knew: If the voice still works, the stories still matter and the crowd still shows up, nobody has to leave because the calendar said so.

Tuesday, July 28, 2026

Betye Saar, Black Arts Pioneer Who Reclaimed Racist Images, Dies at 99

Artist Betye Saar, right, and basketball Hall of Famer Kareem Abdul-Jabbar, left, pose with scholar Henry Louis Gates Jr. during Harvard University’s W.E.B. Du Bois Medal ceremony in Cambridge, Mass., in October 2022. Saar and Abdul-Jabbar were among seven honorees recognized for their commitment to social justice. Saar, whose assemblage art confronted racist stereotypes and reclaimed Black imagery, died Sunday at 99, four days before her 100th birthday. (Photo credit: FAH1223, CC BY-SA 4.0, via Wikimedia Commons)
Betye Saar collected the objects America used to belittle Black people — mammy figurines, pancake advertisements, washboards and cheap souvenirs — then made them tell a different story.

Saar, the pioneering assemblage artist whose landmark “The Liberation of Aunt Jemima” transformed one of America’s most enduring racist caricatures into an armed figure of Black resistance, died in her sleep Sunday at her Los Angeles home. She was 99, four days shy of her 100th birthday.

Her death was announced by Roberts Projects, the Los Angeles gallery that represented her for nearly 20 years.

“Her singular vision transformed the course of contemporary art,” gallery co-founder Julie Roberts said in a statement.


For Saar, found objects were never simply old things. They carried the history of who made them, who used them and what America once believed it could sell without shame.

She used racist collectibles, domestic tools, family photographs, clocks, cages, dolls and discarded materials to confront Black identity, sexism, memory, spirituality and liberation. Her work made her a central figure in the Black Arts Movement and one of the most influential assemblage artists of the past century.

Her best-known work, the 1972 assemblage “The Liberation of Aunt Jemima,” was roughly the size of a shoebox.

At its center stood a stereotypical mammy figurine, the smiling domestic servant once used to reassure white consumers and romanticize Black servitude. Saar left the broom in the figure’s hand but also armed her with a rifle and a grenade.

The servant had become a soldier.

Saar created the work for an exhibition devoted to Black heroes at the Rainbow Sign cultural center in Berkeley, California. The assassination of the Rev. Martin Luther King Jr. four years earlier had pushed her work in a more openly political direction.

King’s death “triggered a rage within me, and the mystic transformed into the warrior,” Saar later said.

Saar understood the danger of putting racist imagery back on display. She worried about how white viewers might interpret it and how such images had shaped Black people’s perceptions of themselves.


“What saved it was that I made Aunt Jemima into a revolutionary figure,” she said.

The work preceded Quaker Oats’ decision to retire the Aunt Jemima brand by nearly five decades. When the company acknowledged in 2020 that the brand’s origins were rooted in a racial stereotype, Saar celebrated the decision but noted how long it had taken.

“The Liberation of Aunt Jemima” became a defining work of Black feminist art. Angela Davis later credited it with helping inspire the Black women’s movement.

Saar did not abandon the stereotype or pretend it had never existed. She forced it to surrender its original meaning.

That question — whether racist images could be reclaimed without repeating their damage — remained central to Saar’s work and later placed her in one of the Black art world’s most contentious arguments.

In 1997, Saar participated in a letter-writing campaign criticizing Kara Walker, who had received a MacArthur Fellowship for her provocative silhouette scenes depicting slavery, sexual violence and the antebellum South.

Walker’s supporters viewed the work as an unsparing confrontation with America’s racist imagination. Saar feared that its imagery reinforced the degradation it sought to expose.

She called Walker’s work “revolting and negative” and said it served the “amusement and the investment of the white art establishment.”

The dispute became an art-world version of a larger argument running through 1990s Black culture: Who controls images of Black suffering, who profits from them and when does exposure become exploitation?

Saar’s position was consistent with the work she had been making for decades. Racist images could be used, she believed, but they had to be stripped of their authority and redirected toward Black liberation.

Born Betye Irene Brown in Los Angeles on July 30, 1926, Saar spent part of her childhood in Watts, where she watched Simon Rodia construct the Watts Towers from broken ceramics, glass, shells, metal and other salvaged materials.

The towers showed her early what discarded objects could become in the hands of an artist.

Saar studied design at UCLA and initially worked in interior design, greeting cards and decorative arts. She later became a printmaker before a 1967 exhibition of Joseph Cornell’s shadow boxes inspired her move toward three-dimensional assemblage.

Her 1969 work “Black Girl’s Window” placed the silhouette of a Black woman behind glass, surrounded by moons, stars, a skeleton, astrological signs and family imagery. The Museum of Modern Art acquired the work in 2019, decades after it was created.

Recognition from major institutions often came late.

Saar received a solo exhibition at the Whitney Museum of American Art in 1975, but large museums showed her work only sporadically for much of the following four decades. In 2019, the Museum of Modern Art and the Los Angeles County Museum of Art mounted concurrent solo exhibitions.

She continued creating well into her 90s from the Laurel Canyon home and studio where she had lived since 1962. Her work moved among politics, family history, mysticism and the spiritual energy she believed objects carried from their earlier lives.


Even with her centennial approaching, Saar appeared less interested in assessing her legacy than in making something new.

“That’s what art is,” she told the Los Angeles Times in June. “Making something where there was nothing.”

Her 100th birthday is being commemorated with “Betye Saar’s Black Dolls,” an exhibition at The New York Historical in Manhattan. The exhibition, featuring 26 dolls from a promised collection of 100, continues through Oct. 4. Another exhibition, “Let’s Get It On: The Wearable Art of Betye Saar,” remains on view at Roberts Projects through Aug. 22.

Saar is survived by her daughters, artists Lezley Saar and Alison Saar and writer Tracye Saar-Cavanaugh; six grandchildren; and Rojo, her red-footed tortoise.

For more than six decades, Saar showed that reclamation required more than placing an old stereotype in a new frame.

She gave the figure a weapon, changed who held the power and dared America to look at it again.

Friday, July 17, 2026

25 Years After Debut, B2K Returns With First New Single 'Mileage'

B2K has spent the past year proving its reunion could survive a tour. On Friday, the group faced the harder test: whether it could build something new after audiences came back for the memories.

Omarion, J-Boog, Lil Fizz and Raz-B released “Mileage,” their first newly recorded official single together in more than two decades. The song arrived through BPC Music Group as the lead release from “Eclipse,” a studio album scheduled for this fall.

The timing was deliberate. “Mileage” arrived 25 years to the day after B2K released its debut single, “Uh Huh,” on July 17, 2001.

Produced by Ethos, “Mileage” uses the experiences people carry into relationships as its central metaphor. Rather than treating a partner’s past as automatic disqualification, the song argues for acceptance, growth and the possibility of starting again.

“People lived their lives before they met you,” Omarion told YouKnowIGotSoul while discussing the record.

That message is difficult to separate from the group delivering it.

B2K’s members have spent much of their adult lives trying — and frequently failing — to move beyond old disputes, broken trust and public attacks. “Mileage” does not erase that history, but its title fits four men attempting to make use of everything they traveled through before returning to the same studio.

Bobby Yan directed the accompanying video, which places the group’s synchronized choreography amid an industrial warehouse, a Los Angeles rooftop and automotive imagery built around the song’s title. The presentation allows the members to look and perform like grown men without asking them to imitate the teenagers who helped define early-2000s R&B.

B2K first introduced “Mileage” during its late-June Verzuz battle with Pretty Ricky. Friday’s full release, however, marks the first time the latest reunion has produced an official new single rather than another tour, television appearance or performance of the group’s established hits.

The original lineup previously reunited for the Millennium Tour in 2019 but did not release new music. That comeback eventually gave way to another round of public disagreements and separation.

The current reconciliation became visible in April 2025, when J-Boog, Lil Fizz and Raz-B joined Omarion during the final stop of his Millennium Tour. The full group followed with a surprise performance at the BET Awards that June.

This year, B2K reunited with Bow Wow for the Boys 4 Life Tour, reviving a partnership that helped make the Scream Tour era a defining moment for young R&B and hip-hop audiences.

The reunion did not require anyone to pretend the intervening years had been peaceful.

B2K split amid internal friction, financial disagreements and disputes involving its management. The years that followed included public insults and long periods when the members did not speak to one another.

“It definitely starts with maturity,” Fizz told The Associated Press earlier this year while discussing the reconciliation.

The new recording process also gives the members a degree of control they say they did not have during their original run.

“We picked every record, we’re making all the decisions,” J-Boog told the AP.

B2K has not announced an exact release date or complete track list for “Eclipse.” The group has said the album will address more mature subjects and reflect the members’ lives as adults rather than attempt to recreate the teen records that made them famous.

The members also have returned to the studio with The Underdogs, the production team whose earlier work with B2K included “Gots Ta Be.”

The album would be B2K’s first studio project since “Pandemonium!” and its first full-length group release since the soundtrack to the 2004 film “You Got Served.”

That original run was brief but substantial.

B2K’s self-titled debut reached No. 2 on the Billboard 200 and topped the R&B albums chart. “Bump, Bump, Bump,” featuring Diddy, later reached No. 1 on the Billboard Hot 100 and became the group’s biggest hit.

Those records ensured that B2K would always have a market for reunions. They do not guarantee an audience for new material from four men now speaking to listeners who grew up alongside them.

Nostalgia got B2K back into arenas. “Mileage” is the first evidence that the reunion intends to go somewhere new.

Wednesday, July 15, 2026

Young Thug Takes YSL's New Generation on First Headlining Tour Since 2019

A promotional poster outlines the lineup for "The New Generation Tour." The 23-city international tour, beginning Sept. 1 in Rogers, Arkansas, marks Young Thug's first headlining run since 2019 and features special guest NAV alongside emerging Young Stoner Life Records artists.
Young Thug is taking YSL back on the road, and using his return to introduce the artists he expects to
carry the label forward.

The Atlanta rapper announced “The New Generation Tour,” his first headlining run since 2019. The 23-date U.S. and European trek opens Sept. 1 at Walmart AMP in Rogers, Arkansas, and closes Oct. 24 at Adidas Arena in Paris.

NAV will appear on all 19 U.S. dates. The tour also will showcase Young Stoner Life Records signees Tezzus, Diamond*, 1300saint, Iyrus, Yume, Biggs and Unky, placing a new YSL lineup alongside one of the most influential and unconventional rappers to emerge from Atlanta’s 2010s takeover.

The route includes a Sept. 20 homecoming at Lakewood Amphitheatre in Atlanta, followed by three Texas dates: Sept. 27 at 713 Music Hall in Houston, Sept. 29 at The Pavilion at Toyota Music Factory in Irving and Sept. 30 at Moody Amphitheater in Austin.

The U.S. leg ends Oct. 4 at YouTube Theater in Inglewood, California. Young Thug and the YSL lineup then travel to Amsterdam, Düsseldorf, Germany; Łódź, Poland; and Paris.
Young Stoner Life Records presents
“The New Generation Tour”
Young Thug with NAV and the YSL roster
NAV is scheduled to appear on every U.S. date.
U.S. dates
Sept. 1Rogers, Ark.
Walmart AMP
Sept. 3Minneapolis
The Armory
Sept. 5Chicago
Aragon Ballroom
Sept. 8Sterling Heights, Mich.
Michigan Lottery Amphitheatre
Sept. 10Camden, N.J.
Freedom Mortgage Pavilion
Sept. 11Boston
MGM Music Hall at Fenway
Sept. 13New York
SummerStage in Central Park
Sept. 15Washington
The Anthem
Sept. 16Virginia Beach, Va.
The Dome by Rutter Mills
Sept. 18Charlotte, N.C.
Bojangles’ Coliseum
Sept. 19Raleigh, N.C.
Red Hat Amphitheater
Sept. 20Atlanta
Lakewood Amphitheatre
Sept. 23Tampa, Fla.
Yuengling Center
Sept. 25Birmingham, Ala.
Coca-Cola Amphitheater
Sept. 27Houston
713 Music Hall
Sept. 29Irving, Texas
The Pavilion at Toyota Music Factory
Sept. 30Austin, Texas
Moody Amphitheater
Oct. 2Phoenix
Arizona Financial Theatre
Oct. 4Inglewood, Calif.
YouTube Theater
European dates
Oct. 14Amsterdam
AFAS Live
Oct. 17Düsseldorf, Germany
PSD Bank Dome
Oct. 21Łódź, Poland
Atlas Arena
Oct. 24Paris
Adidas Arena

General ticket sales begin Friday at 10 a.m. local time through Live Nation, Ticketmaster and the tour’s official website. Artist and other presales began earlier this week.

The tour represents more than a return to buses, backstage rooms and nightly set lists.

Young Thug’s last headlining trek was the strangely titled Justin Bieber Big Tour, a 2019 co-headlining run with Machine Gun Kelly that did not include Justin Bieber. He has made several major festival appearances since returning to the stage, including Coachella this spring, but “The New Generation Tour” will be his first sustained headlining itinerary in seven years.

His formal return to live performance began at the Summer Smash festival near Chicago in June 2025, where Travis Scott, T.I. and Ken Carson joined him during his first public concert since March 2022.

Young Thug, whose legal name is Jeffery Williams, had spent more than two years in custody before his release in October 2024 ended his part in the sprawling Georgia racketeering case involving YSL.

Williams pleaded guilty to one gang charge, three drug charges and two gun charges. He entered no-contest pleas to another gang count and racketeering conspiracy, meaning he did not admit guilt but accepted punishment as though he had.

A judge imposed a 40-year sentence structured around five years commuted to time served and 15 years of probation. An additional 20-year prison term can be imposed if Williams violates the conditions of his probation.

That case kept the YSL name attached to court testimony, criminal allegations and debates over the use of rap lyrics as evidence for years. The tour places the emphasis back on Young Stoner Life Records — not simply as the company behind Young Thug, but as a label attempting to establish its next class.

Tezzus and Diamond* have already begun attracting some attention as part of Atlanta’s younger underground movement, while the rest of the touring roster gives Young Thug an opportunity to introduce developing artists directly to an audience that may know little about them beyond their YSL affiliation.

That makes “The New Generation Tour” both a comeback and a handoff.

Young Thug has already shown that he can return to a festival stage and command attention. This fall, he will find out whether that return can carry a full international tour, and whether the YSL name can again become known for what happens on records and stages instead of inside a courtroom.

Tuesday, July 14, 2026

Issa Rae Brings ‘Insecure’ Anniversary Tour to 13 Cities This Fall

“Insecure: The 10th Anniversary Tour,” a 13-date fall run led by Issa Rae and showrunner Prentice Penny, with Yvonne Orji, Jay Ellis and Natasha Rothwell scheduled for select appearances opens Sept. 10 in Philadelphia and closes Oct. 8 in Inglewood, California.
Ten years after Issa Dee first worked through her problems by rapping to herself in a bathroom mirror, Issa Rae is taking the stories, arguments and lingering questions of “Insecure” on the road.

Rae announced “Insecure: The 10th Anniversary Tour” on Tuesday, a 13-city run that will reunite her with showrunner Prentice Penny for live conversations about the HBO comedy that made awkwardness, friendship and the everyday lives of Black millennials worthy of prestige television.
 

The tour opens Sept. 10 at The Met in Philadelphia and travels through National Harbor, Maryland; Detroit; Boston; Brooklyn; Montclair, New Jersey; Las Vegas; Oakland; Chicago; Atlanta; Irving, Texas; and Houston. It closes Oct. 8 at YouTube Theater in Inglewood, California — the city whose neighborhoods, businesses and changing identity were central to the series.

Yvonne Orji, who played Molly Carter; Jay Ellis, who played Lawrence Walker; and Natasha Rothwell, who played Kelli Prenny, are scheduled to appear on select dates. Organizers have not announced which cast members will participate in each city, so ticket buyers should not assume the full group will appear at every stop.

The live shows are expected to feature behind-the-scenes stories, candid conversations and reflections on the series’ most memorable moments and cultural impact.

Rae announced the tour with a video built around a reunion of the cast’s group chat. After Rae proposes the idea, Ellis, Orji and Rothwell quickly sign on.

“It’s ‘Insecure,’ but we’re very secure now,” Orji says near the end of the clip.

“Come see us on tour,” Rae adds.
 

Created by Rae and Larry Wilmore, “Insecure” premiered on HBO in October 2016 and ran for five seasons before ending in December 2021. The comedy followed Issa Dee and Molly as they negotiated friendship, relationships, work, ambition and the consequences of decisions that often looked much clearer after they had already made them.

The show’s appeal came partly from what it refused to do. Its Black characters did not exist solely to explain racism, carry a social message or serve as flawless examples of representation. They could be selfish, funny, petty, accomplished, confused, loyal and painfully wrong — sometimes within the same episode.

“Insecure” also treated South Los Angeles as more than a backdrop. Restaurants, apartments, neighborhood businesses, art spaces and community events became part of the story as Issa tried to build a career without abandoning the place that shaped her.

Music was just as important.

The series used contemporary hip-hop and R&B as an extension of its characters’ inner lives, placing established artists alongside records that many viewers were hearing for the first time. Solange consulted on the first season’s music, while longtime music supervisor Kier Lehman helped build later soundtracks that included SZA, Jazmine Sullivan, Miguel, Jorja Smith, Leikeli47, Thundercat, The Internet, Dreezy and others.

Songs did more than fill transitions. They carried scenes after the dialogue stopped, helped define Issa and Molly’s emotional distance and gave each season a musical identity that fans discussed alongside the show’s romances and betrayals.
 

The anniversary tour extends a reunion that began in May with “Blocc Party: An Insecure Podcast.” The weekly rewatch series features Rae and Penny revisiting individual episodes, telling stories from the writers’ room and bringing in members of the cast and crew.

A Citi cardholder presale begins Wednesday at noon local time. General ticket sales begin Thursday at noon local time through Live Nation and Ticketmaster. Most listed performances begin at 8 p.m., and several venues identify the events as restricted to guests 18 and older.
The complete tour schedule:
  • Sept. 10 — The Met, Philadelphia
  • Sept. 11 — The Theater at MGM National Harbor, National Harbor, Md.
  • Sept. 13 — The Fillmore Detroit, Detroit
  • Sept. 16 — MGM Music Hall at Fenway, Boston
  • Sept. 17 — Brooklyn Paramount, Brooklyn, N.Y.
  • Sept. 18 — The Wellmont Theater, Montclair, N.J.
  • Sept. 25 — The Palazzo Theatre, Las Vegas
  • Sept. 26 — Fox Theater, Oakland, Calif.
  • Oct. 1 — The Chicago Theatre, Chicago
  • Oct. 2 — Tabernacle, Atlanta
  • Oct. 3 — The Pavilion at Toyota Music Factory, Irving, Texas
  • Oct. 4 — Bayou Music Center, Houston
  • Oct. 8 — YouTube Theater, Inglewood, Calif.
“Insecure” ended with its characters growing into lives that once seemed out of reach. A decade after the premiere, Rae is reopening the group chat.

Slider[Style1]

Trending