Two Eras of 1970s R&B Mourn as The Commodores’ Ronald LaPread and The Sylvers’ Foster Sylvers Die

Foster Sylvers, left, and Ronald LaPread are shown in a composite illustration honoring two figures from 1970s R&B and soul. Sylvers, a child star with the Sylvers, died at 64, and LaPread, a founding member and former bassist for the Commodores, died at 75. 

Two R&B bloodlines that helped define the sound of the 1970s were being mourned this weekend, as the deaths of Ronald LaPread of the Commodores and Foster Sylvers of the Sylvers were reported by multiple outlets.

LaPread, a founding member and former bassist for the Commodores, died at 75 after helping anchor one of Motown’s most durable funk and soul machines. Foster Sylvers, the gifted child star whose voice and musicianship helped carry the Sylvers from family act to disco-era hitmakers, died at 64 after a cancer battle.

The losses hit different corners of the same musical universe — one rooted in Tuskegee, Alabama, and Motown’s polished rise through the 1970s; the other in the bright, youthful harmonies of a Los Angeles family group that gave R&B and pop one of the era’s most infectious records.

Soraya LaPread announces the death of her father, Ronald LaPread, a founding member and former bassist for the Commodores, in an Instagram Story. LaPread, whose bass helped anchor the group’s classic funk and soul sound, died at 75. (Credit: Soraya LaPread/Instagram)

LaPread’s daughter, music producer Soraya LaPread, announced his death on social media Saturday. TMZ reported that the New Zealand Herald said LaPread died after a sudden medical event in Auckland, New Zealand, where he had lived for decades.

LaPread was part of the original Commodores lineup with Lionel Richie, Walter “Clyde” Orange, William “WAK” King, Milan Williams and Thomas McClary. The group formed in 1968 at Tuskegee Institute, now Tuskegee University, and became one of Motown’s defining acts of the 1970s and early 1980s, moving easily between hard funk, lush ballads and crossover soul.

As the group’s bassist, LaPread helped give shape to records that became part of the American songbook, including “Brick House,” “Easy” and “Three Times a Lady.” His role was not always the one that drew the spotlight, but it was central to the Commodores’ identity: the pocket, the weight, the movement underneath the melodies that made the band both radio-ready and deeply funky.

The Recording Academy lists the Commodores with one Grammy win and nine nominations. Their lone Grammy win came for “Nightshift,” the 1985 tribute to Marvin Gaye and Jackie Wilson that earned best R&B performance by a duo or group with vocal. By then, the group had already lived through Richie’s departure and the turbulence that followed, but the record showed how much musical force remained in the Commodores name.

LaPread’s death also came days after the Commodores withdrew from the Freedom 250 concert series tied to the Great American State Fair in Washington, D.C., amid backlash over the event’s political connections. That controversy may have placed the group back in the headlines, but LaPread’s legacy rests much deeper — in the grooves that made the Commodores a bridge between Southern musicianship, Motown discipline and the mass appeal of late-20th-century Black popular music.

Hours after LaPread’s death was reported, TMZ reported that Foster Sylvers had died in hospice care. Reports differed on the specific cancer diagnosis, but Leon Sylvers III confirmed to multiple outlets that his brother died after a cancer battle.

Foster Sylvers entered the music world young, and with rare command. His 1973 solo single “Misdemeanor,” written by Leon, became a breakout R&B hit and later took on a second life through hip-hop sampling, including its use on the D.O.C.’s “It’s Funky Enough.” That afterlife matters: Foster’s work did not simply sit in the ’70s. It echoed forward into the sample-based language that helped build hip-hop’s golden age.

With the Sylvers, Foster became part of one of the decade’s most recognizable family groups, a sibling act often remembered alongside the broader wave of Black family bands that included the Jackson 5 and the Five Stairsteps. The Sylvers’ biggest pop moment came with “Boogie Fever,” which reached No. 1 on the Billboard Hot 100 in 1976. The record was bright, polished and impossible to shake, but beneath its pop sheen was the architecture of a serious family band — harmonies, rhythm, choreography and production moving as one.

The Sylvers also scored with records such as “Fool’s Paradise” and “Hot Line,” while Foster built a reputation beyond the family name as a bassist, singer, songwriter, producer and multi-instrumentalist. He worked in the same lineage as his brother Leon, whose production and songwriting later helped shape the sound of SOLAR Records and acts including Shalamar and Dynasty.

The deaths of LaPread and Foster Sylvers are not connected beyond timing, but together they mark the passing of two musicians whose work lived inside the machinery of classic Black music rather than outside it. LaPread helped drive a band that could make funk muscular and ballads feel monumental. Foster Sylvers helped bring youthful electricity to a family sound that crossed from soul into disco and later found its fingerprints in hip-hop.

They came from different bands, different regions and different roles. But both belonged to a generation of musicians who built songs strong enough to outlive the charts, the trends and even the eras that first made them famous.

Young MC, the Commodores and Morris Day Back Away From Freedom 250 Concert

An editorial graphic shows Freedom 250’s throwback concert lineup after several announced performers publicly backed away from the Great American State Fair. The controversy turned names tied to “Bust a Move,” “Brick House” and Morris Day’s Minneapolis funk legacy into the center of a dispute over politics, consent and the cost of putting old-school stars on a modern political stage.

A celebration built around nostalgia has become a warning about what happens when old-school music, national symbolism and modern politics collide before the first note is played.

Young MC, Morris Day and the Time, the Commodores, Martina McBride and Bret Michaels are among the artists who have pulled out of or backed away from Freedom 250’s Great American State Fair, a 16-day event scheduled for June 25 through July 10 on the National Mall. The event was promoted as part of the nation’s 250th birthday celebration, with a lineup that leaned heavily on throwback acts, country crossover and patriotic spectacle.

Then the bill started falling apart.

Young MC, Morris Day and The Time, The Commodores, McBride and Michaels are among the artists who have since pulled out of or publicly backed away from the event. The rollout quickly turned into a public dispute over politics, consent and what some artists said they were told before their names appeared on the flyer.

View this post on Instagram

A post shared by Van Silk (@rapamania_vansilk)

Young MC, best known for the 1989 hit “Bust a Move,” said he had informed his agents that he would not perform at the Freedom 250 event. In a statement, he said artists were not told about political involvement with the concert and said he hoped to perform in Washington in the future at an event that was not “politically charged.”

Morris Day made his position even clearer. The longtime frontman of the Time posted that he and the band would not perform at the Great American State Fair, adding a short caption that cut through the confusion: “It’s a no for me.”

The Commodores also said they would not appear. The group, whose catalog includes “Brick House,” “Easy” and “Three Times a Lady,” said its music had always been its voice and that it would not publicly affiliate with any single political party.

McBride said she initially believed she had agreed to a nonpartisan celebration of the states. In a statement to fans, the country singer said what she had been told was not what was happening and that she would not perform June 25. Michaels later stepped away as well, saying the event had become more divisive than what he agreed to join and citing threats and safety concerns involving his fans, band, crew and family.

Freedom 250 has described itself as a nonpartisan organization focused on commemorating America’s 250th anniversary. Its official event page bills the Great American State Fair as a national exposition running from the U.S. Capitol to the Washington Monument, with live music, carnival rides and hands-on partner activations meant to showcase the states and territories.

That framing did not stop the backlash.

AP reported that Freedom 250 was launched by President Donald Trump late last year and that Trump appointed Keith Krach, a former under secretary of state, as the organization’s CEO. That connection became central to the controversy as artists faced questions from fans about whether their appearances amounted to support for a Trump-linked event.

View this post on Instagram

A post shared by Morris Day (@themorrisday)

The confusion was still visible on the event’s own ticket pages. As of Friday, Freedom 250 pages continued to list McBride, Young MC, C+C Music Factory, Milli Vanilli, the Commodores, Morris Day and the Time, and Michaels even after several of those artists had publicly pulled out, denied involvement or disputed what their participation meant.

For legacy performers, the issue is bigger than one booking. Their names carry decades of audience memory. A listing on a public lineup can imply alignment, endorsement or participation before a performer says a word. In the social media era, that can become a reputational problem almost instantly.

The Milli Vanilli listing carried its own confusion because the name has a complicated history. Rob Pilatus and Fab Morvan were the public faces of the act during its late-1980s pop explosion, but the group’s recordings were performed by studio vocalists. Pilatus died in 1998. Morvan has continued performing and, according to AP, said he would appear at the Great American State Fair.

That does not mean everyone tied to the Milli Vanilli legacy is part of the event. Jodie Rocco, a singer associated with the Real Milli Vanilli side of the group’s history, told AP that she, her sister Linda Rocco and other current group members had not been asked to perform and were surprised to see the name on the bill. The distinction matters: Morvan represents the public-facing Milli Vanilli name most audiences remember, while singers tied to the group’s actual recorded vocals say they are not involved in the Freedom 250 appearance.

The C+C Music Factory listing also became complicated. Freedom Williams, the rapper whose voice helped define the group’s “Gonna Make You Sweat (Everybody Dance Now)” era, publicly discussed the booking while distancing himself from Trump politically. Robert Clivillés, who co-founded C+C Music Factory with the late David Cole, has disputed Williams’ authority to represent the group as a whole.

Vanilla Ice appeared to remain on the bill, with a representative telling AP he was proud to help celebrate America’s 250th anniversary. Flo Rida was also listed in the original announcement, though the status of the lineup remained fluid as artists continued responding publicly.

That uncertainty is the story now. A concert series marketed as unity became a test of how quickly nostalgia can turn political when the wrong context surrounds the stage.

Young MC, Morris Day, the Commodores, C+C Music Factory and Milli Vanilli are not just names on a flyer. They are part of the soundtrack of an era when rap, funk, R&B, dance-pop and MTV-driven spectacle crossed into the mainstream in ways that still shape old-school parties and throwback festivals today.

These artists built careers around movement, memory and mass appeal. Their records were made to get people on the floor, not to place them in the middle of a national political argument.

Freedom 250 may still hold the Great American State Fair. It may revise the lineup. It may continue presenting the event as a nonpartisan celebration. But the first wave of music announcements has already become a cautionary tale about transparency, artist consent and the risk of using familiar names to sell a complicated moment.

Before anyone could “Bust a Move” on the National Mall, the question became who knew what, who agreed to what and who wanted no part of the room once the lights came up.

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.

View this post on Instagram

A post shared by champagnepapi (@champagnepapi)

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."

View this post on Instagram

A post shared by Rob Base (@robbasemusic)

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.

View this post on Instagram

A post shared by Bennett College (@bennett_college)

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."

View this post on Instagram

A post shared by Bennett College (@bennett_college)

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.

View this post on Instagram

A post shared by Rock & Roll Hall of Fame (@rockhall)

"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."