Drake Passes Michael Jackson With 14th Hot 100 No. 1

A sequined glove, invoking the imagery of Michael Jackson, is featured in the promotional artwork for Drake's album "Iceman." The Toronto rapper surpassed Jackson this week for the most No. 1 singles by a solo male artist in Billboard Hot 100 history following the debut of his track "Janice STFU."

Drake may have lost the battle for hip-hop’s cultural crown, but his overwhelming streaming dominance has officially secured him the Billboard throne.

“Janice STFU” debuted at No. 1 on the Billboard Hot 100, giving Drake his 14th career chart-topper and moving him past Michael Jackson for the most No. 1 singles by a solo male artist in Hot 100 history. The record breaks a tie that linked two very different kinds of dominance: Jackson’s tightly controlled reign over the MTV, radio and blockbuster-album age, and Drake’s command of a modern system built on streaming volume, constant visibility and fan-driven chart pressure.

That distinction matters. Passing Jackson does not end any debate about cultural weight, performance, artistry or influence. Jackson remains one of the most transformative entertainers in American history. But Billboard records are about chart performance, and on that field, Drake has built one of the most overwhelming statistical runs popular music has ever seen.

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The latest milestone came from a release strategy almost designed to test the limits of the charts. Drake released three albums at once — “Iceman,” “Habibti” and “Maid of Honour” — and all three debuted at Nos. 1, 2 and 3 on the Billboard 200. According to Billboard, it marked the first time one artist held the chart’s top three positions simultaneously in its 70-year history.

“Iceman” opened at No. 1 with 463,000 equivalent album units in the United States, followed by “Habibti” with 114,000 and “Maid of Honour” with 110,000. The sweep also gave Drake his 15th Billboard 200 No. 1 album, moving him past Jay-Z among rappers and tying Taylor Swift for the most No. 1 albums among solo artists.

The Hot 100 takeover was even more extreme. Drake placed 42 songs on the chart in the same week, breaking Morgan Wallen’s previous single-week record of 37. Forty of those Drake songs were debuts. The surge pushed Drake to 402 career Hot 100 entries, making him the first artist to cross the 400-entry mark in the chart’s 67-year history.

“Janice STFU” led the avalanche. The “Iceman” standout interpolates Lykke Li’s “I Follow Rivers,” turning a moody 2011 indie-pop hook into the center of a Drake record built for replay, reaction and debate. The track also helped give Lykke Li her first Hot 100 credit at No. 1, another reminder of how one Drake single can pull older sounds, outside influences and unexpected collaborators into the middle of the mainstream.

Drake nearly locked down the entire top 10, placing nine songs in that region. The only non-Drake song in the top 10 was Ella Langley’s “Choosin’ Texas,” which held the No. 5 spot and kept the week from becoming a complete sweep.

Drake marked the moment on Instagram with Michael Jackson-inspired artwork showing Jackson with “Iceman” blue braids in a snowy scene. His caption read, “Neck broke from carrying the chain Back broke from carrying the game Records broken carry on my name Carry on carry on.”

The image was pointed. The comparison was unavoidable. But the real story is not simply Drake versus Michael Jackson. It is what the comparison says about how music power has changed.

Jackson’s records were built in an era when a single album could freeze the culture in place. Drake’s latest records come from a different machine: a massive catalog, a relentless release pace, streaming-era math and an audience trained to treat every drop like a real-time event. One model made icons feel unreachable. The other makes dominance feel measurable by the hour.

That does not make one era cleaner than the other. It does make the achievement more complicated than a number on a chart. Drake has not replaced Jackson’s place in pop history, and no Billboard statistic can do that. But with “Janice STFU,” he has claimed a record Jackson held for decades — and he did it in a week that showed, more than ever, how completely Drake understands the new rules of the game.

Jazz Titan Sonny Rollins Dead at 95

Jazz legend Sonny Rollins performs with his tenor saxophone in 1974. Rollins, a towering figure in the development of modern jazz, passed away on Monday, May 25, 2026, at age 95.

Sonny Rollins, the tenor saxophonist whose commanding improvisations and robust tone are credited with helping shape the trajectory of modern jazz, died Sunday at his home in Woodstock, New York. He was 95.

His death was confirmed Monday through a statement released by his family on social media.

"It is with deep sorrow and profound love that we announce the passing of Sonny Rollins," the statement read.

While a specific cause of death was not provided, Rollins had been managing a respiratory illness that prompted his retirement from public performance in 2012.

It is with deep sorrow and profound love that we announce the passing of Sonny Rollins. The Saxophone Colossus died this afternoon at his home in Woodstock, NY at the age of 95. 1/2 https://t.co/6AGmFrB7x4 pic.twitter.com/OA0PzpPfGR

— Sonny Rollins (@sonnyrollins) May 26, 2026

Widely revered as the "Saxophone Colossus" — a moniker cemented by his landmark 1956 album of the same name — Rollins stood as one of the last living architects of the post-World War II jazz landscape. His capacity to weave complex, extended musical narratives during live solos forever shifted the paradigm of the instrument.

Born Theodore Walter Rollins on Sept. 7, 1930, in Harlem, New York, he came of age in a culturally rich environment alongside future peers like Jackie McLean. By the 1950s, he had firmly established his presence in the bebop and hard bop scenes, sharing the stage and studio with titans including Miles Davis, Thelonious Monk, Charlie Parker and Max Roach.

Rollins contributed heavily to the definitive jazz songbook, penning enduring compositions such as the calypso-inspired "St. Thomas," "Oleo," "Doxy" and "Airegin." His extensive catalog is highlighted by defining works like "Tenor Madness," "Way Out West" and "The Bridge." The latter project famously materialized after a rigorous, self-imposed sabbatical where Rollins spent hours practicing alone on the pedestrian walkway of the Williamsburg Bridge to refine his technique.

A perpetual student of his own craft, Rollins was celebrated with the highest honors in American art, receiving a Grammy Award for Lifetime Achievement in 2004, the National Medal of Arts in 2010 and Kennedy Center Honors in 2011.

He is survived by his nephew, Clifton Anderson, and an expansive global community of musicians influenced by his sound. His wife and longtime manager, Lucille Pearson Rollins, died in 2004.

52nd AMAs Pivot to Nostalgia With Queen Latifah, Pussycat Dolls

Queen Latifah, right, poses with partner Eboni Nichols, their son, Rebel, and Kaavia on the red carpet before the 52nd American Music Awards at MGM Grand Garden Arena in Las Vegas on Monday. Latifah hosted a show built around millennial-era nostalgia and legacy collaborations. (Photo Credit: Dick Clark Productions)

The 52nd Annual American Music Awards transformed the MGM Grand Garden Arena into a celebration of millennial nostalgia on Memorial Day, proving the enduring influence of 1990s and 2000s urban contemporary music.

Rap pioneer and actress Queen Latifah returned to anchor the live CBS and Paramount+ broadcast as the solo host, 31 years after she first co-hosted the event in 1995.

The telecast served as a proving ground for the lasting power of millennial anthems, expanding its lineup to feature major legacy collaborations. The Pussycat Dolls made a highly anticipated return to the stage, performing alongside veteran artist Busta Rhymes. Nostalgia continued to rule the broadcast with appearances by foundational pop and R&B figures, including a performance from Teyana Taylor.

Acknowledging the cultural dominance of legacy acts, the AMAs introduced 12 new categories this year, including Best Throwback Song. The inaugural award in that category went to the Black Eyed Peas for their hit “Rock That Body.”

While the veterans provided the night’s foundation, modern stars heavily influenced by the 1990s and 2000s dominated the hip-hop award categories. Cardi B swept the block, taking home Best Female Hip-Hop Artist, Best Hip-Hop Song for “ErrTime” and Best Hip-Hop Album for “AM I THE DRAMA?”. Kendrick Lamar took home the trophy for Best Male Hip-Hop Artist, while Monaleo secured Breakthrough Hip-Hop Artist.

Bruno Mars mirrored that dominance in the R&B categories with wins for Best Male R&B Artist, Best R&B Song for “I Just Might” and Best R&B Album for “The Romantic.” The R&B genre also saw major victories for SZA, who won Best Female R&B Artist, and Leon Thomas, who secured Breakthrough R&B Artist. Tyla dominated the Afrobeats and social categories, winning Best Afrobeats Artist and Social Song of the Year for “CHANEL.”

The night’s highest overall honors belonged to a mix of global superstars and rising talent. BTS claimed the coveted Artist of the Year award, as well as Song of the Summer for “SWIM” and Best Male K-Pop Artist. Breakout group KATSEYE claimed New Artist of the Year, Breakthrough Pop Artist and Best Music Video for “Gnarly.”

Additionally, Karol G took home Best Latin Album for “Tropicoqueta” and was presented with the rare International Artist Award of Excellence by John Legend.

To view the full list of the night's winners click here.

Rob Base, Harlem Rapper Who Anchored 'It Takes Two,' Dies at 59

Hip-hop pioneer Rob Base performs at the Houston Dash 90s Bash in Houston on Oct. 8, 2023. The Harlem-born rapper, who anchored the platinum 1988 crossover anthem "It Takes Two," died Friday after a private battle with cancer. He was 59. (Photo: 2C2K Photography, CC BY 2.0, via Wikimedia Commons)

Rob Base, the pioneering Harlem rapper whose 1988 platinum single "It Takes Two" became a foundational anthem for hip-hop and global dance culture, died Friday following a private battle with cancer. He was 59.

Born Robert Ginyard, the artist passed away peacefully surrounded by family, according to a statement released on his official social media accounts.

"Rob’s music, energy, and legacy helped shape a generation and brought joy to millions around the world," the statement read. "Beyond the stage, he was a loving father, family man, friend, and creative force whose impact will never be forgotten."

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Base emerged from the New York hip-hop scene in the mid-1980s alongside his childhood friend and musical partner DJ E-Z Rock (Rodney "Skip" Bryce). After building local momentum in Harlem with early singles, the duo signed with Profile Records in 1987. The following year, they released "It Takes Two," a track that permanently altered the trajectory of the genre.

Built around a heavy, driving drum break and a vocal sample from Lyn Collins’ 1972 James Brown-produced funk track "Think (About It)," the song successfully bridged the gap between raw, lyric-driven hip-hop and the high-energy club scene. Introduced by Base's iconic opening declaration — "I wanna rock right now / I'm Rob Base and I came to get down" — the single peaked at No. 3 on the Billboard dance charts, reached No. 36 on the Billboard Hot 100, and quickly achieved platinum certification.

The accompanying album, also titled "It Takes Two," generated subsequent massive dance-floor hits including "Joy and Pain" and "Get on the Dance Floor." The project secured the duo's legacy during hip-hop's golden era, proving the commercial viability of rap music in mainstream spaces without compromising its street origins.

While the group's dynamic shifted in the 1990s — with Base releasing the solo album "The Incredible Base" in 1989 before reuniting with DJ E-Z Rock for 1994's "Break of Dawn" — his foundational 1988 work remained a permanent fixture in global pop culture. "It Takes Two" has been endlessly sampled by subsequent generations of producers and remains a ubiquitous presence in film, television, and sports arenas.

Memorial service arrangements for Ginyard have not yet been announced.

Federal Jury Orders Ye to Pay Over $430,000 in Copyright Lawsuit Over Uncleared Sample

Rapper and entrepreneur Ye, right, stands alongside former Adidas executive Eric Liedtke in front of a Yeezy promotional display. A federal jury in Los Angeles recently ordered Ye and his affiliated companies, including Yeezy LLC, to pay over $430,000 in damages following a copyright infringement trial over an uncleared song sample.

A federal jury has ordered the artist legally known as Ye to pay more than $430,000 in damages for using an uncleared sample during a massive stadium listening event in 2021.

The unanimous verdict, delivered last week in Los Angeles, concluded a copyright infringement lawsuit brought by a group of musicians including veteran hip-hop producer DJ Khalil (Khalil Abdul-Rahman), Sam Barsh, Dan Seeff and Josh Mease. The plaintiffs alleged that Ye, formerly Kanye West, unlawfully used their 2018 instrumental track "MSD PT2" as the backbone for an early, unreleased version of his Grammy-winning song "Hurricane."

During the six-day trial, the court heard that Ye played the uncleared version of "Hurricane" for 40,000 fans at a listening party for his 10th studio album, "Donda," at Atlanta's Mercedes-Benz Stadium in July 2021.

Plaintiffs' attorney Irene Lee successfully argued that the stadium event generated an estimated $5.5 million through ticket sales, merchandise and a streaming deal with Apple Music, rendering the unauthorized broadcast a commercial copyright violation.

"There was no deal, no agreement, no license, and no clearance," Lee told the jury during closing arguments.

The jury found Ye personally liable for $176,153, while his company Yeezy LLC was ordered to pay the exact same amount. Two of his affiliated companies, Yeezy Supply LLC and Ox Paha Inc., were additionally found liable for $41,625 and $44,627, respectively.

Ye testified in person during the trial, telling jurors that he believed his team had gone through standard industry procedures to clear the sample. The "MSD PT2" sample was ultimately removed and replaced with recreated elements before the final version of "Hurricane" — which featured The Weeknd and Lil Baby and later won a Grammy for Best Melodic Rap Performance — received its official commercial release.

Following the verdict, a spokesperson for Yeezy dismissed the outcome as a "failed shakedown," noting the plaintiffs had initially sought up to $30 million before the judge dismissed several of the more lucrative composition claims prior to trial.

"The moral of the story? There is a cost attached to thinking you can take advantage of Ye," the spokesperson said.

Britton Monts, a manager for Artist Revenue Advocates, the company that represented the four musicians in the lawsuit, celebrated the jury's decision.

"It's a victory for working artists, who typically lack the resources to go against someone like Ye, a megastar and celebrity," Monts said. "The underdogs got their day in court."

Rap Pioneer MC Lyte Officially Becomes ‘Dr. Moorer’ at Bennett College Ceremony

MC Lyte at the Essence Festival of Culture in July 2025. (Credit: Danielle G. Campbell / Wikimedia Commons)

Pioneer hip-hop artist and lyricist MC Lyte was awarded an honorary Doctor of Arts degree from Bennett College during the institution’s centennial commencement ceremony this past weekend.

The honor, presented Saturday on the campus quadrangle, arrives during a massive milestone spring for the artist. Born Lana Michele Moorer, the hip-hop trailblazer was also recently announced as an official 2026 inductee into the Rock & Roll Hall of Fame.

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Moorer, who rose to prominence in the late 1980s and 1990s as the first solo female rapper to release a full-length studio album with 1988's "Lyte as a Rock," served as the keynote commencement speaker for the historic women's college. During her address to the Centennial Class of 2026, Moorer presented members of the graduating class with a special commemorative gift to mark the institution's 100th year as a women's college.

Interim President Dr. Teresa Hardee formally conferred the degree before a gathering of nearly 1,000 graduates, families, and alumnae.

"It was an honor to present this special recognition to someone whose voice has shaped culture and impacted generations," Hardee said during the ceremony. "MC Lyte's influence extends far beyond music. She is an entrepreneur, visionary, philanthropist, and advocate whose work continues to inspire people around the world. ... Today, she is not only a Rock & Roll Hall of Fame inductee. She is also officially a Bennett Belle."

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The academic accolade adds to a highly decorated legacy for Moorer, whose 1993 single "Ruffneck" secured the first gold certification for a solo female rap artist in music history.

Last month, the Rock & Roll Hall of Fame announced its 2026 class, recognizing Moorer in the Early Influence category alongside Queen Latifah, Fela Kuti, and Celia Cruz. The formal induction ceremony is scheduled for Nov. 14 in Los Angeles.

In a recent interview reflecting on the Rock Hall honor, Moorer noted the cultural significance of the recognition and her enduring longevity in the industry.

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"Starting from 16 years old rapping lyrics in a basement to now taking on one of the most esteemed acknowledgements, to be inducted into the Rock & Roll Hall of Fame — it feels surreal," she said. "It's humbling and serves as a reminder to keep moving in the direction of positivity and know that I am just the conduit. God is working through me to bring the very best of whatever it is he gives me as a creative vision. I just feel like I keep getting better."

Snoop Dogg’s Company Denies Responsibility In Drakeo the Ruler Backstage Killing

Drakeo the Ruler appears on the cover of his posthumous album “The Undisputed Truth.” Snoop Dogg’s LLC is seeking dismissal from a wrongful death lawsuit tied to Drakeo’s fatal stabbing at the 2021 “Once Upon a Time in L.A.” festival. (Cover art by Gallery Provence)

Snoop Dogg’s company is asking a Los Angeles judge to cut it loose from litigation over the fatal backstage stabbing of Drakeo the Ruler, arguing that its connection to the 2021 festival ended with Snoop Dogg being booked to perform.

In legal documents obtained by TMZ and reported Wednesday, Snoop Dogg’s LLC moved for summary judgment in a case brought by Drakeo’s brother, Devante Caldwell, and others, contending the company had no role in producing, managing or securing the "Once Upon a Time in L.A." festival.

Drakeo the Ruler, whose legal name was Darrell Caldwell, was stabbed in a backstage all-access area at Exposition Park on Dec. 18, 2021, shortly before he was scheduled to perform. Lawsuits stemming from the attack allege his entourage was overwhelmed by a large group after security failures allowed unauthorized people into a restricted area.

Caldwell, known for a distinctly original, whisper-like flow often described as "nervous music," was a towering figure in the modern Los Angeles underground scene. He was widely respected for his relentless creative drive, most notably recording his critically acclaimed 2020 mixtape, "Thank You for Using GTL," over a jail phone line while awaiting trial at Men’s Central Jail. He had been acquitted of murder and attempted murder charges, but remained jailed as prosecutors pursued additional charges. He later pleaded to conspiracy charges and was released in November 2020.

In early 2022, separate civil actions were filed by relatives and representatives connected to Caldwell, including his brother Devante Caldwell, his mother, Darrylene Corniel, and his son through guardian ad litem Tianna Purtue. The lawsuits targeted primary promoter Live Nation, C3 Presents, Bobby Dee Presents, Snoop Dogg’s LLC, venue-related entities and security companies, accusing organizers of failing to provide adequate security despite alleged foreseeable risks.

One complaint stated that "Drakeo and his group fought for their lives against insurmountable odds, shocked and horrified at the fact that no security ever materialized to intervene."

According to the new legal documents obtained by TMZ, Snoop Dogg’s LLC argues it had no involvement in festival operations and cannot be held liable. The filing states the company never signed a lease or license agreement, held no ownership or leasehold interest in Exposition Park and was not responsible for hiring or managing the event’s security detail.

The documents further state that no one from Snoop Dogg’s company witnessed or participated in Caldwell’s death, nor did they have any relationship with the assailants. After the tragedy in 2021, Snoop Dogg released a statement expressing condolences and saying he was in his dressing room when he was informed of the incident. He said he chose to leave the festival grounds and closed with, "IM PRAYING FOR PEACE IN HIP HOP."

The latest move by Snoop Dogg’s LLC follows a wave of successful dismissals for other defendants. Earlier this month, Los Angeles Superior Court Judge James Montgomery granted summary judgments removing the Los Angeles Football Club and Bobby Dee Presents from the case. The festival was held at what was then Banc of California Stadium, now BMO Stadium, in Exposition Park.

Bobby Dee Presents served as the booking agent for Snoop Dogg, one of the festival’s marquee headliners. In court papers, lawyers for the company wrote that it did not organize or produce the festival, did not hire security, did not establish or implement the security plan and did not own the land where the concert was held.

Montgomery agreed, finding that the plaintiffs had not shown that the booking company or stadium-related defendants violated an obligation to protect Caldwell.

While the roster of defendants continues to narrow, the core accusations regarding crowd control and festival safety remain directed at the remaining defendants, including Live Nation. A final status conference is scheduled for Sept. 8.

Cardi B Secures Six Bet Awards Nods, Leading a Field Packed With Legacy Acts

Cardi B appears on the cover art for her second studio album, "Am I the Drama?" The platinum-selling project helped the rapper secure an industry-leading six nominations at the 2026 BET Awards, including a nod for Album of the Year. (Atlantic Records)

Cardi B leads the 2026 BET Awards nominations with six nods, giving this year’s ceremony its cleanest headline and one of its most current stars. Kendrick Lamar and Mariah the Scientist follow with five nominations each, while Clipse, Doja Cat, Doechii, Teyana Taylor, Olivia Dean and Latto each earned four.

But beneath the numbers, this year’s BET field has a long memory.

The 2026 nominations are not simply a roll call of streaming-era momentum. They also make room for artists, directors and cultural architects whose work helped build the modern language of hip-hop, R&B and Black popular culture. Clipse, De La Soul, Nas and DJ Premier, Hype Williams, Benny Boom, Director X, Jill Scott, T.I. and Usher all appear across major categories, giving the show a deeper historical charge than a standard awards-season announcement.

Pusha T and No Malice did not reunite for nostalgia points.

Clipse earned four nominations, including Album of the Year for “Let God Sort Em Out,” Best Group and two nods for “Chains & Whips,” their Kendrick Lamar-assisted single. The duo’s presence gives the BET Awards one of its clearest links between early-2000s rap austerity and the current appetite for sharp, grown, high-stakes hip-hop.

The Best Group category carries that tension even further. Clipse will compete in a field that also includes De La Soul, French Montana and Max B, Nas and DJ Premier, Metro Boomin and DJ Spinz, Terrace Martin and Kenyon Dixon, Wizkid and Asake, FLO and 41. It is one of the year’s most interesting categories because it refuses to live in one era, one sound or one definition of group power.

The same generational conversation is happening behind the camera. Video Director of the Year includes Hype Williams, Benny Boom and Director X, three filmmakers whose work helped turn hip-hop and R&B videos into cultural events before social media became the main stage. They are nominated alongside Anderson .Paak, Cole Bennett, Cactus Jack, A$AP Rocky and Dan Streit, Cardi B and Patientce Foster, and Teyana “Spike-Tey” Taylor.

That category is more than a technical race. It is a reminder that the visual grammar of Black music — the lens flares, fish-eye swagger, luxury surrealism, street-level gloss and cinematic ambition — did not appear from nowhere. It was built, copied, stretched and reinterpreted across generations.

T.I. also appears across three categories. The Atlanta rapper is up for Best Male Hip Hop Artist, Video of the Year for “Let ’Em Know” and the Dr. Bobby Jones Best Gospel/Inspirational Award as part of “Headphones” with Lecrae and Killer Mike.

In the R&B lanes, Jill Scott continues to move like an artist outside the churn. She is nominated for Best Female R&B/Pop Artist and has two entries in the BET Her category: “Be Great” featuring Trombone Shorty and “Beautiful People.” Usher is nominated for Best Male R&B/Pop Artist.

BET also expanded the ceremony with two new categories. The Fashion Vanguard Award recognizes cultural impact through fashion, with nominees including A$AP Rocky, Bad Bunny, Beyoncé, Cardi B, Colman Domingo, Doechii, Rihanna, Teyana Taylor and Zendaya. The new Pulse Award honors digital media and cultural influence, with nominees including “85 South Show,” “Baby, This Is Keke Palmer,” Charlamagne Tha God, Don Lemon, Druski, “It Is What It Is,” “Joe and Jada,” “On the Radar” and “R&B Money Podcast.”

Those additions matter because they acknowledge what the culture already knows: influence no longer moves through one lane. It moves through songs, videos, podcasts, fashion, clips, interviews, memes and moments that can change the conversation before traditional media catches up.

That is what gives this year’s nominations more weight than a simple leaderboard. Cardi B’s six nominations make her the obvious headline. Kendrick Lamar and Mariah the Scientist give the show heavyweight momentum. But the presence of Clipse, De La Soul, Hype Williams, Nas and DJ Premier, Jill Scott, T.I. and Usher gives the 2026 BET Awards something else: memory.

The new school may be leading the count, but the architects are still in the building.

2026 BET Awards

The Complete Nominations Board

The Leaderboard

• 6 Nominations: Cardi B
• 5 Nominations: Kendrick Lamar, Mariah the Scientist
• 4 Nominations: Clipse, Doechii, Doja Cat, Latto, Olivia Dean, Teyana Taylor
• 3 Nominations: T.I., Jill Scott, Tems, A$AP Rocky, Bruno Mars, Bryson Tiller, Chris Brown, Kehlani, Metro Boomin, SZA, Tasha Cobbs Leonard, YK Niece

The Complete List

Album of the Year

Cardi B ("Am I the Drama?"), Tyler, the Creator ("Don't Tap the Glass"), Wale ("Everything Is a Lot"), Mariah the Scientist ("Hearts Sold Separately"), Clipse ("Let God Sort Em Out"), Leon Thomas ("Mutt Deluxe: Heel"), J. Cole ("The Fall-Off"), Bruno Mars ("The Romantic")

Best Male Hip Hop Artist

A$AP Rocky, Baby Keem, BigXthaPlug, DaBaby, Don Toliver, Drake, J. Cole, Kendrick Lamar, T.I.

Best Female Hip Hop Artist

Cardi B, Coi Leray, Doechii, Doja Cat, GloRilla, Latto, Megan Thee Stallion, Monaleo, YK Niece

Best Male R&B/Pop Artist

Brent Faiyaz, Bruno Mars, Bryson Tiller, Chris Brown, Durand Bernarr, GIVĒON, Leon Thomas, October London, Usher

Best Female R&B/Pop Artist

Ari Lennox, Coco Jones, Ella Mai, Jill Scott, Kehlani, Mariah the Scientist, Olivia Dean, SZA, Tems

Best Group

41, Clipse, De La Soul, FLO, French Montana & Max B, Metro Boomin & DJ Spinz, Nas & DJ Premier, Terrace Martin & Kenyon Dixon, Wizkid & Asake

Best Collaboration

Clipse & Kendrick Lamar ("Chains & Whips"), Cardi B feat. Jeezy & Latto ("Errtime Remix"), Summer Walker feat. Latto & Doja Cat ("Go Girl"), Baby Keem feat. Kendrick Lamar & Momo Boyd ("Good Flirts"), Mariah the Scientist & Kali Uchis ("Is It a Crime"), Chris Brown feat. Bryson Tiller & Usher ("It Depends - The Remix"), Metro Boomin feat. Quavo, Breskii, YK Niece & DJ Spinz ("Take Me Thru Dere"), Gunna feat. Burna Boy ("wgft")

Video of the Year

Ella Mai ("100"), Doechii ("Anxiety"), Mariah the Scientist ("Burning Blue"), Tyla ("Chanel"), Teyana Taylor ("Escape Room"), Kehlani ("Folded"), T.I. ("Let 'Em Know"), Kendrick Lamar & SZA ("luther")

Video Director of the Year

A$AP Rocky & Dan Streit, Anderson .Paak, Benny Boom, Cactus Jack, Cardi B & Patientce Foster, Cole Bennett, Director X, Hype Williams, Teyana "Spike-Tey" Taylor

Best New Artist

Belly Gang Kushington, DESTIN CONRAD, JayDon, kwn, Miles Minnick, Monaleo, Olivia Dean, RAYE, Trap Dickey

BET Her Award

Tasha Cobbs Leonard ("Already Good"), Jill Scott feat. Trombone Shorty ("Be Great"), Jill Scott ("Beautiful People"), Tems ("First"), Doechii feat. SZA ("girl, get up."), Summer Walker feat. Latto & Doja Cat ("Go Girl"), Doja Cat ("Gorgeous"), Olivia Dean ("Lady Lady")

The Fashion Vanguard Award (NEW)

A$AP Rocky, Bad Bunny, Beyoncé, Cardi B, Colman Domingo, Doechii, Rihanna, Teyana Taylor, Zendaya

The Pulse Award (NEW)

85 South Show, Baby, This Is Keke Palmer, Charlamagne Tha God, Don Lemon, Druski, It Is What It Is, Joe and Jada, On the Radar, R&B Money Podcast

Viewers’ Choice

Mariah the Scientist ("Burning Blue"), Clipse feat. Kendrick Lamar (“Chains & Whips”), Tyla (“Chanel”), Kehlani (“Folded”), Bruno Mars (“I Just Might”), Chris Brown feat. Bryson Tiller (“It Depends”), Olivia Dean (“Man I Need”), Cardi B (“Outside”), Dave & Tems (“Raindance”), Metro Boomin feat. Quavo, Breskii, YK Niece & DJ Spinz (“Take Me Thru Dere”)

Dr. Bobby Jones Best Gospel/Inspirational Award

Kirk Franklin ("Able"), Darrel Walls, PJ Morton & Kim Burrell ("Able - Remix"), BeBe Winans ("All to Thee"), Tasha Cobbs Leonard ("Already Good"), CeCe Winans ("At the Cross"), Tasha Cobbs Leonard & John Legend ("Church"), Kirk Franklin ("Do It Again"), Lecrae, Killer Mike & T.I. ("Headphones")

Best Actress

Angela Bassett, Ayo Edebiri, Chase Infiniti, Coco Jones, Cynthia Erivo, Keke Palmer, Quinta Brunson, Regina Hall, Teyana Taylor

Best Actor

Aaron Pierre, Aldis Hodge, Anthony Mackie, Colman Domingo, Damson Idris, Delroy Lindo, Denzel Washington, Michael B. Jordan, Sterling K. Brown

Best Movie

Highest 2 Lowest, Him, Number One on the Call Sheet, One Battle After Another, Relationship Goals, Ruth & Boaz, Sinners, Wicked: For Good

YoungStars Award

Daria Johns, Graceyn "Gracie" Hollingsworth, Heiress Harris, Jazzy's World TV, Lela Hoffmeister, North West, Thaddeus J. Mixson, VanVan

Sportswoman of the Year Award

A'ja Wilson, Angel Reese, Claressa Shields, Coco Gauff, Flau'jae Johnson, Gabby Thomas, Jordan Chiles, Naomi Osaka, Sha'Carri Richardson

Sportsman of the Year Award

Aaron Judge, Anthony Edwards, Caleb Williams, Jalen Brunson, Jalen Hurts, LeBron James, Shedeur Sanders, Stephen Curry

Clarence Carter, Southern Soul Pioneer Who Sang ‘Strokin’,’ Dies at 90

Southern soul legend Clarence Carter performs on stage in Baltimore in 1995. Carter, the blind singer and guitarist known for 1960s R&B hits and the enduring party anthem "Strokin'," died Wednesday, May 13, 2026, near Atlanta at the age of 90. (Photo by John Mathew Smith & www.celebrity-photos.com)

Clarence Carter, the blind Southern soul pioneer who scored deep-feeling R&B hits in the 1960s before securing a permanent, multi-generational legacy with the bawdy cookout anthem "Strokin'," has died. He was 90.

Carter died Wednesday. Bill Carpenter, a spokesman for his former wife and fellow soul singer Candi Staton, confirmed the passing on Thursday. According to reports, Carter had recently been diagnosed with stage four prostate cancer and died from complications including sepsis and pneumonia. Rodney Hall, president of FAME Studios in Muscle Shoals, Alabama, where Carter recorded many of his biggest hits, also confirmed the news to Rolling Stone.

Born in Montgomery, Alabama, Carter lost his sight to glaucoma as an infant. He attended the Alabama School for the Blind and later earned a music degree from Alabama State College, using his formal education to develop a signature, blues-soaked baritone and a hard-driving rhythm guitar style.

Signing with FAME Records, Carter became a formidable force on the R&B charts in the late 1960s and early 1970s. He delivered a string of emotionally complex, brass-heavy hits, most notably the 1968 cheating ballad "Slip Away" and the 1970 Grammy-nominated tearjerker "Patches," a spoken-word hybrid about rural poverty that crossed over to the top of the pop charts.

But for the hip-hop and 90s/00s throwback generation, Carter’s cultural footprint extends far beyond traditional soul radio.

His raw, unfiltered 1968 holiday track "Back Door Santa" famously provided the foundational, blaring horn sample for Run-D.M.C.’s 1987 classic "Christmas in Hollis".

More prominently, Carter achieved a rare feat of cultural permanence in 1986 with the release of "Strokin'." Driven by a relentless synthesizer and Carter's unapologetic, spoken-word sexual humor, the track was deemed too explicit for mainstream radio play. Instead, it bypassed the industry entirely, thriving in nightclub jukeboxes and on mixtape cassettes to become an undisputed standard at cookouts, family reunions, and block parties for the next four decades.

Carter's ability to seamlessly pivot from heart-wrenching soul to working-class, juke-joint humor allowed him to survive changing musical eras that left many of his peers behind. He continued to tour and release music deep into his later years, keeping the Southern soul circuit alive while leaning heavily into his status as a cult-classic icon.

From Gladys Knight to Beyoncé: Library of Congress Names 2026 Audio Treasures

Sometime in the distant future, historians digging through the United States' most sacred cultural archives will find the Declaration of Independence, the Constitution, and Beyoncé telling them to put a ring on it.

On Thursday, the Library of Congress announced the 2026 class of the National Recording Registry, naming 25 audio treasures deemed so culturally, historically, or aesthetically important that they must be preserved for all of time. While the selections span 70 years of American history, this year’s list reads like a masterclass in the foundational sounds of hip-hop, R&B, and 90s alternative culture.

Beyoncé’s 2008 blockbuster "Single Ladies (Put a Ring on It)" was inducted into the permanent archives alongside Taylor Swift’s transformative 2014 pop pivot, "1989." The Library noted that Beyoncé didn't just release a song; she generated a cultural phenomenon that spawned millions of plays, a new catchphrase, and an epochal dance craze simultaneously.

But for fans of golden-era hip-hop and R&B, the 2026 registry goes much deeper than modern pop.

The U.S. government officially cemented the foundation of hip-hop production by inducting The Winstons' 1969 single "Amen, Brother." The B-side track features a six-second drum loop performed by Gregory Coleman — now universally known as the "Amen Break." That explosive rhythm became the most sampled musical riff in history, serving as the rhythmic backbone for acts ranging from N.W.A. to Salt-N-Pepa.

The Throwback Archives

The Library of Congress preserves audio deemed culturally or historically vital. Key 2026 throwback additions include:

• The Hip-Hop Blueprint: "Amen, Brother" – The Winstons (1969)
• The R&B Standard: "Midnight Train to Georgia" – Gladys Knight and the Pips (1973)
• The Crossover: "I Feel For You" – Chaka Khan (1984)
• The House Pioneer: "Your Love" – Jamie Principle/Frankie Knuckles (1986/1987)
• The Alt-Rock Anthem: "Weezer (The Blue Album)" – Weezer (1994)
• The Pop Phenomenon: "Single Ladies (Put a Ring on It)" – Beyoncé (2008)

The registry also honored the moment R&B, pop, and hip-hop vocabulary fully converged: Chaka Khan's 1984 smash "I Feel for You."

Originally written by Prince, Khan’s reimagined cover brought rap to the global mainstream with a legendary guest verse from Grandmaster Melle Mel and harmonica work from Stevie Wonder.

"'I Feel for You’ was a moment where everything converged: Prince’s genius, Stevie’s harmonica, Grandmaster Melle Mel’s rap, and whatever God put in me that day,” Khan said regarding the induction. “For the Library of Congress to say this recording belongs in the permanent collection of American sound heritage, that means it wasn’t just a hit, it was history. And I am so very grateful to have been part of it.”

The history of club culture was also preserved this year with the induction of "Your Love," the inescapable 1986 dance track by Chicago's Jamie Principle, which was later famously reworked by Frankie Knuckles. The Library recognized the track as a groundbreaking artifact in the history of house music and electronica.

Other massive legacy inductions include Gladys Knight and the Pips’ 1973 storytelling masterpiece "Midnight Train to Georgia," The Go-Go’s trailblazing 1981 debut "Beauty and the Beat," and Weezer’s 1994 self-titled grunge-era breakthrough, "Weezer (The Blue Album)."

In a nod to the 90s digital revolution, the Library even preserved the heavy metal-fueled soundtrack to the 1993 MS-DOS video game "Doom."

“Music and recorded sound are essential, wonderful parts of our daily lives and our national heritage," Acting Librarian of Congress Robert R. Newlen said Thursday. "The National Recording Registry works to preserve our national playlist for generations to come.”

The 2026 selections bring the registry to exactly 700 titles, a highly exclusive fraction of the Library’s massive collection of nearly 4 million audio items.

The Complete 2026 National Recording Registry

(Chronological Order)

• "Cocktails for Two" – Spike Jones and His City Slickers (1944)
• "Mambo No. 5" – Pérez Prado and His Orchestra (1950)
• "Teardrops from My Eyes" – Ruth Brown (1950)
• "Fly Me to the Moon (In Other Words)" – Kaye Ballard (1954)
• "Put Your Head On My Shoulder" – Paul Anka (1959)
• "The Blues and the Abstract Truth" – Oliver Nelson (1961)
• "Modern Sounds in Country and Western Music" – Ray Charles (1962)
• "Turn! Turn! Turn! (To Everything There Is a Season)" – The Byrds (1965)
• "Amen, Brother" – The Winstons (1969)
• "Feliz Navidad" – José Feliciano (1970)
• "The Fight of the Century: Ali vs. Frazier" (March 8, 1971)
• "Midnight Train to Georgia" – Gladys Knight and the Pips (1973)
• "Chicago" Original Cast Album (1975)
• "The Devil Went Down to Georgia" – The Charlie Daniels Band (1979)
• "Beauty and the Beat" – The Go-Go’s (1981)
• "Texas Flood" – Stevie Ray Vaughan and Double Trouble (1983)
• "I Feel For You" – Chaka Khan (1984)
• "Your Love" – Jamie Principle (1986) / Jamie Principle/Frankie Knuckles (1987)
• "Rumor Has It" – Reba McEntire (1990)
• "The Wheel" – Rosanne Cash (1993)
• "Doom" Soundtrack – Bobby Prince, composer (1993)
• "Go Rest High On That Mountain" – Vince Gill (1994)
• "Weezer (The Blue Album)" – Weezer (1994)
• "Single Ladies (Put a Ring on It)" – Beyoncé (2008)
• "1989" – Taylor Swift (2014)

Mary J. Blige Turns the Las Vegas Strip Into a Sanctuary for Survival Songs

Mary J. Blige appears in a promotional poster for "Mary J. Blige: My Life, My Story The Las Vegas Residency" at Dolby Live at Park MGM. Following a sold-out opening run in May, the "Queen of Hip-Hop Soul" added 10 additional performances scheduled for August, September, and October to meet overwhelming fan demand. (Promotional image via Live Nation)

Mary J. Blige has turned survival into a stage language, and now the Queen of Hip-Hop Soul is extending that testimony on the Las Vegas Strip.

After opening her first Las Vegas residency with a sold-out weekend at Dolby Live at Park MGM, Blige has added 10 new performances to "Mary J. Blige: My Life, My Story The Las Vegas Residency." The new dates will run Aug. 28-29, Sept. 2, Sept. 5-6, Oct. 23-24, Oct. 28 and Oct. 30-31, extending a production built around one of the most emotionally durable catalogs in modern R&B.

The residency, which opened May 1, is the first Vegas residency of Blige’s career. The show traces the arc of an artist who helped redraw the border between hip-hop and soul, moving through the pain, defiance and hard-earned joy that made records such as "Real Love," "My Life," "I’m Goin’ Down," "Family Affair" and "Be Without You" more than radio hits for generations of listeners.

The opening weekend also carried the feel of a New York family reunion, with appearances from The LOX, Method Man, Jadakiss and 50 Cent, according to MGM Resorts. But the larger story is Blige herself, standing in a Vegas spotlight after more than three decades of turning heartbreak, recovery and self-possession into communal release.

In an interview with Robin Roberts for "Good Morning America" that also featured footage on "Nightline," Blige described the residency as a milestone earned through endurance.

"The next chapter is just enjoying the fruits of my labor," Blige said. "This residency is the fruits. This is what I’ve worked for, this is what I’ve earned. And I’m here. I’m where I’m supposed to be. I’m doing what I’m supposed to do. And I didn’t give up."

That sense of arrival has been central to the rollout. Blige framed the show not as nostalgia, but as proof of survival for a fanbase that has mirrored her own life's journey.

"My fans have seen me go through so much — good, bad, the whole thing," Blige said. "But what they love most — the true fans — is that I’m not bitter, I’m better."

Tickets for the newly added performances are available through Ticketmaster. A Citi/AAdvantage presale began May 7 through Citi Entertainment, with the general on-sale having opened May 11. All shows are scheduled for 8 p.m. at Dolby Live at Park MGM.