Watch: Grown Men, Grown Bars: Clipse Returns with Grief, Gospel and God at Tiny Desk

In one of the most potent live moments hip-hop has seen in years, Clipse returned to the stage for their NPR Tiny Desk debut—a stripped-down yet searing performance that doubled as a celebration, a eulogy, and a cultural reckoning. Backed by a hard-hitting band and driven by the same raw precision that made them legendary, Pusha T and Malice brought decades of pain, reflection, and bravado into one of the most unforgettable Tiny Desk sets in recent memory.

It had been 16 years since Clipse last stood as a duo in front of a live audience. Since 2009’s Til the Casket Drops, the brothers—born Terrence and Gene Thornton—had gone their separate ways: Pusha ascended the solo ladder as a top-tier lyricist and G.O.O.D. Music president, while Malice found spiritual clarity and changed his name to No Malice, stepping back from the limelight entirely.

But for this moment—on a modest stage that’s become a proving ground for real artists—they stood shoulder to shoulder once again. The performance opened with an audible gasp from the crowd as the eerie first notes of “Virginia” set the tone. “I’m from Virginia, where ain't [expletive] to do but cook,” Pusha rapped, his cadence as cold as ever, while Malice stood stoic, surveying the room like a preacher searching for truth.

There was no band full of jazzy reinterpretations here, as NPR’s Bobby Carter revealed. The group insisted on keeping their sound uncut, unfiltered—heavy drums, haunting synths, no smoothing out the edges. Daru Jones, a hybrid drummer known for blending acoustic and electronic elements, was brought in to match their aesthetic. It worked. So did the chemistry.

The duo slid into “Keys Open Doors” and “Momma I’m So Sorry” with surgical timing, revisiting tracks from their 2006 masterwork Hell Hath No Fury. Then came “Chains and Whips,” a fierce new track from their 2025 album Let God Sort Them Out—their first full-length together in over a decade.

But the most human moment came with “Birds Don’t Sing,” a tear-stained tribute to their late parents, who died just four months apart. Malice described it as a “documented conversation”—their final words with their mother and father woven into the verses. It was less a performance than a confessional, with the band pulling back to let every syllable breathe. Pusha’s voice cracked; Malice stared straight ahead, as if speaking to ghosts.

Then came the gut punch. The unmistakable Neptunes beat for “Grindin’”—their breakout 2002 anthem—sent the room into controlled chaos. Fans shouted every bar. And for a moment, it felt like time folded in on itself: the Coke rap kings of the Clipse era reborn in front of NPR bookshelves.

The performance wasn’t just nostalgia—it was statement. Clipse didn’t just return to the stage; they reclaimed a place in hip-hop's living history. “Let God Sort Them Out,” released earlier this summer, dives deeper into mortality, legacy, and survival than anything they’ve recorded before. And the Tiny Desk concert made it clear—they’re not here to fade into the culture’s rearview.

They’re here to burn it into your memory, again.


Watch the entire performance below.

Tupac, Lenny Kravitz and A$AP Rocky Shine in Harper’s Hottest Men of All Time List

Tupac Shakur was ranked No. 2 on Harper’s Bazaar’s list of the “50 Hottest Men of All Time,” noted for his mix of poetic brilliance, political fire, and undeniable presence.

In a list stacked with silver screen legends, red carpet royalty, and pop culture crushes from every decade, it was a poet from the streets of Baltimore who stood out loudest. Harper’s Bazaar dropped its “50 Hottest Men of All Time” feature this week, and there — sandwiched between Hollywood heartthrobs and blockbuster superheroes — sat Tupac Shakur, shirtless and defiant.

Placed second only to James Dean, Tupac’s inclusion wasn’t just a nod to aesthetics. It was a reminder: style can’t be separated from substance. The magazine praised his duality, noting his ability to quote Baldwin one moment and deliver a blistering diss track the next. It was more than thirstbait — it was rare recognition from a mainstream outlet that Tupac’s magnetism wasn’t manufactured. It was revolutionary.

 

His “peak hot” moment, according to the write-up, came in the “Hit ’Em Up” video. That pick said everything. Not a red carpet photo or sanitized press image, but raw fury on tape — Tupac in full attack mode, shirt off, energy high, making sure nobody mistook him for anything less than a threat.

That kind of placement carries weight. Harper’s list reached from the golden era of Brando and Paul Newman to TikTok-era poster boys like Jacob Elordi and Charles Melton. A few names earned their spots with high cheekbones and prestige scripts. Others, like Lenny Kravitz, Bad Bunny, and Dev Patel, brought a mix of edge and cultural resonance. But for fans of true legacy, the list had some glaring omissions and unexpected wins.

There was no Biggie. No Snoop. No Rakim. No Nas. No Prince, even — an icon whose look and aura redefined masculinity in the ’80s. But Denzel made it in, honored for the abs he flexed in "The Hurricane." Michael B. Jordan got his nod for "Creed." Idris Elba and Mahershala Ali were rightfully present. Tyson Beckford — one of the original Black male supermodels — showed up near the end, low ranking considering his impact.

The biggest eyebrow-raiser? The lack of deeper hip-hop representation. If Tupac was worthy of slot No. 2, what did it say about the culture that helped shape him? If Bad Bunny’s Calvin Klein campaign made him a contender, what about LL Cool J’s shirtless “Mama Said Knock You Out” era? If Elvis could make the cut for shaking his hips in “Jailhouse Rock,” where was Bobby Brown?

Seeing Tupac listed alongside James Dean and Paul Newman signaled that hip-hop’s style icons can’t be boxed out of “sex symbol” conversations anymore. But the gaps — the glaring absence of other pioneers who made millions scream with a single look — were impossible to ignore.

Still, Tupac at No. 2 means something. It means the culture cracked through again. With the Rock & Roll Hall of Fame already behind him, holograms on festival stages, and lectures at Harvard dissecting his lyrics, this latest nod was less about heat and more about presence. Tupac stays on the list because Tupac never left.

Harper’s Bazaar: 50 Hottest Men of All Time

1. James Dean
2. Tupac Shakur
3. Charles Melton
4. Lenny Kravitz
5. Paul Mescal
6. Pedro Pascal
7. Hayden Christensen
8. Marlon Brando
9. Bad Bunny
10. Aaron Taylor-Johnson
11. Dev Patel
12. Harrison Ford
13. Jason Momoa
14. Robert Pattinson
15. Paul Newman
16. Jacob Elordi
17. Elvis Presley
18. Damson Idris
19. Keanu Reeves
20. Robert Redford
21. Jesse Williams
22. Bill Skarsgård
23. Rick Yune
24. Matthew McConaughey
25. Theo James
26. Denzel Washington
27. Heath Ledger
28. Jake Gyllenhaal
29. Henry Golding
30. George Clooney
31. Shemar Moore
32. Brad Pitt
33. Leonardo DiCaprio
34. Rami Malek
35. Clint Eastwood
36. Oscar Isaac
37. Chris Evans
38. Idris Elba
39. Ryan Gosling
40. Tyson Beckford
41. Channing Tatum
42. Michael B. Jordan
43. David Beckham
44. Mahershala Ali
45. Maluma
46. Henry Cavill
47. Zayn Malik
48. Gong Yoo
49. Chris Hemsworth
50. A$AP Rocky

Diddy’s Twin Daughters Step Into Fashion Spotlight With '12TWINTY1'

D’Lila and Jessie Combs announced their debut fashion line, “12TWINTY1,” just days after their father Sean “Diddy” Combs was denied bail on federal charges.

D’Lila and Jessie Combs have officially stepped out of their father’s shadow — and into the spotlight as fashion entrepreneurs.

The 18-year-old twin daughters of Sean “Diddy” Combs and the late Kim Porter announced this week they’re launching their first clothing brand, “12TWINTY1,” a project they say has been in the works their entire lives.

“We are launching our very own clothing line,” the twins said in a recently posted TikTok video. “This isn’t just a brand. It’s our story. Our bond. Our roots.”

Named after their shared birthday — December 21 — the brand blends numerology with personal identity. “One is bold, fearless, and marks the beginning of something powerful,” they said in the caption. “Two speaks to love, connection, and harmony — the essence of our twinhood.”

Their official Instagram account echoed the message: “12TWINTY1 was created with purpose, built from who we are, not just what we wear.”

While no pieces from the line have been revealed yet, the twins emphasized that the project is about more than aesthetics. “This brand is for everyone,” D’Lila said in another clip. “It’s comfort, confidence, and meaning.”

Jessie added, “People always ask if we think alike — and the answer is definitely. That connection is the heart of our brand.”

Their announcement comes at a complicated time for the Combs family. Just days earlier, their father, Sean “Diddy” Combs, was denied bail after a federal jury acquitted him of several top charges — including racketeering conspiracy and sex trafficking — but found him guilty on two counts of transporting women across state lines for the purpose of prostitution. He now awaits sentencing on October 3, with federal prosecutors recommending a prison term of up to 63 months.

Throughout the trial, D’Lila and Jessie were seen supporting their father in court, sometimes exiting the room during emotionally charged testimony. They also recently celebrated their high school graduation — a personal milestone largely overshadowed by their father’s legal saga and the surrounding media scrutiny.

Now, with “12TWINTY1,” they appear to be carving out their own narrative — one rooted in legacy, but reaching for something all their own.

From Compton to the Classroom: Temple Adds Kendrick Lamar to Curriculum

Kendrick Lamar's life and lyrics will be the subject of a new fall semester course at Temple University, taught by Professor Timothy Welbeck. 

Kendrick Lamar’s legacy is already cemented in music history. Now, it's making its way into the college classroom.

Starting this fall, Temple University will offer a course titled "Kendrick Lamar and the Morale of M.A.A.D City," an Afrocentric deep dive into the Pulitzer Prize-winning rapper’s life, lyrics and cultural weight. Designed and taught by professor Timothy Welbeck, a respected scholar in Africology and African American Studies, the course aims to unpack the socioeconomic, political and personal factors that have shaped Lamar — and the world that shaped him.

“This isn’t just about rap lyrics,” Welbeck told NBC10 in a recent interview. “Kendrick Lamar is one of the defining voices of his generation. His art and life reflect the Black experience in deeply telling ways.”

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A post shared by Timothy N. Welbeck, Esq. (@timothywelbeck)

Welbeck, who also serves as director of Temple’s Center for Anti-Racism and is a hip-hop artist himself, has previously taught courses on Tupac, Jay-Z and the evolution of Black culture through music. With this new offering, he hopes to explore Lamar’s full trajectory — from his Compton roots to the Grammy stage and global influence — through an Africological lens that centers Black expression and self-actualization.

The course arrives at a critical cultural moment. Lamar’s recent lyrical feud with Drake reignited debates over authenticity in hip-hop, while his explosive anthem "Not Like Us" — a searing takedown of celebrity ego and false alliances — has become a cultural flashpoint, sparking industry lawsuits and think pieces alike. At the same time, his co-headlining Grand National Tour with SZA was one of the year’s highest-grossing, cementing his status as both icon and provocateur.

Students in Welbeck’s class will study that tension head-on. From Lamar’s major-label debut "good kid, m.A.A.d city" to the densely layered "To Pimp a Butterfly" and his latest effort "GNX," the course promises a sharp examination of hip-hop as not just music, but social commentary — shaped by public policy, systemic inequality and Black resilience.

Beyond lectures, the course will include guest speakers from the music industry who have worked with Lamar, offering students rare insight into both his creative process and the business machinery behind the music.

Rapper Young Noble, Member of Tupac’s Outlawz, Dead at 47

Mogkilluminati, CC BY-SA 3.0, via Wikimedia Commons

Young Noble, the last artist personally added to Tupac Shakur’s iconic group Outlawz, has died by suicide. He was 47.

Born Rufus Lee Cooper III, Noble was found dead Friday morning, July 4, at his home in Atlanta. The news was confirmed by longtime friend and fellow Outlawz member E.D.I. Mean, who shared the update on Instagram with a heartfelt plea: “Mental illness is a real battle being fought by so many. CHECK ON YOUR FOLKS!”

Noble’s death was also verified by a representative speaking to PEOPLE. No additional details were released by his family.

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A post shared by E.D.iMean (@edidono4l)

A fixture in one of hip-hop’s most influential crews, Noble carried a direct line to Tupac Shakur’s vision. He joined Outlawz in early 1996, just months before Shakur was gunned down in Las Vegas. At only 18, Noble made his debut on Shakur’s posthumous classic “The Don Killuminati: The 7 Day Theory,” appearing on standout tracks like “Hail Mary,” “Bomb First (My Second Reply)” and “Just Like Daddy.”

Over the decades, Noble became a torchbearer for the Outlawz legacy, both through music and community engagement. He recorded four solo albums — "Noble Justice," "Son of God," "Powerful," and "3rd Eye View" — and co-founded Noble Justice Productions, an independent outlet through which he released his work.

Damn my dude Young Noble of The Outlawz has passed. Unfortunately he took his own life according to his Outlawz member E.D.I. Amin's post.
Everyone must respect mental illness and what someone may be going through. Check your loved ones, friends, family etc.
I'll cherish the… pic.twitter.com/prdMsNQtKj

— DJ Premier (@REALDJPREMIER) July 5, 2025

He also outlived nearly all of his Outlawz bandmates. Yaki Kadafi was killed in 1996, Hussein Fatal died in a car crash in 2015, and Napoleon left the music business entirely. Noble remained active, both on record and on social media, where he posted an uplifting message just days before his death: “You're not reading this by accident. This is your confirmation. You're going to make it. No matter what it looks like right now.”

Noble’s life was marked by struggle from the start. Born in Rancho Cucamonga, California, in 1978, he was raised under difficult circumstances. His mother battled addiction, and he never knew his father. He relocated to New Jersey as a teenager and eventually met Kadafi, Tupac’s godbrother, who helped introduce him to the rest of the Outlawz.

In 2021, Noble survived a serious heart attack. But in 2024, tragedy struck again: his mother, Ellen Ferr, was diagnosed with stage 3 cancer and died later that summer. Friends say her death deeply affected him.

The outpouring of grief from the hip-hop community was immediate. Snoop Dogg — who was labelmates with Shakur and the Outlawz during their time at Death Row Records— posted the tribute song “The Good Die Young” on Instagram, writing simply: “DAMN. Mental health is real.”

In announcing the news, E.D.I. Mean asked for privacy while hinting at the unspoken toll fame and legacy can sometimes take: “Today I got some of the worst and unexpected news imaginable. My brother and partner for over 30 years took his life this morning. Rest in Power, Rufus Young Noble Cooper.”

Outlawz Member Young Noble Calls Out Snoop Dogg For Telling A Wild Exaggerated Story About 2Pac's Interaction With Nas At Bryant Park.

(🎥 The Art Of Dialogue/YouTube) pic.twitter.com/mJtz6F52vD

— The Art Of Dialogue (@ArtOfDialogue_) December 21, 2024

Court Denies Diddy’s Release as Prosecutors Warn of Risk

Sean “Diddy” Combs was denied bail Thursday, following his conviction on two counts related to transporting individuals for prostitution. Combs will remain in custody pending sentencing.

A federal judge has denied Sean “Diddy” Combs’s request for bail, following his conviction on two Mann Act charges for transporting individuals for the purpose of prostitution. Despite being acquitted on the more serious charges of sex trafficking and racketeering, prosecutors successfully argued — and Cassie Ventura’s attorney reiterated — that Combs remains a danger to potential victims and the community. 

Cassie Ventura’s lawyer, Douglas Wigdor, submitted a letter to Judge Arun Subramanian emphasizing her ongoing concerns: “Ms. Ventura believes that Mr. Combs is likely to pose a danger to the victims who testified in this case, including herself, as well as to the community.”

Cassie is opposing Sean "Diddy" Combs' release from federal custody.

"Ms. Ventura believes that Mr. Combs is likely to pose a danger to the victims who testified in this case, including herself, as well as to the community." pic.twitter.com/DMeDAQECnG

— Meghann Cuniff (@meghanncuniff) July 2, 2025Prosecution filings argue that Combs’s conduct during the trial — including graphic accusations, admitted violence, and drug-fueled sexual “freak offs” — justify keeping him behind bars to prevent further intimidation or harm.

Meanwhile, Combs’s legal team proposed a $1 million bond, strict travel restrictions, passport surrender, and regular drug testing 

But prosecutors stood firm, underscoring concerns about public safety and witness protection.

The next step is sentencing. Combs faces up to 20 years in prison — 10 years per conviction — though legal experts have suggested he may receive “time served” or a lighter sentence, given the split verdict.

Split Verdict in Diddy Trial: Guilty on Transport, Not Guilty on Trafficking

A federal jury on Wednesday found Sean "Diddy" Combs guilty of transporting women for prostitution but acquitted him of racketeering and sex trafficking charges, marking a pivotal moment in his decades-spanning career.

In a trial that tested the limits of hip-hop’s intersection with celebrity, power and accountability, a Manhattan jury delivered a split verdict Wednesday in the high-stakes case against Sean “Diddy” Combs — convicting the 55-year-old mogul on two counts of transportation for prostitution while acquitting him of more serious charges including racketeering and sex trafficking.

The verdict, reached just before 10 a.m., followed nearly 14 hours of deliberation by a jury of eight men and four women. They cleared Combs of racketeering conspiracy and sex trafficking involving both Cassie Ventura and a second accuser known as Jane Doe but found him guilty of transporting both women across state lines for prostitution — a charge that still carries potential prison time.

There was no visible reaction from Combs as the jury read the decision. The music mogul — whose three-decade career helped define hip-hop’s rise from gritty streets to global boardrooms — sat expressionless, flanked by his legal team. Afterward, he was quietly returned to federal custody at Brooklyn’s Metropolitan Detention Center.

The charges stemmed from a sprawling federal investigation into Combs’ alleged decades-long pattern of coercion, abuse, and manipulation. Prosecutors built their case on testimony from multiple accusers who described being lured into what they called “freak-offs” — drug-fueled sex parties allegedly arranged by Combs and his associates. But defense attorneys painted the interactions as consensual and framed the lifestyle as “eccentric, not criminal.”

Combs’ lead attorney called the partial verdict “a sign the system still works,” while federal prosecutors declined immediate comment.

The trial — sparked by Ventura’s explosive $20 million civil lawsuit in late 2023 — ignited a chain reaction of more than 30 legal complaints, many of which remain active. Allegations against Combs span from the early 1990s to as recently as mid-2024 and include claims from former employees, models, music insiders, and everyday civilians who encountered him briefly and left with lasting trauma.

Combs was acquitted of racketeering and sex trafficking, but his conviction for violating the Mann Act — the federal law prohibiting transport of individuals across state lines for sex work — remains significant. Each count carries a potential sentence of up to 10 years in prison. A sentencing date has not yet been announced, though legal analysts expect proceedings to begin by early fall.

For fans and critics alike, the verdict marks the culmination of a stunning downfall for one of hip-hop’s most influential architects — the man behind Bad Boy Records, “Making the Band,” and multiplatinum albums like “No Way Out.” But while he dodged the most serious charges, the guilty counts ensure his legacy — and legal future — are far from settled.

Maxo Kream Facing Firearm Charges, Denies Fleeing Police During Traffic Stop

Maxo Kream

Maxo Kream wants you to know he wasn’t running from the law — just driving a little too fast in his Lamborghini. Texas police, however, say that moment of speed could cost him more than just a traffic ticket.

The Houston rapper, born Emekwanem Ogugua Biosah Jr., was arrested June 27 after a routine traffic stop turned into what authorities allege was an attempted escape. Police say Kream was initially pulled over in Harris County for expired license plates — reportedly out of date since May — but drove off as officers exited their vehicle.

Although no chase ensued, officers say Maxo soon pulled over and was taken into custody without further incident. Inside the vehicle, authorities say they discovered two firearms. Because of his alleged affiliation with a criminal street gang, he was charged with unlawful carrying of a weapon by a gang member — a felony — along with a misdemeanor charge for fleeing or attempting to elude a police officer.

Kream addressed the arrest via Instagram, posting a screenshot of a TMZ article and captioning it, “Damn … I wasn’t ‘ELUDING’ my Lambo just a lil fast,” adding, “But na no more jail @persona x @coughsyrupbydestodubb s—t goin on.”

His attorney, Carl A. Moore, denied any wrongdoing, telling TMZ Hip Hop, “Maxo did not flee from the police. He complied with the commands of the arresting officer. We plan to fight these accusations in court.”

Kream is scheduled to appear in court on July 7.

The arrest punctuates an otherwise quiet musical year for Kream, who released his last album, "Personification", in 2024. Recently, he’s focused on growing his clothing label, Persona, which hosted a Houston pop-up shop the weekend of his arrest. He also appeared at the city’s Screw Day celebration, paying tribute to DJ Screw — a revered figure in Houston’s hip-hop legacy.

Still, the legal situation looms large. Texas gun laws are unforgiving, and the added accusation of gang affiliation could intensify the legal challenge. While Maxo’s team maintains his innocence, police reports offer a contrasting view, setting up a legal showdown with potential career-altering consequences.

For now, Maxo Kream remains free — but the stakes are rising. His next steps, both in court and in music, could decide whether this becomes a footnote or a fork in the road.

Is Beyoncé Country Enough? Viral Critic Reignites Debate Over Genre Lines

Beyoncé rides a white horse while holding an American flag in a promotional image for her album Cowboy Carter. The project debuted at No. 1 on Billboard’s Country Albums chart, sparking debate over its genre classification. Country artist Gavin Adcock called the album “the farthest thing from country,” while supporters praised it for expanding country’s boundaries. (Photo courtesy of Parkwood Entertainment)

When Gavin Adcock — former Georgia Southern football player turned rough-edged country artist —
posted a Reel claiming Beyoncé’s "Cowboy Carter" is “the farthest thing from country,” he reignited a long-standing debate about who gets to define a genre rooted in both tradition and transformation.

The short video, now trending across Instagram and TikTok, shows Adcock shaking his head and offering a southern-fried breakdown of why he doesn’t believe "Cowboy Carter" belongs under the country umbrella.

“Lemme go ahead and clear this up — when I was a little kid, my mama raised me on real country,” Adcock says. “I’m talkin’ George Strait, Alan Jackson, Travis Tritt. I ain’t hatin’, but don’t label somethin’ country just to make it chart.”

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A post shared by Gavin Adcock (@gavinadcockmusic)

It’s a tone that’s part bemusement, part subtle gatekeeping — and it reveals more about country music’s discomfort with evolution than it does about Beyoncé.

Because here’s the question Adcock — and many like him — keep skirting: what exactly is “real country” in 2025?

Statistically, "Cowboy Carter" might be the most successful “country” album of the decade. Beyoncé’s genre-bending opus debuted at No. 1 on the Billboard 200, Top Country Albums, and Top Americana/Folk Albums simultaneously — making her the first Black woman in history to top the country chart.

According to Luminate, "Cowboy Carter "moved 407,000 equivalent album units in its first week, including 168 million on-demand streams — a figure far surpassing recent country releases by artists like Morgan Wallen or Luke Combs. These aren’t crossover numbers — they’re takeover numbers.

But success isn’t the only qualifier. The album’s DNA is country — just not the narrow kind historically confined to Music Row radio rotations. Beyoncé interpolates Dolly Parton, covers The Beatles’ “Blackbird” (written during the civil rights era), and resurrects Linda Martell, the first Black woman to play the Grand Ole Opry, giving her overdue voice and validation.

Genre boundaries have always shifted. Elvis shook up country. Ray Charles turned Modern Sounds in Country and Western Music into a landmark. Lil Nas X went viral and hit No. 1 with a cowboy hat and an 808. What Beyoncé’s doing isn’t a gimmick — it’s tradition, just one that doesn’t always look like what the Nashville establishment expects.

That discomfort is the point.

Beyoncé herself wrote in the album’s liner notes: “This ain’t a country album. This is a Beyoncé album.” And that’s the real story: she’s not asking permission — she’s asserting authority.

Artists like Adcock are entitled to their opinions. But the facts remain: "Cowboy Carter" didn’t break country music. It exposed how small the gate has been. And for many listeners — especially Black ones — that gate was never open to begin with.

Whether she’s standing onstage at the CMA Awards or headlining her own genre-defying global tours, Beyoncé’s presence in country isn’t an invasion.

It’s a reclamation.

So the question isn't whether "Cowboy Carter" is country enough.

The question is whether country music is ready to admit its roots were always bigger than its borders.

Walter Scott, Velvet-Voiced Whispers Legend, Dies at 81

The Whispers pose backstage before their performance at Gardner's Basin in Atlantic City on Saturday, Aug. 24, 2013. From left: Leaveil Degree, Wallace Scott, Walter Scott and Nicholas Caldwell. Walter Scott, co-founder of the group, died Thursday at age 81.

Walter C. Scott Jr., whose buttery vocals alongside his identical twin Wallace anchored the iconic R&B group The Whispers for more than five decades, died Thursday in Northridge, Calif., after a six-month battle with cancer. He was 81 and surrounded by family.

Desirae L. Benson, a member of the Whispers' promotional team, confirmed Scott’s death in a statement to Soul Tracks:

We all are incredibly heartbroken. It is with deep sadness that we confirm the passing of Walter Scott, beloved member of the legendary R&B group The Whispers,” Benson said. “His voice, presence, and contributions helped shape a musical legacy that touched millions. Walter’s impact on the industry and in the hearts of fans will never be forgotten. 

Formed in Los Angeles in 1963, The Whispers — originally Walter and Wallace Scott, Nicholas Caldwell, Marcus Hutson, and Gordy Harmon — became one of the most celebrated vocal groups of their era. Their string of hits spanned decades, with “And the Beat Goes On,” “Lady,” “It’s a Love Thing,” and “Rock Steady” defining R&B radio in the 1980s.

Over their career, The Whispers earned 15 top 10 R&B singles, two R&B No. 1 albums ("The Whispers" and "Love Is Where You Find It"), and widespread acclaim for their smooth choreography and timeless harmonies.

Born in Fort Worth, Texas, in 1944, Walter Scott moved with his family to Los Angeles, where he and his brother first began performing. The group relocated briefly to San Francisco in the mid-’60s to sharpen their live act. Walter was drafted into military service in Vietnam and rejoined The Whispers in 1969. The group gained momentum in the late ’70s after signing to Dick Griffey’s Solar Records, beginning a golden era of hits that kept them on the charts and touring through the 2000s.

Harmon was replaced in 1973 by Leaveil Degree following a vocal injury. Hutson died in 2000, Caldwell in 2016, and Harmon in 2023. The Whispers were inducted into the National Rhythm & Blues Hall of Fame in 2014.

Walter Scott is survived by his wife, Jan, two sons, three grandchildren, and his brother Wallace.

Watch: Living Colour Electrifies for Tiny Desk’s Black Music Month Tribute

Living Colour performs at NPR’s Tiny Desk in Washington, D.C., in a June 2025 concert celebrating the 35th anniversary of their landmark album Time’s Up. From left: Vernon Reid, Will Calhoun, Corey Glover and Doug Wimbish. (Screengrab via YouTube)

Living Colour didn’t just play behind NPR’s Tiny Desk. They detonated it.

The pioneering Black rock band delivered a searing, soul-baring performance that honored the 35th anniversary of their landmark album "Time’s Up," shook the walls of NPR’s headquarters, and reminded the world that rock, rage, and revolution still live in Black music.

Opening with their 1988 breakout “Cult of Personality” — the Grammy-winning anthem that made political theory scream — Living Colour set the tone with Corey Glover’s full-throttle vocals, Vernon Reid’s sonic sleight of hand on guitar, and a rhythm section powered by Doug Wimbish and Will Calhoun that hit like a fist through drywall.

But this wasn’t just nostalgia. It was history, fury, and deep musicianship in tight quarters.

With every song, Living Colour layered commentary on race, identity, media, and systemic distortion. “Pride” challenged American hypocrisy, “Love Rears Its Ugly Head” dissected relationship chaos and self-destruction, and “Solace of You” offered a melodic sanctuary in a world that often seeks to erase Black voice and story. Reid shouted out D.C. legends Bad Brains before launching into a blistering “Time’s Up,” turning NPR’s quiet corner into a temple of electric urgency.

“History’s a lie that they teach you in school,” Glover sang in “Pride,” over Calhoun’s tight beat. “A peaceful land that was born and civilized was robbed of its history, freedom, and pride.” It hit like gospel wrapped in punk.

The band used every inch of the stripped-down space to deliver something bigger than volume: meaning. Even with amps turned down and stage lights off, Living Colour glowed — a reminder that Tiny Desk’s size doesn’t limit the size of its message.

During their set, Glover took a moment to reflect on Black Music Month and the losses the culture has endured. “We lost Roberta Flack, we lost so many,” he said. “This song really speaks to that.”

By the end of “Solace of You,” the room didn’t just cheer — it exhaled. For Black rock fans, it was church. For everyone else, it was a lesson in what the genre has always owed to Black artists.

Watch the entire performance below.

Combs Declines to Testify as His Legal Team Concludes Case in Sex Trafficking Trial

Combs declined to testify in his own defense, telling the judge: “I’m doing great, your honor.”

More than six weeks after federal prosecutors began laying out their case against Sean "Diddy" Combs, the defense has rested. In a Manhattan courtroom that has riveted the entertainment industry, the hip-hop mogul opted not to testify in his own defense as attorneys made a final push to sway the jury.

After calling 34 witnesses, the government rested its case Tuesday morning. What followed was a Rule 29 motion for judgment of acquittal by Combs’ defense, a standard legal maneuver arguing that the prosecution failed to meet its burden. Judge Arun Subramanian has reserved ruling on the motion, meaning the case will proceed to the jury.

Defense attorney Alexandra Shapiro argued that the government did not prove the racketeering conspiracy charge or the sex trafficking counts tied to Cassie Ventura and an accuser identified as Jane. She claimed the prosecution failed to establish that Combs coerced anyone or conspired with staff to facilitate crimes. "There’s, at best, thin proof," Shapiro told the court. She added that Combs "took steps to conceal the nature of the sexual activity he was engaging in" from his own employees.

Text messages between Ventura and Combs, read into the record by the defense, painted a picture of a complicated, at times consensual relationship. In messages from 2012 to 2017, Ventura expressed affection for Combs, referenced sexually charged plans like "freak offs," and in one instance joked about getting high before participating. The defense also introduced stipulations noting that several prosecution witnesses— including Dawn Richard, Mia, and Bryana Bongolan — initially failed to report key allegations during interviews with investigators.

While prosecutors chose not to present a rebuttal case, they did argue against the Rule 29 motion. Assistant U.S. Attorney Christy Slavik said the record is more than sufficient to let the jury decide, citing evidence of travel arrangements, payments, and video footage linking Combs to the alleged crimes.

Judge Subramanian addressed Combs directly, confirming his decision not to testify. "I’m doing great, your honor," Combs said, thanking the judge for his handling of the case.

The jury will return Thursday for closing arguments after a scheduled break Wednesday. Deliberations are expected to begin Monday.

R&B Royalty Reunite: Brandy and Monica Launch Arena Tour This Fall

Promotional artwork for “The Boy Is Mine Tour” showcases Brandy and Monica’s first-ever co-headlining arena run, which kicks off Oct. 16, 2025, in Cincinnati and wraps Dec. 7 in Houston. The 24-city tour also features Kelly Rowland, Muni Long, and American Idol winner Jamal Roberts. (Courtesy Black Promoters Collective)

More than 25 years after their chart-dominating duet "The Boy Is Mine" redefined R&B for a generation, Brandy and Monica are officially hitting the road together. The Grammy Award-winning vocal powerhouses announced their highly anticipated joint tour today on CBS Mornings, igniting fan excitement from coast to coast.

Produced by the Black Promoters Collective, The Boy Is Mine Tour launches October 16 in Cincinnati, Ohio, and will hit 24 cities before wrapping up December 7 in Houston, Texas. The tour marks the duo’s first-ever co-headlining trek and celebrates one of the most iconic collaborations in Black music history.

Originally released in 1998, "The Boy Is Mine" spent a staggering 13 weeks at No. 1 on the Billboard Hot 100 — a feat that placed the pair in elite company with Whitney Houston ("I Will Always Love You," 14 weeks) and Mariah Carey ("One Sweet Day," 16 weeks). The track earned them the 1999 Grammy Award for Best R&B Performance by a Duo or Group with Vocals and has remained a cultural touchstone ever since.

Joining Brandy and Monica on the tour are Grammy-winning superstar Kelly Rowland, chart-topping songwriter Muni Long, and American Idol Season 23 winner Jamal Roberts — a multigenerational lineup that ensures each night will be steeped in both nostalgia and new energy.

The reunion comes on the heels of a surprise appearance in Ariana Grande’s "The Boy is Mine" music video in 2024, which sparked renewed excitement for the R&B legends. They later contributed vocals to Grande’s official remix of the track, earning another Grammy nomination and bringing their chemistry to a new generation of fans.

"This really is a full-circle moment," Brandy said. "Monica and I coming together again isn’t just about the music — it’s about honoring where we came from and how far we’ve both come."

Monica echoed the sentiment, calling the tour a tribute to their individual growth and lasting connection: "Brandy and I have been on our own unique journeys. Coming back together is a reminder of the power of respect, strength, and real music."

Shelby Joyner, president of the Black Promoters Collective, called the pairing "a cultural homecoming," saying: "Their impact on R&B is immeasurable, and 'The Boy Is Mine' continues to be one of the most iconic collaborations of all time."

Tickets go on sale Friday, June 27, at 10:00 a.m. local time via Ticketmaster, with presales beginning Thursday, June 26, using the code BPC.

A cinematic tour trailer directed by Ethan Tobman — known for work with Beyoncé and Taylor Swift — has already begun generating buzz, setting the tone for a production that promises style, soul, and sisterhood.

The Boy Is Mine Tour — Dates and Cities:
10/16 – Cincinnati, OH – Heritage Bank Center
10/17 – Milwaukee, WI – Fiserv Forum
10/18 – Chicago, IL – United Center
10/19 – Indianapolis, IN – Gainbridge Fieldhouse
10/30 – Memphis, TN – FedExForum
10/31 – Atlanta, GA – State Farm Arena
11/01 – Greensboro, NC – First Horizon Coliseum
11/02 – Baltimore, MD – CFG Bank Arena
11/07 – Las Vegas, NV – T-Mobile Arena
11/08 – Oakland, CA – Oakland Arena
11/09 – Los Angeles, CA – Kia Forum
11/13 – Charlotte, NC – Spectrum Center
11/14 – Columbia, SC – Colonial Life Arena
11/15 – Birmingham, AL – Legacy Arena at BJCC
11/20 – Brooklyn, NY – Barclays Center
11/21 – Newark, NJ – Prudential Center
11/22 – Atlantic City, NJ – Jim Whelan Boardwalk Hall
11/23 – Hampton, VA – Hampton Coliseum
11/28 – St. Louis, MO – Enterprise Center
11/29 – Detroit, MI – Little Caesars Arena
11/30 – Washington, DC – Capital One Arena
12/05 – New Orleans, LA – Smoothie King Center
12/06 – Fort Worth, TX – Dickies Arena
12/07 – Houston, TX – Toyota Center

Fat Joe’s Attorney Calls Rape Lawsuit ‘Fraudulent Campaign’

Eva Rinaldi, CC BY-SA 2.0, via Wikimedia Commons

Bronx rap icon Fat Joe is fighting back against what his legal team calls a "fraudulent campaign" to damage his legacy and extort him into silence — one now involving explosive accusations of sexual misconduct.

The latest salvo in a rapidly escalating legal battle dropped Thursday, when Terrance Dixon, Fat Joe's former hype man, and attorney Tyrone Blackburn filed a countersuit accusing the Grammy-nominated MC of sexual abuse, including the rape of underage girls — claims that Fat Joe and his legal team have vehemently denied.

These bombshell allegations come just weeks after Fat Joe, born Joseph Cartagena, filed a civil suit in April 2025 accusing Dixon and Blackburn of attempted extortion through threats, false claims, and media manipulation.

In a statement issued Friday, Cartagena's attorney Joe Tacopina described the new suit as a desperate retaliation. "The lawsuit filed by Tyrone Blackburn and Terrance Dixon is a blatant act of retaliation — a desperate attempt to deflect attention from the civil suit we filed first, which exposed their coordinated scheme to extort Mr. Cartagena through lies, threats, and manufactured allegations," Tacopina said.

Tacopina didn’t hold back in his assessment of Blackburn, painting him as a serial abuser of the legal system. "We didn't just sue a disgruntled former employee trying to revive a false claim from 15 years ago — we sued the lawyer behind it all. Tyrone Blackburn has a well-documented pattern of abusing the courts to harass defendants and generate media attention."

According to Tacopina, two federal judges have previously reprimanded Blackburn, including one who referred his conduct to the Southern District of New York’s disciplinary committee. Tacopina also claims law enforcement is now aware of what he calls an extortionate demand at the center of this case.

"The allegations against Mr. Cartagena are complete fabrications — lies intended to damage his reputation and force a settlement through public pressure," Tacopina said. "Mr. Cartagena will not be intimidated. We have taken legal action to expose this fraudulent campaign and hold everyone involved accountable."

Blackburn has not yet responded publicly to Tacopina’s latest statement, but in the countersuit filed Thursday, he and Dixon allege that Fat Joe failed to pay Dixon for years of work, created a toxic and abusive environment, and committed multiple acts of sexual abuse — including with minors — while Dixon worked as his hype man.

To date, no criminal charges have been filed against Cartagena, and the current legal actions remain in civil court.

Fat Joe, best known for hits like "Lean Back" and "What's Luv?", has not commented directly on the new allegations but has reportedly vowed to see the legal fight through to the end.

Cavin Yarbrough, Half of Yarbrough & Peoples and Funk-R&B Icon, Dies at 72

Yarbrough & Peoples perform together onstage in Dallas. The R&B duo, best known for their 1980 No. 1 hit “Don’t Stop the Music,” remained active performers and community figures for decades. (Photo courtesy of Yarbrough & Peoples Productions)

Cavin Yarbrough, one-half of the iconic R&B duo Yarbrough & Peoples and the man behind the early 1980s chart-topper "Don't Stop the Music," has died. He was 72.

His wife and longtime music partner, Alisa Peoples, confirmed his death Saturday, saying it was sudden and unexpected. "He was the love of my life, my protector," she said. "Now he’s my guardian angel."

Yarbrough passed away on June 19 from complications related to heart disease, according to Peoples.

The duo became household names after their 1980 debut single "Don't Stop the Music" topped the Billboard R&B chart and helped define the era’s funk-forward sound. Their debut album, "The Two of Us," was released the same year and propelled the Dallas-born pair into national fame. "Don't Stop the Music" remains one of the defining tracks of early '80s R&B and is still widely sampled and celebrated today.

Born and raised in Dallas, Texas, Yarbrough was a classically trained pianist who first met Alisa Peoples as a child while taking piano lessons. Their shared love of music blossomed into both a personal and professional partnership. It was Gap Band frontman Charlie Wilson who introduced the duo to Lonnie Simmons, founder of Total Experience Records. The label signed Yarbrough & Peoples in the late '70s, setting the stage for their string of R&B successes.

In addition to their breakout hit, the pair recorded several other charting singles throughout the 1980s, including "Heartbeats" (No. 25, 1983), "Don’t Waste Your Time" (1984), "Be a Winner" (No. 6, 1984), "Guilty" (No. 13, 1986) and "I Wouldn’t Lie" (1986).

After leaving Total Experience in 1986, Yarbrough and Peoples married in 1987 and returned to Dallas. There, they launched their own production company, Yarbrough & Peoples Productions, and served as music directors at their church. Yarbrough also portrayed blues legend Lead Belly in the Off-Broadway musical "Blind Lemon Blues" in 2009.

Friends and fans took to social media to honor his legacy.

“So sad to learn of the passing of Cavin Yarbrough, one-half of the iconic R&B duo Yarbrough & Peoples,” longtime radio personality Donnie Simpson posted. “We will remember Cavin’s legacy through timeless hits like ‘Don’t Stop the Music.’ Sending condolences to his wife, Alisa Peoples, family, friends & fans. RIP.”

"Cavin was not only an extraordinary talent, but a kind man with a great heart," said Michele Elyzabeth, the duo’s publicist for over 40 years. "His legacy will live on in the music, in our memories, and in the hearts of everyone who knew him."

At a time when funk and romance ruled Black radio, Yarbrough & Peoples found the perfect groove. And with Cavin now gone, the beat he helped create lives on.

Beyoncé Tops Whitney, MJ Falls Short of No. 1 in Billboard’s R&B Ranking

Stevie Wonder receives a standing ovation from President Barack Obama, First Lady Michelle Obama, Vice President Joe Biden and an all-star crowd during a 2011 White House Motown tribute. This week, Billboard named Wonder the greatest R&B singer of all time, topping a list that includes legends like Aretha Franklin, Michael Jackson, Beyoncé and Marvin Gaye. (Official White House Photo by Pete Souza)

Billboard just dropped its list of the 75 greatest R&B singers of all time — and if you grew up memorizing liner notes, taping quiet storm sets off the radio, or debating who hit harder between Luther and Marvin, this one’s for you.

Crowned at No. 1 is Stevie Wonder, the blind boy genius turned cultural architect whose sound helped define R&B, soul, and pop for over 60 years. Billboard calls him “pure creative mastery,” but most fans already had him carved into Mount Rushmore status decades ago.

Right behind him at No. 2 is the eternal Queen, Aretha Franklin. Whether from the pulpit or the protest line, Aretha’s voice changed lives and demanded R-E-S-P-E-C-T at every turn.

The top five rounds out like a 3 a.m. soul cypher in heaven: Michael Jackson (3), Beyoncé (4), and Whitney Houston (5) — each one a seismic shift in what R&B could sound, look, and feel like. Beyoncé’s placement signals her as more than a pop juggernaut — she’s a genre-defining vocalist whose catalog honors gospel roots while reshaping the modern R&B landscape. Billboard called her a “vocal chameleon” who balances breathy sensuality with outright power.

Further down, legends like James Brown (6), Prince (7), Mariah Carey (8), Marvin Gaye (10), and Al Green (14) get their long-overdue flowers. Janet Jackson (13) and Usher (21) hold it down for the crossover era, when R&B ruled MTV and packed out arenas. And Brandy, at No. 25, earns her long-standing title as the “Vocal Bible.”

But this list isn’t just a walk through the past — it’s a battleground. Controversy is built into the ranking.

Summer Walker’s inclusion at No. 74 raised eyebrows, especially paired with the absence of ‘90s titans like Keith Sweat, Joe, and Jodeci. R. Kelly’s No. 9 placement is another lightning rod, despite Billboard’s acknowledgment of his lasting musical influence.

Still, the list provides a sweeping look at the genre’s evolution — from Sam Cooke’s raw emotion (12) to Sade’s velvet cool (20), Frank Ocean’s alt-soul futurism (69), and SZA’s millennial vulnerability (33).

In truth, Billboard didn’t just build a ranking — they mapped out a sonic family tree. The list traces how Black voices turned heartbreak into harmony, protest into poetry, and romance into timeless radio.

Will it end the debates? Not a chance. But like the best R&B — it gave us something to feel and something to talk about.

Billboard’s 75 Greatest R&B Singers of All Time

1. Stevie Wonder
2. Aretha Franklin
3. Michael Jackson
4. Beyoncé
5. Whitney Houston
6. James Brown
7. Prince
8. Mariah Carey
9. R. Kelly
10. Marvin Gaye
11. Luther Vandross
12. Sam Cooke
13. Janet Jackson
14. Al Green
15. Ray Charles
16. Etta James
17. Patti LaBelle
18. Donny Hathaway
19. Chaka Khan
20. Sade
21. Usher
22. Smokey Robinson
23. Diana Ross
24. D’Angelo
25. Brandy
26. Anita Baker
27. Toni Braxton
28. Alicia Keys
29. Gladys Knight
30. Mary J. Blige
31. Teddy Pendergrass
32. Raphael Saadiq
33. SZA
34. Jill Scott
35. H.E.R.
36. Maxwell
37. Erykah Badu
38. Fantasia
39. Babyface
40. The Weeknd
41. Charlie Wilson
42. Teena Marie
43. Aaliyah
44. Monica
45. Brian McKnight
46. Kelly Price
47. Ginuwine
48. Chris Brown
49. Trey Songz
50. Faith Evans
51. John Legend
52. Daniel Caesar
53. Lauryn Hill
54. Tank
55. Jhené Aiko
56. Jazmine Sullivan
57. El DeBarge
58. Ashanti
59. Joe
60. Musiq Soulchild
61. Mario
62. Tyrese
63. Anthony Hamilton
64. Ledisi
65. Avant
66. Eric Benét
67. Carl Thomas
68. Frank Ocean
69. Ne-Yo
70. Robin Thicke
71. Mario Winans
72. Leela James
73. Sevyn Streeter
74. Summer Walker
75. BJ the Chicago Kid

Source: Billboard’s Full List

Black Thought to Direct New Hip-Hop Film Aided by Questlove’s Oscar-Winning Touch

Tariq “Black Thought” Trotter, pictured, is set to direct a new immersive hip-hop film backed by Questlove and powered by WonderRoom’s 360-degree tech. 

Tariq “Black Thought” Trotter is moving from the mic to the director’s chair for a bold new venture that reimagines how hip-hop stories are told. The Roots co-founder is helming a narrative film designed to fully immerse viewers in the genre’s cultural heartbeat, using 360-degree technology to recreate its most iconic moments.

Backed by Impossible Creative and powered by its WonderRoom platform, the project blends music, performance, history, and technology in a cinematic experience producers say will let audiences “feel the music, stories, and culture of hip-hop come alive around them.”

Joining Trotter behind the scenes is longtime collaborator Ahmir “Questlove” Thompson, who will serve as a producer. The Grammy- and Oscar-winning artist is no stranger to powerful storytelling. He directed the Academy Award-winning documentary "Summer of Soul," which unearthed and reframed a forgotten Black cultural milestone, earning universal acclaim. His involvement here suggests the new film won’t just entertain — it will educate and resonate.

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Trotter, a celebrated lyricist and bandleader for The Roots, is also an author, playwright, and actor. He co-wrote and starred in the Off-Broadway production "Black No More" and published the acclaimed memoir "The Upcycled Self." His recent solo music, including "Love Letter," which earned him his 14th Grammy nomination, has only sharpened his focus on narrative craft.

“I’m grateful to Impossible Creative for entrusting me with their technology in bringing my latest project to the world,” Trotter said. “Hip-hop has a rich and beautiful history, and by creating a space where audiences play a role and physically live out its greatest moments, the potential for a better understanding of the genre and its roots increases significantly.”

The film is being produced by Two One Five Entertainment’s Shawn Gee and Josh Williams, along with Impossible Creative co-founders Charles Roy and David Galpern. Jonathan Schwartz of FanX Studios is executive producing. A Spring 2026 grand opening in New York is planned.

For Questlove and Trotter — high school classmates, bandmates, and now partners in their media company Two One Five Entertainment — this is the latest chapter in a creative partnership that has already delivered for outlets like Amazon, Netflix, and Disney. Their efforts continue to center the voices and stories of Black artists across genres and platforms.