Drowning, Psilocybin Use Cited in Accidental Death of Lil Jon’s 27-Year-Old Son

Rapper Lil Jon, left, poses with his son, Nathan Smith, following Smith's graduation from New York University in a photo posted to the late producer's social media. Smith, 27, known professionally as DJ Young Slade, was found dead in a Milton, Georgia, retention pond on Feb. 6. The Fulton County Medical Examiner recently ruled his death an accidental drowning in the setting of psilocybin use. (Courtesy of Nathan Smith/Instagram)

The Fulton County Medical Examiner has officially ruled the death of Nathan Smith, the 27-year-old son of hip-hop legend Lil Jon, as an accidental drowning "in the setting of psilocybin use."

Smith, known professionally as DJ Young Slade, was found dead on Feb. 6 in a retention pond at Mayfield Park in Milton, Georgia, following a frantic three-day search. According to the newly released autopsy report, a blood sample taken from Smith tested positive for psilocybin, the active hallucinogenic compound found in magic mushrooms.

The medical examiner officially classified the manner of death as an accident, confirming early statements from the Milton Police Department that there were no signs of foul play. The coroner's report also noted water-immersion wrinkling on Smith's hands, concluding that the drug was present at the time of his death.

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The tragic discovery earlier this month ended a massive multi-agency search that began after Smith ran out of his family's home under "unusual circumstances" on the early morning of Feb. 3. He left on foot and without his phone, prompting authorities to issue an alert that he may be disoriented and in need of assistance.

In a heartbreaking statement released on the day his son's body was recovered, Lil Jon described Nathan as "the kindest human being you would ever meet" and an "amazingly talented young man."

A graduate of New York University, Smith was an accomplished music producer, DJ, and engineer who frequently collaborated with his father. Lil Jon confirmed on social media that his son was laid to rest during a private funeral on Feb. 18, writing, "Life will never be the same without you."

A Massive Day for R&B: New Edition, Luther Vandross Earn First Rock & Roll Hall of Fame Nominations

A collage of artists nominated for the 2026 Rock & Roll Hall of Fame, including several legends of hip-hop and R&B. Pictured among this year's nominees are first-time contenders the Wu-Tang Clan (top row, second from left), Lauryn Hill (second row, left), New Edition (second row, third from left), and the late Luther Vandross (bottom row, right), alongside returning nominee Mariah Carey (bottom row, second from left). (Photo courtesy of the Rock & Roll Hall of Fame)

The Rock & Roll Hall of Fame officially unveiled its 17 performer nominees for the Class of 2026 on Wednesday, delivering a ballot heavily stacked with the architects of 90s hip-hop and the golden era of R&B.

This year's list marks a significant moment for the culture, with the Wu-Tang Clan, Ms. Lauryn Hill, New Edition and the late Luther Vandross all appearing on the ballot for the very first time. They join returning powerhouse nominees Mariah Carey, who is making her third appearance on the ballot, and Sade, who returns for a second time.

The inclusion of the Wu-Tang Clan and Lauryn Hill underscores the Hall's ongoing effort to recognize hip-hop's foundational impact. The Wu-Tang Clan have been hailed as rap innovators since changing the landscape of East Coast rap with their game-changing 1993 debut album, "Enter the Wu-Tang (36 Chambers)". Hill's solo masterpiece, "The Miseducation of Lauryn Hill," made history in 1999 as the first hip-hop album to win the Grammy for album of the year.

Meanwhile, the nomination of Boston-bred pioneers New Edition honors a legacy that essentially created the blueprint for the modern R&B boy band. The group — consisting of Ronnie DeVoe, Bobby Brown, Ricky Bell, Michael Bivins, Ralph Tresvant and Johnny Gill — dominated the charts with classics like "Candy Girl" and "Cool It Now." The nod comes just months after their hometown of Boston officially renamed a Roxbury street "New Edition Way" in their honor.

Vandross, the undisputed king of romantic R&B who sold more than 25 million albums and delivered hits like "Here and Now" before his death in 2005, also earned a long-overdue first nomination.

"This diverse list of talented nominees recognizes the ever-evolving faces and sounds of Rock & Roll and its continued impact on youth culture," John Sykes, chairman of the Rock & Roll Hall of Fame Foundation, said in a statement on Wednesday.

To capture the full scope of the 2026 class, the ballot also features a wide array of pop, rock, and metal legends. The remaining nominees vying for induction include Phil Collins, INXS, Iron Maiden, Shakira, Melissa Etheridge, Jeff Buckley, P!nk, The Black Crowes, Oasis, Joy Division/New Order, and Billy Idol. Of that group, Collins, Shakira, P!nk, Etheridge, INXS, and the late Buckley are also making their first appearance as nominees on the ballot.

The official Class of 2026 will be determined by an international voting body of over 1,200 artists, historians, and industry professionals, as well as a fan vote that is currently open on the Rock & Roll Hall of Fame website. The final inductees will be announced in April, with the induction ceremony scheduled for this fall.

Wu-Tang Clan Visionary Oliver ‘Power’ Grant Dead at 52

Oliver "Power" Grant, the visionary business architect who helped fund the Wu-Tang Clan and founded the pioneering hip-hop brand Wu Wear, died Monday at the age of 52. Grant was instrumental in launching the Staten Island group's global empire and bridging the gap between rap and streetwear. (Photo courtesy of Wu Wear / File)

The hip-hop community is mourning the loss of Oliver "Power" Grant, the visionary business architect behind the Wu-Tang Clan, who passed away on Monday, Feb. 23, at the age of 52. His death was announced by the group on Tuesday. An official cause of death has not been disclosed.

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Grant, a childhood friend of RZA, was instrumental in funding and marketing the group's earliest legendary releases, including the breakthrough tracks "Protect Ya Neck" and "Method Man". Beyond music, Grant pioneered the merger of hip-hop and fashion by creating Wu Wear, widely recognized as one of the culture's first highly lucrative, artist-owned streetwear brands.

Tributes immediately poured in from the Clan. Method Man shared a heartfelt photo of the two on Instagram, writing, "Paradise my Brother safe Travels!! ... Bruh I am not ok". Raekwon also expressed his grief, posting, "POWER we been everywhere …. now you everywhere!"

Trump Campaign Settles With Isaac Hayes Estate Over Unauthorized Use of Soul Classic 'Hold On, I’m Comin’'

Soul icon Isaac Hayes, pictured in his signature gold chains and sunglasses, co-wrote the 1966 hit "Hold On, I'm Comin'". His estate recently reached a private settlement with Donald Trump over the unauthorized use of the track at campaign rallies, successfully defending the late musician's intellectual property and cultural contributions. (Photo by Fred Valentine/Hot Buttered Soul Records)

The Estate of legendary singer Isaac Hayes has officially reached a private settlement with Donald Trump, ending a high-profile copyright lawsuit over the unauthorized use of the 1966 soul classic "Hold On, I'm Comin'" at campaign rallies.

A joint stipulation of dismissal with prejudice was filed in federal court over the weekend, confirming the case has been mutually resolved and cannot be refiled. While the financial terms of the deal were not publicly disclosed, the estate had previously sought $3 million in unpaid licensing fees after accusing the campaign of playing the track at least 133 times without permission.

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Isaac Hayes III, President and CEO of Isaac Hayes Enterprises, took to social media on Monday to announce the resolution, emphasizing that the outcome was about far more than just a legal conclusion.

"This resolution represents more than the conclusion of a legal matter," Hayes III wrote in his statement. "It reaffirms the importance of protecting intellectual property rights and copyrights, especially as they relate to legacy, ownership, and the responsible use of creative works."

He continued, adding that his father "dedicated his life to his craft, and his contributions to music and culture carry enduring value. As stewards of his legacy, we remain committed to ensuring that his work is respected and properly protected."

The legal battle began in 2024 after the estate repeatedly objected to the Trump campaign using the hit song — which was co-written by Hayes and David Porter and popularized by the R&B duo Sam & Dave. After the campaign allegedly ignored multiple copyright infringement notifications, the estate successfully had the track removed from the campaign's blanket BMI political license and secured a federal injunction blocking its future use.

\Hayes III expressed gratitude to his legal team, including James L. Walker Jr., Brittney R. Dobbins, and copyright administrator Liz Garner, for their strategic guidance in holding the campaign accountable.

"Protecting ownership is not only about the past, it is about preserving dignity, value, and accountability for future generations," Hayes III stated.

The Isaac Hayes Estate is one of several musical acts who have taken legal action or publicly objected to the unauthorized use of their music at Trump rallies, joining artists like Eddy Grant, The White Stripes, Beyoncé and Celine Dion.

'Bodypartz' Rapper Luci4 Found Dead in Los Angeles; LAPD Probes for Possible Foul Play

Rapper James Dear, known professionally as Luci4 or Axxturel, pioneered the internet microgenre "sigilkore" before achieving mainstream success with his viral hit "BodyPartz." Dear died on Sunday, Feb. 22, at a residence in Los Angeles at the age of 23. Following the artist's passing, his manager, Kayla G, praised the late musician as a "leader, a king, and a musician and a genius" while authorities launched an investigation into the suspicious circumstances surrounding his death. (Photo/Luci4 via Instagram)

The underground music community is in mourning following the death of James Dear, the 23-year-old
pioneer of the "sigilkore" genre better known by his stage names Luci4 and Axxturel. The Los Angeles County Medical Examiner confirmed that Dear died on Sunday, Feb. 22, at a friend’s residence in Los Angeles, though an official cause of death remains pending.

His manager, Kayla G., broke the news in a series of emotional statements shared via TikTok and Instagram on Monday. Devastated by the loss, she described Dear as more than just a client, but a singular talent who fundamentally shifted the culture.

@kaykoree

♬ original sound - random_stuff

"I am devastated to inform you that today, James, Luci4, Axxturel has passed away," Kayla G. wrote. "He was truly a leader, a king, and a musician and a genius. There's nobody like him and there will never be. We all loved him dearly". She concluded the note by asking for "privacy and patience" for his family and friends during the difficult period.

While first responders were originally called to the scene for a medical emergency at 11:40 a.m. on Sunday, the circumstances of his final hours have drawn deep scrutiny from his family. Dear’s grandparents spoke to TMZ, expressing suspicion after finding the rapper’s wallet completely empty at the scene. They noted recent "changes in the people around him" as his fame grew, prompting them to issue warnings about certain associates prior to the tragedy.

Born Aug. 2, 2002, in Los Angeles, Dear became a digital-era phenomenon by blending experimental trap production with an occult-inspired aesthetic. His career reached a mainstream tipping point in 2021 when his track "BodyPartz" became a massive viral sensation on TikTok, eventually leading to a recording contract with Atlantic Records and a gold certification from the RIAA.

As the Los Angeles Police Department probes the possibility of foul play, fans have flooded his final social media posts with tributes, citing his unique "sigilkore" sound as a blueprint for a new generation of underground artists. Toxicology and autopsy results are expected in the coming weeks.

T.I. Releases 'Right One,' Second 50 Cent Diss Track, Following Weekend of Social Media Warfare

T.I. wears a tactical mask for the cover of his diss record, "War," in an undated promotional image. While "War" hit social media late Sunday, Feb. 22, the Atlanta rapper followed up today with a second exclusive radio premiere titled "Right One" following a personal dispute with 50 Cent. (Photo/Grand Hustle Records).

The "Verzuz" dispute between T.I. and 50 Cent has officially escalated from social media trolling into a full-blown musical feud. Wasting no time after releasing his initial response over the weekend, T.I. delivered a second, full-length diss track titled "Right One" directly to Atlanta radio on Monday.

Bypassing streaming platforms for a traditional, mid-2000s radio drop, the new track premiered exclusively on Hot 107.9 during "Posted On The Corner" with Incognito and DJ Misses. The back-to-back release signals that the Grand Hustle general is treating this conflict like a genuine mixtape war. Following the debut, DJ Misses weighed in on the escalating tension, making it clear that this moment is for hip-hop purists.

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"If you don't know Hip-Hop, if you don't live Hip-Hop, rap music, trap music, stay out the conversation," she stated on-air.

The conflict stems from what T.I. describes as a broken "Verzuz" agreement. According to the Atlanta rapper, the two veterans previously agreed to a hit-for-hit battle while conducting business together on the West Coast, long before the internet memes began.

"Me and this n*gga talked about this bruh. This didn't just come out of the blue," T.I. explained regarding the origins of the feud. "We were moving around in LA man selling some TV shows, and I asked him what he thinks about that Verzuz battle. He said alright cool. I told him ima jump out there first, and then you jump, and we'll line it up. He said alright, and once I jumped out there, this n*gga wanna act like he don't know what the f*ck going on."

Historically preferring psychological warfare over traditional rap battles, 50 Cent opted to retaliate online. The Queens mogul bypassed the vocal booth and posted an unflattering photo of T.I.’s wife, Xscape legend Tameka "Tiny" Harris, to his social media.

The disrespect prompted T.I.'s 21-year-old son, King Harris, to fiercely defend his mother. King ultimately escalated the situation into highly sensitive territory, telling 50 Cent to "dig up yo mama" and posting a photo of a tombstone in a direct, controversial reference to 50's late mother, Sabrina Jackson.

Refusing to leave the conflict in the comment sections, T.I. hit the studio. Over the weekend, he released his first direct response, a menacing track titled "War," before following it up with Monday's radio-exclusive delivery.

B2K and Bow Wow Celebrate 25 Years With New Albums and a Joint 2026 Tour

R&B quartet B2K and rapper Bow Wow co-headline the 2026 Boys 4 Life reunion tour, marking their 25th anniversaries in the music industry. The arena trek features a stacked supporting roster of 2000s hitmakers including Jeremih, Waka Flocka Flame, Amerie, and special guests Pretty Ricky. (Photo: Black Promoters Collective/313 Presents)

Some of the defining voices of early 2000s R&B and hip-hop are officially hitting the road again. Celebrating their respective 25th anniversaries, B2K and Bow Wow have announced a 28-city reunion trek dubbed the "Boys 4 Life" tour.

Produced by the Black Promoters Collective, the tour marks a full-circle milestone, arriving more than two decades after the acts first shared a national arena stage during the 2002 "Scream Tour II." The run kicks off Feb. 12 at the Colonial Life Arena in Columbia, South Carolina, and will hit major markets across the country before wrapping up April 19 in Hampton, Virginia.

For fans, the announcement solidifies the highly anticipated reconciliation of all four original B2K members: Omarion, Raz-B, J-Boog, and Lil Fizz. The group formally ignited comeback rumors earlier this year with a surprise, viral reunion performance at the 2025 BET Awards.

"There was a certain level of authenticity that we all had," Omarion stated regarding the reunion. "So in a way, we're completing it."

To coincide with the tour, both B2K and Bow Wow are slated to release new albums this February via BPC Music Group, marking their official return to recording at full scale. For B2K, the project will serve as their first joint ablum release since their multi-platinum 2002 effort, "Pandemonium!"

Bow Wow, whose acting credits include the 2002 "movie" "Like Mike" and the 2010 "movie" "Lottery Ticket," is also celebrating a quarter-century in the industry. The 38-year-old rapper recently received a major nod at the Breezy Bowl, where Chris Brown brought him onstage and credited him with starting the modern era of popular music.

"With my 25-year anniversary in the music industry, I'm excited to finally bring this tour to life and give the fans what they've been waiting for," Bow Wow shared.

The "Boys 4 Life" tour essentially operates as a traveling turn-of-the-millennium festival. The stacked supporting lineup features a heavy roster of 2000s hitmakers, including Jeremih, Waka Flocka Flame, Amerie, Yung Joc, Crime Mob, Dem Franchize Boyz, and special guests Pretty Ricky, who are concurrently celebrating their own 20-year anniversary.

"Boys 4 Life Tour" 2026 Dates

February

• Feb. 12 | Columbia, SC | Colonial Life Arena
• Feb. 13 | Atlanta, GA | State Farm Arena
• Feb. 14 | Birmingham, AL | Legacy Arena at BJCC
• Feb. 20 | Cincinnati, OH | Heritage Bank Center
• Feb. 21 | Memphis, TN | FedExForum
• Feb. 22 | St. Louis, MO | Chaifetz Arena

March

• March 5 | Chicago, IL | United Center
• March 6 | Louisville, KY | KFC Yum! Center
• March 7 | Charlotte, NC | Spectrum Center
• March 8 | Washington, D.C. | Capital One Arena
• March 12 | Houston, TX | Toyota Center
• March 13 | New Orleans, LA | Smoothie King Center
• March 14 | Fort Worth, TX | Dickies Arena
• March 20 | Oakland, CA | Oakland Arena
• March 21 | Las Vegas, NV | Michelob ULTRA Arena
• March 22 | Los Angeles, CA | Kia Forum
• March 27 | Philadelphia, PA | Liacouras Center
• March 28 | Brooklyn, NY | Barclays Center
• March 29 | Baltimore, MD | CFG Bank Arena

April

• April 2 | Milwaukee, WI | Fiserv Forum
• April 3 | Detroit, MI | Little Caesars Arena
• April 4 | Pittsburgh, PA | Petersen Events Center
• April 5 | Newark, NJ | Prudential Center
• April 11 | Sunrise, FL | Amerant Bank Arena
• April 12 | Tampa, FL | Benchmark International Arena
• April 17 | Cleveland, OH | Wolstein Center
• April 18 | Greensboro, NC | First Horizon Coliseum
• April 19 | Hampton, VA | Hampton Coliseum

Goodbye Corporate Jay Z, Hello Jaÿ-Z: The Return of a 1996 Hip-Hop Hallmark

A 1996 promotional flyer for JAŸ-Z's debut "music album," "Reasonable Doubt," displays the original typography of his stage name, complete with the signature umlaut and hyphen. The Brooklyn artist recently reverted to this classic spelling on major streaming platforms ahead of the project's 30th anniversary. (Photo: Jon Mannion/Roc-A-Fella Records)

A subtle typographical shift across digital streaming platforms signaled a massive historical callback this week for one of hip-hop's definitive figures.

Shawn "Jay-Z " Carter has officially restored the original spelling of his stage name, reappearing on platforms like Spotify and Apple Music as JAŸ-Z. The change brings back the hyphen and the distinctive umlaut over the Y, a stylistic hallmark that defined his aesthetic during the rollout of his 1996 debut "music album," "Reasonable Doubt."

With that project approaching its 30th anniversary this year, the rebranding operates as a calculated nod to his Roc-A-Fella origins. When the Brooklyn native first emerged in the mid-1990s, the JAŸ-Z styling was stamped across vinyl pressing labels, CD booklets, and promotional street flyers. As his career expanded into a billion-dollar enterprise spanning sports management, fashion, and spirits, the typography was gradually streamlined for broader commercial consumption.

By the time he released his 2013 "music album," "Magna Carta Holy Grail," the hyphen was gone entirely, leaving the sterilized and corporate-friendly JAY Z.

He famously reinstated the hyphen in 2017 for the release of the critically acclaimed "music album," "4:44," but the umlaut remained locked in the 1990s vault. Reclaiming the complete 1996 spelling removes the executive polish of his later years and recenters his legacy on the gritty, independent rap origins that built his foundation.

The move arrived quietly, without a formal press release or bloated marketing rollout, allowing the updated digital metadata to do the heavy lifting. For purists who study the genre's defining eras, the return of the two dots over the Y signifies more than a metadata update. It marks an acknowledgment of the raw, foundational era that launched an empire, arriving just in time for the record that started it all to turn 30.

From East Atlanta to Battle Creek: JID and Tony the Tiger Become 'Day Ones'

Dreamville’s own Destin "JID" Route (left) and Tony the Tiger lock in for a 2026 campaign that attempts to turn 1990s cereal nostalgia into a high-speed hype anthem titled "HEY TONY!". The collaboration, which features a collectible "Day Ones" cereal box and a community-focused bowl game, sees the "The Forever Story" artist returning to his football roots at his alma mater, Stephenson High School, to inspire a new generation of youth athletes in Georgia. (Photo: WK Kellogg Co.)

The distance between the East Atlanta underground and a corporate boardroom in Battle Creek, Michigan, has never been shorter.

On Wednesday, WK Kellogg Co. announced that JID — the Dreamville standout known more for his dizzying double-time flows than his breakfast preferences — is the new face of Frosted Flakes.


The centerpiece of the deal is a reboot of the “Hey Tony” jingle, a piece of 1990s marketing that once lived between Saturday morning cartoons and is now being retooled as a cultural hype anthem titled “HEY TONY!” for the streaming era.

For JID, the move is a calculation rooted in the same nostalgia that has fueled much of the millennial aesthetic. “Kellogg’s Frosted Flakes and Tony the Tiger were a real staple in our house growing up,” the rapper said, framing the partnership as a "no-brainer."

But the track is only part of the play. The collaboration is leaning heavily into "drop culture," releasing a limited-edition "Day Ones" merchandise line and a collectible cereal box that features a custom illustration of JID alongside the mascot.

To give the campaign some actual dirt under its fingernails, the partnership moves from the studio to the field on Feb. 22. JID will host the “Day Ones” Bowl Game in Georgia, bringing out the Stephenson High School “Sonic Sound” Marching Band from his hometown of Stone Mountain to anchor a 7-on-7 youth football tournament. It is a full-circle moment for JID, who was a standout defensive back at Stephenson before an injury shifted his focus entirely to music.

While the corporate copy is thick with buzzwords like "motivation" and "potential," the journalistic reality is a bit more pragmatic. In 2026, a rapper’s "brand" is often as lucrative as their catalog. Seeing a technical powerhouse who built his reputation on albums like "The Forever Story" apply his machinery to a 30-year-old marketing gimmick is a reminder that even childhood memories have a market value.

The real question isn't whether the jerseys will sell — they likely will — but whether a "rapper's rapper" can breathe genuine soul into a corporate script. The culture will decide if the track belongs on a playlist or if it's just a well-executed commercial that loses its crunch once the milk hits the bowl.

The merchandise and limited-edition boxes are available exclusively through JID’s official webstore.

Rev. Jesse Jackson, Civil Rights Icon and Presidential Pioneer, Dies at 84

The Rev. Jesse Jackson, center, joins a rally for "silver rights" and employment in Washington, D.C., on Jan. 15, 1975. Jackson led the demonstration on the birthday of his mentor, Dr. Martin Luther King Jr., to advocate for the Hawkins-Humphrey Bill and national economic equity. (Photo by Warren K. Leffler/Library of Congress)

For more than half a century, the voice of the Reverend Jesse Louis Jackson Sr. served as the heartbeat of the American struggle — a thunderous, rhythmic reminder that "Somebody" could rise from the slum, even if the slum remained in them.

On Tuesday, that voice, which once shook the foundations of the Democratic Party and echoed through the halls of global power, finally fell silent.

Jackson, the protégé of Dr. Martin Luther King Jr. and the man who effectively pioneered the modern path for Black presidential aspirations, died peacefully at his home in Chicago surrounded by family, his daughter Santita Jackson confirmed. He was 84.

While a cause of death was not immediately specified, Jackson had spent the last decade battling significant health challenges, including Parkinson’s disease and Progressive Supranuclear Palsy (PSP), a rare neurological disorder that eventually robbed the master orator of his ability to speak.

From Memphis to the Rainbow Coalition

To understand Jesse Jackson is to understand the bridge between the picket lines of the 1960s and the ballot boxes of the 21st century. He was there on the balcony of the Lorraine Motel in Memphis when the movement lost its King, a trauma that Jackson carried as both a scar and a mandate for the rest of his life.

In the decades that followed, Jackson refused to be a mere footnote in history. He founded Operation PUSH (People United to Save Humanity) in Chicago, demanding economic equity for Black businesses and workers. He transformed the "I Am Somebody" chant into a psychological cornerstone for a generation of Black youth who had been told they were nothing.

But it was his 1984 and 1988 presidential campaigns that fundamentally shifted the American political landscape. By building a "Rainbow Coalition" of the disenfranchised — Black, Latino, poor white, and rural farmers — Jackson didn’t just run for office; he expanded the electorate. He proved that a Black man could win major primaries, secure millions of votes, and force the mainstream to address the needs of the "voiceless." Without Jesse Jackson’s 1988 run, the road to the White House for Barack Obama twenty years later remains unpaved.

A Complicated, Consequential Legacy

Jackson was never a simple figure. He was often criticized for a perceived hunger for the spotlight and faced significant backlash for his "Hymietown" remarks in 1984—an anti-Semitic slur for which he later offered a tearful apology at a synagogue.

Yet, even his critics could not deny his efficacy. Whether he was negotiating the release of American hostages in Syria, Iraq, and Cuba, or lobbying for D.C. statehood as a "shadow senator," Jackson lived in the fray.

As his health declined, he remained a fixture at protests, often pushed in a wheelchair to the front lines of the Black Lives Matter movement or to advocate for vaccine equity during the COVID-19 pandemic. He was a man who understood that "Keep Hope Alive" wasn't just a slogan; it was a survival strategy.

With his passing, the era of the "Old Guard" civil rights leaders draws closer to its conclusion, but the holes he tore in the walls of the American establishment remain open for those who follow.

Floetry Announces 16-City ‘Say Yes’ Tour With Raheem Devaughn

Natalie "The Floacist" Stewart (left) and Marsha Ambrosius are the R&B duo Floetry. The group announced Thursday they will reunite for the 16-city "Say Yes" Tour beginning in April 2026, marking their first extensive national run in a decade. (Courtesy Photo)

Floetry never fit neatly into the R&B machine the first time around.

When Marsha Ambrosius and Natalie “The Floacist” Stewart released “Floetic” in 2002, they brought spoken word to the center of contemporary soul at a moment when the genre leaned toward polish and radio gloss. The album went platinum in the United States, earned Grammy nominations and produced two of the era’s defining records, “Say Yes” and “Getting Late.” Then, four years later, the partnership dissolved.

Nearly two decades after their commercial peak — and almost 10 years since their last full national run — Floetry will return to the road.

The duo announced Thursday that they will reunite for the 2026 “Say Yes” Tour, a 16-city U.S. trek beginning April 9 in Newark, New Jersey, and concluding May 17 in Oakland, California. The run, produced by the Black Promoters Collective, marks their first extensive national tour together since 2016.

The announcement carries significance not because Floetry has been absent from playlists — their catalog has endured — but because the group’s history has been defined as much by fracture as influence.

After the success of “Floetic” and 2005’s “Flo’Ology,” tensions between Ambrosius and Stewart led to a split in 2006. Both artists later spoke publicly about creative and personal disagreements that shaped the breakup. Ambrosius went on to build a solo career that included Grammy nominations and high-profile songwriting credits, while Stewart continued performing and recording under The Floacist moniker, leaning further into spoken word and independent releases.

A brief reunion tour in 2015 and 2016 hinted at reconciliation, but sustained collaboration never followed.

This 2026 run appears more structured. The routing spans major R&B markets including Philadelphia, Chicago, Detroit, Washington, Atlanta and Houston — cities that supported neo-soul beyond its commercial peak. The bill also includes Raheem DeVaughn and Teedra Moses, two artists whose careers followed parallel arcs: critical respect, durable touring bases and limited reliance on mainstream radio cycles.

DeVaughn, a Grammy-nominated vocalist often referred to as “The Love King,” has maintained steady visibility through independent releases and touring. Moses’ 2004 debut “Complex Simplicity” has grown in stature among R&B listeners over time, frequently cited as one of the genre’s cult classics of the 2000s.

The lineup suggests a targeted audience — not casual nostalgia seekers, but listeners who came of age during the early-2000s neo-soul wave and have stayed with it.

Presales began Thursday through the Black Promoters Collective using code BPC, with general ticket sales scheduled for Friday at 10 a.m. local time.

2026 Tour Dates

• April 9: Newark, NJ — NJPAC
• April 11: Baltimore, MD — Lyric
• April 12: Philadelphia, PA — The Met
• April 15: Chicago, IL — Chicago Theatre
• April 18: Detroit, MI — Masonic
• April 22: Washington, DC — The Anthem
• April 24: Charlotte, NC — Ovens Auditorium
• April 26: Durham, NC — DPAC
• May 1: Atlanta, GA — The Arena at Southlake
• May 3: Jacksonville, FL — Florida Theatre
• May 6: New Orleans, LA — Saenger Theatre
• May 9: Houston, TX — Bayou Music Center
• May 10: Grand Prairie, TX — Texas Trust
• May 14: Phoenix, AZ — Celebrity Theatre
• May 15: Los Angeles, CA — The Novo
• May 17: Oakland, CA — Paramount Theatre

Floetry’s influence is measurable. “Floetic” was certified platinum by the Recording Industry Association of America and received Grammy nominations for Best Contemporary R&B Album and Best R&B Performance by a Duo or Group with Vocals. “Say Yes” reached the Top 10 on Billboard’s Adult R&B chart and crossed into the Hot 100. More broadly, the duo helped normalize poetry as a structural element within commercial R&B rather than a novelty interlude.

Still, a reunion does not automatically equal restoration. The intervening years — and public commentary from both artists — underscore that the partnership has not been seamless.

What this tour represents is less a sentimental return than a recalibration. Floetry’s catalog remains intact. The question has always been whether the dynamic that produced it could function again in real time.

In 2026, audiences will see whether that chemistry still holds.

Police: Rapper iHeartMemphis Barricaded in Home, Livestreamed Standoff Before Arrest

Richard Colbert

Ten years ago, Richard Colbert — better known to the internet as iHeartMemphis — was the joyous face of the Vine era, teaching the world to "Hit the Quan" in a viral loop that felt like innocent, low-stakes fun.

On Tuesday, that nostalgia crashed through a garage door in South Florida along with a Tesla.

Colbert was arrested in Plantation, Florida, on charges of written threats to kill and resisting an officer without violence following a bizarre, seven-hour standoff with a SWAT team. It was a grim contrast to the dance crazes of 2015, trading the choreographed joy of a Billboard Top 20 hit for the chaotic, pixelated reality of a mental health crisis broadcast in real-time.

According to the Plantation Police Department, the rapper had barricaded himself inside a home on Gatehouse Road, leading to a tense exchange with authorities that neighbors say had been brewing since Monday. But the details captured on Colbert’s own Instagram Live painted a more erratic picture.

Amid footage that showed a gun and his own Tesla — which authorities eventually pulled through the garage door to gain entry — Colbert could be heard hurling insults at law enforcement and making declarations that veered between grandiosity and paranoia.

"Please, please save me y'all," he said at one point during the stream, claiming that clouds in the sky were spying on him. "I'm begging you. I don't got nothing. I don't want to hurt nobody."

Perhaps the most telling moment came when he addressed the audience directly, denying he was a danger to himself while invoking another polarized figure in hip-hop.

"Listen, I’m not Kanye," he told viewers, referencing Ye’s own public battles. 

For those who only remember the hook, iHeartMemphis was a defining architect of the mid-2010s "dance rap" bubble. His debut single "Hit the Quan" — inspired by Rich Homie Quan’s dance in the "Flex (Ooh, Ooh, Ooh)" video — peaked at No. 15 on the Billboard Hot 100. It was a massive commercial success that cemented his place in the digital zeitgeist.

Tuesday’s arrest is a stark reminder of the volatility that often waits on the other side of viral fame. Colbert was booked into the Broward County jail on the felony threats charge and remains in custody.

‘Jealous Kind of Fella’ Singer Garland Green Dead at 83

The cover art for Garland Green's 1969 debut album, "Jealous Kind of Fella," features the singer in his prime. Green, whose title track became a defining anthem of the Chicago soul era, died over the weekend at the age of 83. (Courtesy of Uni Records)

Chicago soul lost one of its essential voices this week.

Garland Green, the Mississippi-born, Chicago-bred singer whose 1969 hit “Jealous Kind of Fellow” became a defining anthem of romantic vulnerability in the late-’60s soul era, has died. He was 83.

The news was confirmed Monday in a public Facebook post by Marshall Thompson, founding member of The Chi-Lites, who wrote that Green “has passed away this morning” and described him as a Chicago hero who “will never be forgotten.” Additional details were not immediately available.

Born Garfield Green Jr. in Dunleith, Mississippi, in 1942, Green was the tenth of 11 children. He relocated to Chicago in 1958 during the latter wave of the Great Migration, arriving at 16 and immersing himself in the city’s rapidly evolving soul scene.

According to multiple biographical accounts, Green was discovered while singing in a pool hall, where local entrepreneur Argia B. Collins heard his voice and helped finance his musical training at the Chicago Conservatory of Music — a formative investment that refined his raw gospel-blues delivery into something both streetwise and orchestral.

 

His breakthrough came in 1969 with “Jealous Kind of Fellow,” released on Uni Records. The song climbed to No. 5 on Billboard’s R&B chart and No. 20 on the Billboard Hot 100, establishing Green as a prominent voice in Chicago’s lush, string-driven soul movement. The record’s restrained anguish — equal parts pleading and pride — made it a staple of dance floors and stepper culture for decades.

While the single remains his most widely recognized recording, Green maintained a steady presence in soul throughout the 1970s. He later recorded for Cotillion Records and worked alongside notable musicians of the era, including Donny Hathaway, further cementing his place within Chicago’s interconnected soul network.

 

Though his commercial visibility waned as disco and later R&B trends shifted, Green continued performing. He relocated to California in 1979 and recorded intermittently for independent labels before stepping away from the studio for an extended period.

He returned in 2012 with the album “I Should’ve Been the One,” a late-career project that demonstrated his voice retained its grit and emotional clarity. In recent years, he continued making select appearances, including performances well into his 80s.

Green’s passing marks another loss in the lineage of Chicago soul architects whose contributions often ran parallel to — but distinct from — Motown’s more heavily mythologized narrative. His catalog may not have been vast, but his signature record remains embedded in the city’s musical DNA.

Lil Jon’s Son, DJ Young Slade, Found Dead at 27 in Georgia Park

Rapper Lil Jon, left, poses with his son, Nathan Smith, following Smith's graduation from New York University in a photo posted to the late producer's social media. Smith, 27, known professionally as DJ Young Slade, was found dead Friday in Milton, Georgia, after being reported missing earlier in the week. (Courtesy of Nathan Smith/Instagram)

After a frantic, agonizing three-day search that held the city’s music community in a suspended state of collective prayer, the worst fears were realized Friday afternoon. Nathan Smith, the 27-year-old producer and DJ known to the world as DJ Young Slade — and to Lil Jon simply as his only child — was found dead in Milton, Georgia.

The discovery came around noon, when divers from the Cherokee County Fire Department recovered Smith’s body from a pond in Mayfield Park, a quiet green space just hundreds of feet from the home where he was last seen running barefoot and disoriented on Tuesday morning.

For a generation raised on the high-octane, tear-the-club-up energy of Lil Jon, the statement issued by the hip-hop legend on Friday was jarring in its devastating quiet.

“I am extremely heartbroken for the tragic loss of our son, Nathan Smith,” Lil Jon said, confirming the news that had begun to ripple through industry text threads earlier in the day. “His mother, Nicole Smith, and I are devastated. Nathan was the kindest human being you would ever meet. He was immensely caring, thoughtful, polite, passionate, and warmhearted.”

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For those who track the lineage of Southern hip-hop, Nathan Smith was the heir apparent to a dynasty. He wasn't a "nepo baby" coasting on a famous surname; he was a skilled technician — an NYU graduate who mastered the boards and possessed an ear that his father frequently credited as the secret weapon in his later career. They were a fixture together, often spinning back-to-back sets at major festivals where the chemistry was undeniable.

The circumstances surrounding his death remain a blur. Police say Smith walked away from his home early Tuesday without his phone or wallet, prompting a massive search involving K-9 units and drones. While the investigation is technically active, authorities were quick to note Friday that there is "no indication of foul play," leaving a grieving family to grapple with a tragedy that feels as senseless as it is final.

“We loved Nathan with all of our hearts and are incredibly proud of him,” the family’s statement concluded, asking for privacy in a moment where the entire culture feels the loss.

Watch: 50 Cent Turns Doordash Super Bowl Ad Into Savage Takedown of Rival Diddy

If pettiness was a currency, Curtis Jackson would be the Federal Reserve.

While most brands are spending $8 million for 30 seconds of airtime to make you cry about Clydesdales or nostalgic car rides, DoorDash just let 50 Cent do what he does best: monetize his enemies. In a new campaign released Thursday ahead of Super Bowl LX, the rapper-turned-mogul officially graduated from "Internet Troll" to "Corporate Troll," and the result is a masterclass in disrespect.

The spot, titled "The Big Beef," is technically about getting food delivered. But let's be real — this is a diss track with a corporate budget. And yes, he absolutely went there with the prison sentence.

The Art of the "Big Beef"

The commercial opens with 50 Cent sitting on a leather couch—bottle of his own Branson Cognac visibly placed on the table, because of course it is—addressing the elephant in the room with the smirk of a man who knows he’s untouchable.

"It's come to my attention that everyone's calling me a troll," he says. "Some have said even the 'King of Trolls.' First of all, I'm flattered. But I'm done with all that."

He then claims he would never "literally deliver beef when millions of people are watching," before the screen cuts to a title card that simply reads: "50 Cent Would."

From there, it’s open season. As he unpacks a DoorDash bag, he offers a tutorial on how to handle "beef," noting that it is "more of an art than science." And this is where the references start flying over the heads of casual viewers and landing directly on the chin of Sean "Diddy" Combs.

The Breakdown: How 50 Cent Dissected Diddy

If you blinked, you missed the daggers. Here is how 50 Cent turned a grocery run into a breakdown of his rival:

• The "Puffs" Gag: While explaining that "you don't want to be too obvious," 50 pulls out a bag of Cheese Puffs. He holds them up just long enough for the "Puff" reference to register, stares at the camera, and deadpans the line about subtlety.

• The "Combs" Disrespect: The most blatant moment comes when he reaches back into the bag and pulls out a multipack of hair combs. "Oh, they sell combs," he says, examining the package with mock surprise. "What a coincidence." He then tosses them over his shoulder like trash.

• The "Branson/50 Months" Synergy: This is the killshot. 50 pulls out a bottle of his own Branson Cognac, noting that it pairs perfectly with beef. He then delivers the line that made the timeline freeze: "Aged 4 years... or 50 months, who's counting?"

The Context (For Those Who Missed It)

This is a triple-layered joke. First, he's plugging his liquor (Branson VSOP is aged 4 years). Second, he's referencing the passage of time.

Third, and most ruthlessly, he is mocking Diddy’s specific prison sentence. For those who haven't checked the Bureau of Prisons roster, Diddy was sentenced to exactly 50 months in prison last October. 50 Cent isn't just throwing out a random number; he is using his own product's specs to mock his rival's incarceration.

Why It Works

In an era where Super Bowl commercials try too hard to be "viral," this one succeeds because it feels authentic to who 50 Cent is. He isn't acting; he's just being the same guy who executive produced Sean Combs: The Reckoning.

Most importantly, he’s multitasking. In 40 seconds, he sold you a DoorDash discount, promoted his own cognac, and danced on his enemy's legal grave.

Authentic is one word for it. Ruthless is another. Either way, 50 Cent just proved that while other rappers release diss tracks, he releases business ventures.