Kylie Jenner pulled double duty with boobs and booty on full display while stepping into her first real acting gig.
The Kylie Jenner we all know for her beauty empire and thirst traps is now adding “actress” to her résumé. She showed up to promote her new flick The Moment and damn near broke the internet with a tank top so low it could’ve been a wardrobe malfunction waiting to happen.
She dropped a bunch of steamy pics on IG Tuesday, posing in front of a neon-lit set with “The Moment” flashing behind her. Her long hair was flowing, the tank was clinging, and the whole vibe screamed “look at me.” And trust, people did.
If you’re not familiar with it, The Moment is a mockumentary-style film that follows a rising pop star dealing with fame, stress, and the chaos of preparing for a major tour.
Kylie plays a version of herself, and it’s her first real acting role. The movie hit theaters on January 30 after debuting at Sundance.
Charli XCX, who co-wrote and starred in the film, had high praise for Kylie’s performance. She told Deadline: “Kylie was just phenomenal. She totally got the assignment. She is a really great actress.”
NBC just dropped the official trailer for Tracy Morgan’s new comedy series and Megan Thee Stallion’s fans got a welcome surprise.
Meg is guest-starring in The Fall and Rise of Reggie Dinkins. The Houston rapper plays Denise, a recently divorced mom who gets flirty with Daniel Radcliffe’s character Arthur Tobin.
Megan’s been steadily building her acting resume. She appeared in Marvel’s She-Hulk: Attorney at Law, where she twerked with the green superhero. The Grammy winner also guest-starred on STARZ’s P-Valley as her alter ego Tina Snow in season two.
Her film credits include the 2024 remake of Mean Girls and D####: The Musical in 2023. She hosted Saturday Night Live in 2022 and guest-starred on Netflix’s Big Mouth animated series.
The Fall and Rise of Reggie Dinkins also stars Erika Alexander, Bobby Moynihan, Precious Way and Jalyn Hall. The comedy follows Morgan’s character as he makes amends with family and friends while filming his comeback documentary.
Radcliffe plays the award-winning filmmaker documenting Morgan’s journey. The show explores themes of redemption and second chances in the entertainment industry.
Megan’s guest appearance happens in episode five titled “You May Hug Your Hero.” The trailer shows her character connecting with Radcliffe’s Arthur during the documentary process.
The rapper’s acting career continues to expand beyond music. She’s rumored to be working on an untitled Adam Sandler project with the Safdie Brothers. That film is currently in post-production.
The Fall and Rise of Reggie Dinkins premieres with a one-hour event on Monday, February 23, at 8 P.M. ET on NBC. Regular episodes air Mondays at 8:30 p.m. starting March 2.
LaMonte McLemore, founding member of the 5th Dimension, passed away from natural causes after having a stroke.
He died Tuesday at his Las Vegas home. The 90-year-old was surrounded by his family and friends during his final moments. The St. Louis native helped create some of the most sampled music in Hip-Hop history.
The 5th Dimension won six Grammy Awards during their peak years. Their 1967 hit “Up, Up and Away” earned them four Grammys, including Record of the Year.
“Aquarius/Let the Sunshine In” spent six weeks at number one in 1969. The song became their second Record of the Year Grammy winner.
Hip-Hop producers discovered gold in The 5th Dimension’s catalog decades later. Kanye West sampled “The Rainmaker” for his 2004 track “Two Words,” featuring Mos Def and Freeway.
The Notorious B.I.G. used the same song for “You’re Nobody (Til Somebody Kills You)” in 1997. The haunting melody provided the perfect backdrop for Biggie’s prophetic rap song.
Eminem, Dr. Dre and 50 Cent flipped “The Rainmaker” again for their 2009 collaboration “Crack a Bottle.” The song reached number one on the Billboard Hot 100.
Lauryn Hill sampled “Together Let’s Find Love” for her classic “Doo Wop (That Thing)” in 1998. The track won two Grammy Awards and topped the charts for two weeks.
Mac Miller and 1982 used “Dimension 5ive” for their 2010 track “82 92.” The sample showcased how The 5th Dimension’s music transcended generations.
A$AP Rocky sampled “High on Sunshine” for “Houston Old Head” on his 2011 mixtape. The Harlem rapper’s use of the track introduced younger fans to McLemore’s work.
De La Soul, Group Home, and Little Brother also built hits around 5th Dimension samples. The group’s rich harmonies and lush arrangements provided endless inspiration for Hip-Hop beatmakers.
McLemore’s second career as a photographer brought him a different kind of fame. He freelanced for Jet magazine for over four decades, primarily shooting their “Beauty of the Week” feature.
His camera captured thousands of Black women celebrating their beauty and style. The weekly feature became a cultural institution in African American households nationwide.
McLemore’s photography work appeared in a 2024 book titled Black Is Beautiful: JET Beauties of the Week. The collection featured never-before-seen outtakes from his decades of shoots.
His dual careers in music and photography made him a Renaissance man of Black culture. He documented beauty while creating the soundtrack that Hip-Hop would later reimagine.
McLemore served in the U.S. Navy as an aerial photographer before his entertainment career. He played baseball in the Los Angeles Dodgers’ farm system but chose music over sports.
He formed The 5th Dimension in 1965 with Marilyn McCoo, Billy Davis Jr., Ronald Townson and Florence LaRue. Johnny Rivers signed them to his Soul City Records label.
Rivers suggested they change their name from The Versatiles to something more current. Townson came up with The 5th Dimension, reflecting the psychedelic era they embraced.
Their breakthrough came with The Mamas & The Papas’ “Go Where You Wanna Go” in 1967. The cover version established their smooth pop-soul sound that would influence generations.
McLemore left The 5th Dimension in 2006 after four decades with the group. He continued his photography work and remained active in Las Vegas entertainment circles.
He’s survived by his wife of 30 years, Mieko McLemore, daughter Ciara, son Darin, sister Joan and three grandchildren.
Snoop Dogg stepped into his Team USA Olympic ambassador role with the heart of a true champion. The Hip-Hop legend delivered a message that shows exactly why he’s become such an inspiring force for American athletes.
The rap icon’s words to Lindsey Vonn came at the perfect moment. Vonn just announced she’ll compete at the Milan-Cortina Winter Olympics despite tearing her ACL in a World Cup crash.
That’s the kind of decision that separates champions from everyone else.
“Lindsay, let me say this to you, baby girl. You are a true champion,” Snoop told Access Hollywood. “This is what it’s all about. Standing up for something and fighting for what you believe in.”
The Long Beach native has been making waves in sports circles lately. His presence at Olympic events brings a different energy. Athletes respond to his authentic support and genuine enthusiasm for their success.
“And there’s so much inspiration and motivation that somebody’s going to get from this,” Snoop continued. “Somebody’s going to be inspired. Somebody’s going to become the next great.”
That’s the power of real leadership. Snoop sees beyond the immediate situation. He knows Vonn’s decision to compete with a torn ACL will inspire countless other athletes facing their own challenges.
Vonn’s injury happened during a World Cup crash in Switzerland. Most athletes would call it quits. But she’s not most athletes. Four days after the crash, she confirmed her Olympic plans through medical consultations and on-snow testing.
“After extensive consultations with doctors, intense therapy, physical tests, as well as skiing today, I have determined I am capable of competing in the Olympic Downhill on Sunday,” Vonn shared on Instagram on February 3.
The skiing legend acknowledged her situation honestly. “I know what my chances in these Olympics were before this crash, and even though my chances aren’t the same now, there is still a chance.”
Snoop’s response shows why Team USA chose him as an ambassador. He doesn’t just show up for photo ops. He delivers real encouragement when athletes face their toughest moments.
“So, thank you, Lindsay, for being you,” Snoop concluded his message.
“I do not have swelling and my muscles are firing and reacting as they should,” she explained. “I will obviously be continuing to evaluate with my medical team on a daily basis to make sure we are making smart decisions.”
Vonn needs to complete one training run before Sunday’s Olympic Downhill. She’s confident in her body’s ability to perform despite the recent injury. Her determination matches the championship mindset Snoop recognized in his message.
“As long as I have a chance, I will not lose hope. I will not give up! It’s not over yet!” Vonn wrote.
All seven justices voted against rehearing his case. They said C-Murder had already used up his appeals.
“Applicant has previously exhausted his right to state collateral review and fails to show that any exception permits his successive filing,” the court wrote.
C-Murder is Master P‘s younger brother. He’s 54 years old now. He was convicted in 2009 after prosecutors said he shot Thomas during a fight at the Platinum Club.
Two key witnesses changed their stories in 2018. Kenneth Jordan and Darnell Jordan both said cops forced them to lie. They originally pointed to C-Murder as the shooter.
Kenneth Jordan told lawyers that detectives threatened him. He said they made him pick C-Murder out of a lineup even though he didn’t see who fired the gun.
The witnesses said police told them they’d go to jail if they didn’t cooperate. Both men now say the rapper wasn’t the shooter.
C-Murder’s legal team also claims DNA evidence was mishandled. They say the investigation had major problems from the start.
Courts have rejected these arguments multiple times. An appellate court upheld the conviction in 2011. The state Supreme Court did the same thing in 2012.
The rapper tried again with post-conviction appeals. Those got shot down, too. Tuesday’s ruling was his latest attempt to get the courts to listen.
The rapper has been fighting more than just his case. He’s battled prison conditions at Angola for years.
“Although, the actual person that fired the gun that night sits in a prison in Georgia and has signed an affidavit with an audio confessing to a separate attorney whom knew nothing of [C-Murder’s] case, stating that he, not [C-Murder], is the one that is responsible for the killing and is not associated with [C-Murder],” his publicist Tammy Page told AllHipHop in 2018.
C-Murder claimed guards handcuffed him for nearly 24 hours in solitary confinement. His hands swelled so badly that they had to cut the cuffs off.
He hired civil rights lawyer Ben Crump to help with prison conditions. The NAACP also got involved in his case.
Celebrity supporters like Kim Kardashian and Monica have called for his release. They believe he’s innocent and deserves a new trial.
But the courts keep saying no. C-Murder has appealed his case through every level of Louisiana’s justice system.
His conviction came after a second trial. The first one ended with a hung jury in 2003. Prosecutors tried him again and got a guilty verdict six years later.
C-Murder was part of No Limit Records in the 1990s. He released several albums and had a successful rap career before his arrest.
The Supreme Court’s decision means the rap star will likely spend the rest of his life behind bars. His legal options are running out after 15 years of appeals.
Snoop Dogg and Edible Arrangements are taking their ice cream fight to the negotiation table. A federal judge ordered both sides into settlement talks over the “Swizzle” trademark war that’s been heating up for months.
Judge Sarah F. Russell put the brakes on almost everything in the Connecticut case. She’s keeping discovery on hold and giving Edible Arrangements and Bosslady Foods time to work things out without going the full distance.
Edible built up a whole family of “Swizzle” trademarks over 10 years.
They’ve got SWIZZLE, SWIZZLE BERRIES, SWIZZLE APPLES and more. Those marks include fruit cut into shapes and arranged like flowers, as well as fresh fruit with chocolate coatings.
Snoop Dogg’s company, Bosslady Foods, makes “Tropical Sherbet Swizzle” ice cream under his Happi Co. brand. Almost everyone in the world knows Hip-Hop culture and Snoop Dogg made the word “swizzle” famous.
Bosslady filed their federal case after a long back-and-forth with the USPTO over their “Tropical Sherbet Swizzle” trademark. The mark covers frozen desserts, ice cream bars and related products.
But a trademark attorneyflagged potential confusion with Edible’s “Swizzle” registrations twice. The application was briefly abandoned, and Snoop’s name was approved in early 2025.
That’s when Edible ramped up its attacks, arguing that both companies’ dessert products reach the same customers and use the same “Swizzle” term.
Edible also sent demand letters in April and June 2025. They wanted Bosslady to drop the application, stop using the mark and phase out all Happi-branded “Swizzle” products within 90 days of any deal.
They say Edible has a pattern of bad-faith trademark enforcement designed to freeze out competition in the frozen-dessert market.
Both sides now see settlement potential. In a joint report, they asked for mediation before a magistrate judge and a stay of the case deadlines while they explore a deal.
Judge Russell ordered both parties to file a joint status report by April 3, 2026.
Cam’ron broke his silence about his legal battle with J. Cole during a recent episode of Talk With Flee. The Harlem rapper made it clear the lawsuit was never about money.
“It was never really about the money, just about keeping your word as a man,” Cam’ron said on his Revolt podcast. He explained that his frustration stemmed from J. Cole backing out of their original agreement.
The dispute centers on Cole’s track “Ready ’24” from his 2024 project, Might Delete Later. Cam’ron recorded vocals for the song in June 2022 under specific conditions that Cole later ignored.
According to court documents, Cole initially agreed to either collaborate on a future track or appear on Cam’ron’s sports show, It Is What It Is.
Neither happened.
Cole then released “Ready ’24” in April 2024 without fulfilling the collaboration agreement. Cam’ron was credited only as a co-composer, not as a performer, despite his vocals appearing on the track.
Frankel’s firm brings serious firepower to Cole’s defense. The commercial litigation specialist is based in the firm’s New York office and focuses on complex entertainment disputes.
Cam’ron originally sued Cole and Universal Music Group, seeking at least $500,000 in royalties. He recently dismissed his claims against Universal without prejudice, meaning he could refile those claims later.
However, Cam continued his legal battle against Cole and his company, Cole World Inc. The timing comes as Cole gears up for major career moves.
The North Carolina rapper will drop his highly anticipated album, The Fall Off, on February 6.
The project is rumored to be his final studio album before retirement. But Cam’ron faces his own legal complications that could delay any potential payout.
A federal lien filed by photographer Djamilla Rosa Cochran has legally frozen any potential earnings Cam’ron might receive from his lawsuit against Cole. The lien stems from a $51,221.50 judgment Cochran secured in February 2024.
Cochran successfully sued Cam’ron for copyright infringement over her iconic 2003 photo of him in a pink fur coat and matching hat during Mercedes-Benz Fashion Week.
The lien may delay Cam’ron’s potential payday, but it doesn’t reflect a financial crisis.
New York rap has always been a shape-shifter, but the last few years have been especially wild, The post-pandemic momentum, TikTok-driven discovery, and a citywide hunger for something that feels good again. That’s where “sexy drill” slid in, taking drill’s toxic edge, then flipped the mood. Now, there is more dancing, and party energy. One of the records that helped push the sound into the mainstream conversation was Ice Spice, Cash Cobain and Bay Swag’s “Fisherrr,” which took off online and caught fire with a dance.
Bay Swag, a Queens rapper who’s become closely associated with the movement, has kept building with projects like Damaged Thoughts and the Swiggity EP, balancing slick flexes with more personal shadows. And while sexy drill has been pegged as a vibe shift, it’s also become a lane that bigger artists have studied, borrowed from, and tried to bottle for themselves. He checks in with SlopsShotYa at WonWorld Studio.
AllHipHop: I think with your sound, you go a lot of different places with it. One minute… I think the first single off of the last joint with 42 Dugg shocked the hell out of me because it was heavy, heavy trap. But of course everybody was reminded of a sexy drill wave and stuff like that. How do you even formulate your sound? What’s the ingredients? How you know what works for you?
Bay Swag: Honestly, I’m real versatile. So last year I dropped a bunch of different songs. Like I went Jamaican, I went Spanish, I went trap, sexy drill. Last year was just a year to like… because a lot of people were saying, “Oh, y’all can only do this” or “y’all sound like this.” So last year was just… show versatility, you feel me?
AllHipHop: Oh, wow.
Bay Swag: And how I do it is… I’m versatile. So when I go in the studio, I don’t just say, “Oh, I’m going to make this kind of music.” It just flows.
AllHipHop: So it just flows. But you also said you wanted to show people it’s different aspects. Were you nervous trying to do that?
Bay Swag: I was. Because I knew a lot of the fans was more like sexy drill. So I was definitely nervous about it. But you know, got to take risks.
AllHipHop: Yeah, man. Without taking risks.
Bay Swag: You feel me?
AllHipHop: So I remember when there was a little decline in drill and stuff like that, me and my friends were like, “It’s got to be dancing next,” right? We thinking it’s got to be dance next. Then you came through with, nah, it’s going to be about the girls. We gonna get back to the girls and things like that.
Bay Swag: It’s crazy how it happened because obviously nothing’s planned. Things just happen. So it’s just like you said, drill was like… not saying it was going to decline, but it’s like you spreading bad energy. You telling kids to go do this, go do that, and guns and this and that.
Bay Swag: Sexy drill just happened and we just brought good energy back. Made people want to dance. I always say this, we used to have parties and a lot of the drill artists that was beefing with each other was there with us, all together, partying. We just brought the energy back, made it feel good again.
AllHipHop: Did you see it going global? Hip-Hop-wise, everybody now got to have one of these songs on their album. Somebody got to work with you. Somebody got to work with Slizzy.
Bay Swag: Honestly, nah. ’Cause it was just trying something. Like I said, it wasn’t planned. It’s just the things that you think work… it never work. It’ll always be some joint you don’t like, or something you think that’s not even… you know. That’s how that happened. We ain’t think it was going to go so crazy. We was just having fun. Dropping music.
AllHipHop: So you didn’t see “Fisherrr” going where it went?
Bay Swag: Honestly… I didn’t. At first I knew it was a good song, but I didn’t think it was going to change the world the way it did.
Bay Swag: When we posted on TikTok, that’s when I seen it, before it dropped. It went viral on TikTok before it dropped. When I made the first video and I seen it, and I kept making videos and it kept going, every video going, I’m like, “Oh yeah.” This is before the “From the Block” performance.
AllHipHop: Somebody recorded it on a phone?
Bay Swag: Yeah. That went viral, then we started making videos to the sound and then it just went crazy.
AllHipHop: You started garnering buzz around pandemic time. What about being stuck inside got you the buzz? Was it a new sound or you was just promoting?
Bay Swag: I was just learning, man. Learning my sound and just getting better and better. It wasn’t like an in-the-house thing. Things just happened. God, you feel me? Everything started coming together. Things started making sense.
AllHipHop: How your life changed since that moment?
Bay Swag: Tremendously. God is good. God is great, man.
AllHipHop: A lot of people was surprised about the album last year. Not just the versatility, but it was consistently good. Sometimes people try new things and it sound forced. Yours sounded… right. And you had a lot of features. How did you know that was the route? Getting people to send verses is different.
Bay Swag: When it come down to the features, we go back to the drawing board. You have your team with you, everybody listen to the songs. And not only the team, like myself as an artist. When I’m making these songs, I’ll be like, “All right, I hear this person on it.” I go back, ask my bros, ask the team, and they like, “Oh yeah, that sound good.” I hit them up. That’s basically how it went.
Bay Swag: Everybody on there is family.
AllHipHop: What’s your favorite song?
Bay Swag: I can’t. They all my babies, man. I can’t do that.
AllHipHop: You came back with the EP. Was it songs that didn’t make the album?
Bay Swag: It was like both. Half and half.
AllHipHop: Your face is very visible, but you also show up for kids. I seen you in schools. What gives you that philanthropic spirit?
Bay Swag: Just showing them that we… like I was once y’all before, and it’s possible. A lot of us come from the same place. A lot of us come from the hood. When they see young guys like them, or was once them, and they coming and showing love, make them feel good, give them hope.
Bay Swag: Another reason, the kids is everything. They the ones streaming. They matter the most. So around holiday time, make sure I give back. Christmas, back to school, toy drop, everything. I try to make sure I do it every year.
AllHipHop: What’s the goals for you and the Slizzy camp this year?
Bay Swag: Drop. Everybody dropping, man. Everybody dropping. Just consistency.
AllHipHop: We expecting another two-project year?
Bay Swag: More, more, more.
AllHipHop: You had like 6,700 in the phone?
Bay Swag: That’s a fact.
AllHipHop: How you determine the difference between an EP and an album?
Bay Swag: You got to treat them all the same because you got to always market. But albums, when people hear albums, think, “Oh my god, an album.” Like you got rollout and this and that. So it is a difference a little bit.
AllHipHop: The mixtape days… DatPiff, blog days, that used to warm up the album. Now you can’t really rap on anybody beat unless you just drop it on YouTube. Everybody want to make money.
Bay Swag: Come on with it, man.
AllHipHop: Take me back to your childhood. What was Queens like? What part you from?
Bay Swag: I’m kind of like from the south and the north. My pops from north side, my mom from south side. So really both, South Jamaica and the north side like Hollis, Cambria.
Bay Swag: Growing up, it was cool. I ain’t have to worry about none. My pops making sure everything was good. I had everything. I wasn’t struggling.
Bay Swag: Once I got older and the person that gave everything got taken away from me by the system… my dad got locked up. That made me a man. Because I’m just always given, given, given. So now that’s taken away, now what you going to do? And this is who I am today.
AllHipHop: Did it ever affect your music, with blogs and narratives?
Bay Swag: No, ’cause I know what’s really going on. Can’t listen to blogs. He about to come home and everything that was said going to get taken back.
AllHipHop: How do you deal with lies and slander? Internet is a lot.
Bay Swag: You got to be built for it. You can’t let it affect you. It be a lot of people in your comments saying, “Oh this sucks,” but this paying. Somebody like it. So I can’t reflect on you saying this. You got to be strong. It get crazy sometimes, but you got to deal with it. This what it come with.
AllHipHop: Is it worth it?
Bay Swag: To me, yeah. When people talk bad around me, it makes me feel good. Now I’ma show you.
AllHipHop: Was you making music when your dad was out?
Bay Swag: I made my first song when I was like 12 and I played it for him. I wasn’t really on it, just playing around. But I really started for real… he was bringing me to the studio and having songs already written. He come pick me up from school, make me read it and remember it. So when we go to the studio… when he did get locked up, I just put it to use.
AllHipHop: Biggest lesson you took from him?
Bay Swag: Just being myself. Staying true. Sucker-free.
AllHipHop: Tour going on right now.
Bay Swag: Yeah, I just had a show in Boston. We left Boston two days ago. It was lit.
AllHipHop: Seeing faces, headlining, touching the people, how it feel?
Bay Swag: Good, bro. Boston was only girls.
AllHipHop: Congratulations.
Bay Swag: Literally only women. It was fire. It’s a blessing. Got to keep going. Everything going to get greater. God is good. You got to stay patient. Nobody has patience. Everybody got the same 24. You got to wait your turn.
AllHipHop: A lot of people used your sound. Pressure to duplicate 2023?
Bay Swag: When that happens, we switch it up. People still on the beginning stages, we advanced it. It’s the same feel, but people can’t make it though.
AllHipHop: When you hear other artists do it, you impressed?
Bay Swag: Definitely impressed. It feel good. That means you doing something good in life. A lot of big artists, they songs going crazy with the same feel. Drake did it. Chris Brown, Kehlani… more and more. We really started a genre, a new genre.
AllHipHop: Aspirations outside music?
Bay Swag: Yeah, of course. My label, businesses, real estate. I’m trying to get into crypto. I was doing stock. It start with the music, but it’s about taking that money and turning it up.
AllHipHop: Y’all ever think about doing a Slizzy movie? House Party vibes, 13-and-up, streaming era.
Bay Swag: That’s definitely a great idea. I appreciate that.
AllHipHop: Any dates on projects?
Bay Swag: No dates yet. But show this weekend on Saturday. Philly is the 25th. A lot of consistency, a lot of music, level up, more structure. Putting the big-boy suits on and going crazy. This year… it’s up.
AllHipHop: Before I get you out of here, top five that are alive.
Bay Swag: I’ma give you my top five of my generation. Meek. Future. Thug. Drake. Lil Baby.
AllHipHop: Clean one. You can hear the influence in the sound. Let them know visuals and socials.
Bay Swag:Damaged Thoughts album out now. Swiggity the EP out now. This the year, man. We going crazy. Go tune in. Go tap in. Queens get the money. Free my pops. Feel the vibes.
AllHipHop: One behind the camera as usual. We out.
Disc 29 opens with “29 Intro” and includes tracks like “Two Six,” “SAFETY,” and “Run A Train.” The first half closes with “Lonely At The Top” as a bonus cut.
Disc 39 opens with “39 Intro” and features songs such as “Inevitable,” “The Villest,” and “Old Dog.” The second disc ends with “Ocean Way” after 11 main tracks plus a bonus.
J. Cole explained the concept behind both discs in a lengthy Instagram post. He connected the project back to his 2007 mixtape The Come Up.
“Some of the very first verses for The Come Up were written when I was just 19 years old,” J. Cole wrote. “The title of that project, the first one that I would ever release, had a double meaning.”
The rapper described his teenage dreams of making it in Hip-Hop. He was “a delusional teenager from Fayetteville, North Carolina who had decided to leave home and ‘come up’ to New York City on a dream-chasing mission.”
Cole painted a picture of his younger self driving home from college. He would call his mom first, then hit up his friends, asking, “where the party at?”
“The Fall-Off, a double album made with intentions to be my last, brings the concept of my first project full circle,” J. Cole explained.
The 41-year-old broke down the meaning of each disc.
“Disc 29 tells a story of me returning to my hometown at age 29. A decade after moving to New York, accomplishing what would have seemed impossible to most, I was at a crossroads with the 3 loves of my life; my woman, my craft, and my city.”
“Disc 39 gives insight into my mindset during a similar trip home, this time as a 39 year old man. Older and a little closer to peace.”
Cole shot all the album artwork himself. The front and back covers use photos he took at age 15. The back cover showing the tracklist captures his teenage bedroom walls.
“I woke up every morning as a teenager quite literally looking up to yall,” J. Cole wrote to the artists whose posters filled his room. “When this album releases please know that you, in some deeper metaphysical type way, are in the music too.”
Executive producers include Ibrahim “IB” Hamad, T-Minus, and Dreamville Records. The album will be released through Dreamville and Interscope Records.
Cole already dropped the lead single “Disc 2 Track 2” last month. The track features him rapping his life story in reverse chronological order.
The Fayetteville native also released Birthday Blizzard ’26 EP on his 41st birthday, January 28. The four-track project featured freestyles hosted by DJ Clue.
J. Cole has talked about retirement for years. He first mentioned stepping back from music around 2014’s 2014 Forest Hills Drive era.
The rapper said his 2024 Kendrick Lamar situation reinspired him creatively. He initially responded to Kendrick’s “Like That” verse but later apologized and removed his diss track “7 Minute Drill.”
The Fall Off marks Cole’s seventh studio album following 2021’s The Off-Season.
Fresh off the announcement of his official partnership with Steve Stoute’s UnitedMasters, Cincy’s own Aaron Staccato (@aaron.staccato) has turned it up a notch with the release of his newest visual, “Prove It,” featuring rising star Siri Imani. The new mini-movie showcases the two collaborators partying at a dope club in their hometown, celebrating success and future wins with the whole venue. While some clubs have people staring at each other from their own sections, it seems that when Aaron Staccato hits the club, everybody hits the dance floor to get active when his upbeat smashes play.
Cincinnati, Ohio, is known for the Bengals and the Reds, but many people are learning that the exciting Midwest city has been building a bubbling music scene that is looking to push out some dope creatives in the near future. While melodic emcee Dono made waves after holding her own on Netflix’s popular show “Rhythm & Flow,” other artists like Aaron Staccato, Siri Imani, and countless others have been setting the foundation for the new regime from Ohio.
Staccato is not new to the game, but he is focused on creating moments that last. With his faith in God standing strong and his charisma on full display, the rising emcee is poised for the best year of his career in 2026. There’s no limit to where he can take it, and he feels more confident than ever following his connection with the revolutionary distribution company, UnitedMasters.
Press play and get ready to party to “Prove It” via YouTube today!
50 Cent just gave Jay-Z his flowers in a way that might surprise fans. The Queens rapper admitted that Hov is technically a better businessman than he is.
The revelation came during an October 2025 interview with Brian J. Roberts that was previously unreleased and just hit the internet. 50 broke down the key difference between their artist development strategies.
“Jay-Z was not on his artist’s singles until they were doing well enough to not need him on the singles,” 50 explained. “So that helps him. When you’re an older artist and you with a new artist, it makes you current and makes his new audience accept you.”
“This would make him technically a better businessman because I beat myself up looking out for them,” 50 continued. “He’s positioning it as business and working with you when it’s good for business.”
50 Cent took a different route with G-Unit artists like Lloyd Banks and Tony Yayo. He jumped on their singles from day one to help launch their careers.
“I’m positioning it as they’re my people. I have to get them into the right space,” he said. “So I work them into a good space regardless.”
The approach worked initially. 50 was selling 13 million records with Get Rich or Die Tryin’ when he wanted to do a G-Unit group album. But the label wanted his solo follow-up instead.
“When you look at Young Buck getting these different records, I was on the singles to launch them properly,” 50 explained. “I don’t have to be involved at all.”
Some G-Unit members later felt resentful about 50’s heavy involvement. They believed he made them stars rather than recognizing their own talent.
“I’ve had guys be angry with me because it felt like you made them a star,” 50 revealed. “And I’m like, what? They had talent and it was the timing of it made it happen like that.”
The conversation also touched on Diddy’s artist development style. 50 said Puff needed to stay visible with his acts to maintain relevance.
“Diddy needed to be in the video. Diddy needed to be in everything,” 50 observed. “He stayed next to the artist and kept warm and did what he had to do.”
50 acknowledged Diddy maximized his artists’ potential despite the hands-on approach. But he noted the stark contrast with Jay-Z’s more calculated distance. The interview shows 50’s growth as an executive.
He can analyze business decisions objectively rather than just insulting and trolling people, which he can do as well.
Jelly Roll walked into the Grammys carrying a bunch of faith and gratitude.
He walked out carrying a full-blown political firestorm.
He was not ready. And now, he has to take a stand. On a night when Los Angeles was full of protest energy and several artists took pointed shots at U.S. Immigration and Customs Enforcement, the country star…said nothing. Yes, he talked about Jesus, redemption, and becoming a better man. But that was about it.
That decision instantly became the loudest silence in the room.
When Jelly Roll accepted Best Contemporary Country Album for Beautifully Broken, he leaned all the way into spirituality.
“Jesus is for everybody. Jesus is not owned by one political party. Jesus is Jesus and anybody can have a relationship with him.” This is the same ceremony where Bad Bunny, Billie Eilish, and others openly criticized ICE. He refused to address it after all that God talk. For many, this felt intentional. But it all changed at the presser after the show.
A reporter asked why he skipped the politics. Jelly Roll responded, calling himself “a dumb redneck” who felt disconnected and uninformed. BLOOP. You already know what happens next.
The receipts.
Jelly Roll forgot he testified before Congress while trying to downplay his inaction and political ignorance.
Enjoy the Grammy and Trump money, because you won’t be getting any more from me. I won’t stream your songs or watch your social media.
And then there were the photos from 2024 of Jelly Roll chatting with Donald Trump at a campaign event or WWE event. I’ve read two different accounts. Then there was him hugging Kristi Noem, now head of the Department of Homeland Security, the agency directly tied to ICE enforcement. Oh no…the pieces suddenly connected.
Wait. There’s more.
Jelly Roll is booked for Kid Rock’s Rock the Country festival in 2026. This is the same on that Ludacris is not doing. Kid Rock’s politics are no secret. Same with Nelly. This festival is widely viewed as MAGA. By the way, most people I have spoken to say he’s MAGA.
At this point, the argument is not really about what Jelly Roll said. It is about what people wanted him to say. Silence is a statement. Jelly Roll’s attempt to stay away from it in that moment, spoke louder than a bomb.
Sparkle dropped a statement Tuesday that hit different. The R&B singer went hard defending herself after her niece, Reshona Landfair, put her on blast in a new book.
Reshona just released Who’s Watching Shorty?, in which she tells her story as the 14-year-old girl in R. Kelly’s tape. But she also said Sparkle pushed her to get close to the singer.
That’s where Sparkle drew the line.
“I am relieved that Reshona is finally free to speak her truth and begin her healing journey,” Sparkle posted on Instagram. “In addition to justice, I have always wanted healing and peace for her.”
“Any suggestion that I groomed, facilitated, or enabled harm to my niece is untrue and deeply painful,” she said. The singer made it clear she wasn’t having it.
Sparkle laid out exactly what she did when she found out what was happening. She said when Reshona’s parents let her spend time alone with R. Kelly, she called DCFS right away. That’s the Department of Child and Family Services.
The singer also reminded everyone that she testified against R. Kelly in 2008. She said she did it even though people pressured her not to.
“I cooperated fully and testified under oath, despite immense pressure not to do so,” Sparkle wrote. “I did this because protecting my niece from abuse and telling the truth mattered more to me than money and my career.”
Reshona’s book came out this week and she’s been doing interviews. For 25 years, people knew her only as “Jane Doe” in the R. Kelly case.
In the Rolling Stone interview, Reshona said Sparkle told her to sit on R. Kelly’s lap and rub his head. She said that’s how the whole thing started when she was 12.
The family drama goes way back. Sparkle was R. Kelly’s protégé in the ’90s. That’s how he met Reshona’s family. R. Kelly became close to them and even served as Reshona’s godfather.
Sparkle said she started ringing alarm bells in the late ’90s. But by then, R. Kelly had already been grooming Reshona for years. The singer said Reshona is still dealing with what happened to her.
“This is the beginning of Reshona’s lengthy deprogramming journey,” Sparkle wrote. “It is true that she is a survivor of years of abuse, still learning to process what happened to her and who is responsible.”
The whole situation shows how R. Kelly manipulated entire families. He didn’t just target young girls. He got their relatives to trust him first.
Reshona’s book details how R. Kelly controlled her life for over 10 years. She said he kept her isolated and made her call him “Daddy.” The abuse started when she was 12 and continued into her twenties.
R. Kelly was convicted in 2021 and 2022 on federal charges. He’s serving 30 years in prison for sex trafficking and other crimes. Multiple women testified about his abuse. Sparkle ended her statement by wishing Reshona well.
“I wish her continued healing and peace as she continues to not only find her voice, but hopefully require accountability from those closest to her,” she wrote.
The singer made it clear she supports Reshona’s healing journey. But she won’t let anyone say she helped R. Kelly hurt her own family.
50 Cent won’t let his ex, Shaniqua Tompkins, off the hook for allegedly wrecking his book deal with her story.
The rap mogul’s company, G-Unit Books, told a Manhattan judge to deny Tompkins more time to fight their lawsuit. They want a quick win and their money back.
The company’s lawyers said Tompkins had months to respond but waited until the last minute. She knew about the lawsuit in October but didn’t ask for help until late January.
Instead of denying she broke the deal, Tompkins is trying a different approach. She claims the whole contract was forced on her and shouldn’t count.
But G-Unit Books says that the argument falls apart. They point out that Tompkins treated the deal as real for years in other court cases.
“Tompkins does not dispute G‑Unit Books’ central allegation that her conduct breached the parties’ Life Rights Agreement. Instead, she contends the contract is unenforceable, relying on decades‑old misconduct allegations supported only by her own self‑serving statements,” 50’s lawyer Reena Jain snarled.
The company says she can’t have it both ways. She used the contract when it helped her before, but now wants to throw it out when they’re enforcing it.
Tompkins claims she was scared into signing the deal. She says 50 Cent’s late manager, Chris Lighty, tracked her down in Las Vegas and threatened her.
She also says she never got the full $80,000 payment promised in the deal. Tompkins claims she only received $35,000 after $5,000 went to a lawyer she didn’t hire.
But 50 Cent’s company says the $40,000 she got was just an advance. She would have received the other $40,000 when the book was finished, which never happened.
G-Unit Books argues that Tompkins is now making excuses because she was caught breaking the rules. The lawsuit started in July 2025, and she had until September to respond.
When she didn’t respond by the deadline, G-Unit Books sought a default judgment in October. Tompkins still didn’t fight back until lawyers showed up in December.
The company says the delay has no good reason. They properly served her with the lawsuit papers and she admitted she knew about it.
The case shows how 50 Cent protects his business interests. He’s not backing down even though Tompkins is the mother of his oldest son, Marquise.
G-Unit Books says Tompkins signed the deal voluntarily and got paid for it. Now she needs to follow the rules or pay the consequences.
The company wants the court to enter a default judgment and then proceed to determine damages. They’re asking for $1 million plus legal fees.
Trendsetter Sense is a Philly legend, and his story has not been told as often as it should be. The humble beast has been making waves since his early days in Philly, and then moved down to Atlanta during the South’s rise in Hip-Hop, which became prevalent in the early 2000’s. His time at Clark Atlanta University helped him become a leader in the space amongst his crew, The Aphillates, led by him and popular figure and fellow legend, DJ Drama.
Although he’s been on massive tours and been a part of some of the biggest moments in music, he remains steadfast in his faith, letting God order his steps no matter what. Through a fellow Atlanta connection, legendary producer Zaytoven, he was able to collab with East Atlanta’s own 1K Phew and Young Dro to create their newest banger “LordJesus.”
Tap in with his exciting interview below and learn more about the talented DJ and artist, Trendsetter Sense!
1. What city are you both from/ Where are you based now?
Trendsetter Sense, born in Philly moved to Atlanta and attended Clark Atlanta University. Never left!
2. Talk about your time growing up and how influential your roots are to your art?
Growing up in Philly surrounded by streets, Hip Hop and of course DJing. The best comes from Philly (DJ Jazzy Jeff, DJ Cosmic Kev, DJ Cash Money etc.) Moving to Atlanta, you already know The AUC (Atlanta University Center). The rise of southern Hip Hop – It was a melting pot of all coasts! It shaped my sound.
3. Your tag is legendary, talk to us about how it came about and how you feel about using tags in your recent work.
It started from my crew the Aphilliates and as a DJ you need a fire tag to stand out! My name is Trendsetter Sense. (Trendsetter) never imitating. The drop had to be hot, but where I got it from….. Secret Recipe!
4. Talk to us about your creative process while making your newest track?
Man, I knew with my brand (Chosen Journey) which represents FAITH.CULTURE.HIP-HOP, I needed a soundtrack to match. I wanted to keep it sonically correct, street & authentic. I’ve known the legendary producer, Zaytoven, for a while. I interviewed him on my show a couple years ago and he brought this fire Gospel Rap artist from East Atlanta -1k Phew!. When I decided to make a soundtrack to the brand I hit Zay. I asked him to send me a pack from the same day he made some other huge records. I found the beat in that pack and I sent it to 1K Phew. He texted me back 20 Fire Emojis and I knew it was on! A few weeks later a co-curated Festival crusade in Atlanta called “Atlanta Alive” (Shout to my brother Joe Turnbull) we had booked Young Dro. The show was crazy. I asked Dro to do the verse after his set and 4 days later it was completed!
5. How would you describe your sound to readers who may need to become more familiar with you?
Authentic, sonically hard and true! But with a powerful vibration & message. That message is The Kingdom of Christ! So many crash outs, depression, negativity. God called me to reconnect to the youth and the community on a high level! To put a fresh recipe in quality music!
6. What ultimately inspired you both to dedicate yourself to a music career?
The Holy Spirit told me I was heading in a different direction. I’ve seen what I thought was a mountain top and have been around the world in all kinds of rooms you could imagine, but felt empty. I had to be broken down and refilled, but with God’s Glory. On Fire!!
7. Your faith is beyond important to you. Who are some other artists in this space that you believe are good for fans to check out? Great question. 1K Phew of course. My brother Dee-1. Project Pat. Kijan Boone, Anike, Lecrae, Alex Jean. nobigdyl, WHATUPRG, Jon Keith, Caleb Gordon. On the R&B side, Nathan Davis Jr. and Lee Vasi. So many dope artists!
8. What were you doing before music?
I’ve been a DJ since 16! Aside from college, music and ministry is my life!
9. Who are your main musical influences?
Another great one! Michael Jackson, Earth Wind & Fire, Tribe Called Quest, Outkast, Wu Tang, Mobb Deep, Stevie Wonder. Early Jay Z. and 50 Cent.
10. You have Young Dro and Zaytoven who contributed to this new track! How did this come about?
I had T.I. and Young Dro on my radio show Chosen Journey on Hot 107.9 Atlanta & Hip Hop Nation SiriusXM. Dro spoke his testimony and after the show, he told me he got me with whatever I needed. Zaytoven has a strong faith journey and believed in the vision. I felt since there was a connection with Dro and Zay and 1K Phew, it was meant to happen. I wanted the first single to be authentic to Atlanta.
So, Nicki Minaj is back at it all up in our rumor section. The Internet is a crazy place because they will dig up something you did 15 years ago and bring it straight to the forefront. And that’s exactly what they did!
Yeah… this is one of those moments where time, context, and the internet collide in the messiest way possible.
First, you’re absolutely right about how ruthless the internet is. Nothing ever really disappears. An old, largely forgotten record like Lil Twist’s “Old Enough” suddenly gets pulled into the present and judged through today’s social and cultural lens. But this is a thing. Back when that song dropped, shock was the norm and Young Money could do no harm. That doesn’t make the lyrics harmless, but it does explain why they barely registered as controversial at the time. Or maybe we just collectively looked the other way?
Nicki Minaj’s lines could be brushed off as rap bravado, but in the middle of ongoing conversations involving Jay-Z as a PDF? EH. Nicki’s own personal history must be taken into account. The internet loves patterns and every old artifact becomes “evidence.” Is it fair? Not always. Is it predictable? Absolutely. She did it to Jay, with many inaccuracies around timing and age. So, she is fair game too.
On to the next…
Can we talk about the Barb situation? Nicki might have ended the Barb community…at least a centralized Barb community. This feels like damage control. Large fan bases are hard to manage, especially when internal fractures start turning public. Between her comments about LGBTQ+ communities, her alignment with Donald Trump, and her long-running controversies, the fan base stopped being a monolith. And, believe you me…she had something nobody else had: A Monolith. Shutting things down can help her feel like she has control. Isn’t that better than losing it?
Nicki has alienated her core audience, like it or not. Her repeated clashes with gay and trans fans, political signaling (she called ICE on a gay Black journalist who was arrested), and so much more.
Nicki Minaj just dropped her thoughts on one of history’s biggest conspiracy theories and there’s no real surprise from the MAGA maniac.
The rapper, once considered the “Queen of Rap,” told podcast host Katie Miller that she doesn’t believe humans ever made it to the moon. The conversation went down when host Katie Miller asked about conspiracy theories. Miller brought up the Apollo missions straight up.
“You know, like other conspiracy theories, did we actually land a man on the moon?” Miller asked. “No, I don’t think we landed on the moon,” Nicki Minaj said without hesitation.
When Miller double-checked, asking, “You don’t?” Minaj kept it simple: “No.”
The 43-year-old rapper didn’t elaborate on her reasoning. She just stated her position and moved on. Miller mentioned she’d asked Elon Musk the same question and he confirmed the moon landings happened.
Nicki Minaj shrugged that off because apparently, she knows more than Elon Musk and NASA itself. This places Nicki Minaj in the company of a small but vocal group of Americans who question the Apollo program.
Various polls over the years show between 6% and 20% of Americans express some doubt about the moon landings.
NASA’s Apollo 11 mission landed Neil Armstrong and Buzz Aldrin on the moon on July 20, 1969. Armstrong took his famous first steps at 2:56 UTC on July 21. The space agency has extensive documentation, photos, video footage, and moon rock samples from six successful lunar missions between 1969 and 1972.
Scientists and space experts have repeatedly debunked moon landing conspiracy theories.
The evidence for the Apollo missions includes thousands of photos, hours of video, radio transmissions tracked by multiple countries, retroreflectors left on the lunar surface that scientists still use today, and 842 pounds of moon rocks studied by researchers worldwide.
Neil deGrasse Tyson, director of the Hayden Planetarium, has addressed moon landing deniers multiple times. He points to the technological impossibility of faking the footage using 1960s special effects.
The Lunar Reconnaissance Orbiter has photographed Apollo landing sites from orbit, showing equipment and tracks left by astronauts. Independent space agencies from Russia, China, Japan, and India have confirmed evidence of the Apollo missions through their own lunar observations.
Nicki Minaj’s moon landing comments came during the same podcast where she explained her support for Donald Trump. She said watching Trump get “bullied” reminded her of her own experiences in the music industry.
“When I saw how he was being treated over and over and over, I just couldn’t handle it,” she said on the podcast. “I felt that…a lot of that bullying, and the smear campaigns and all of the lying, I felt that that had been done to me for so many years.”
The rapper appeared at Trump’s Treasury Department event in Washington, D.C. on January 28. She held hands with the president on stage and called herself his “No. 1 fan.”
The full Katie Miller podcast episode aired February 3 at 6 P.M. Eastern on YouTube, Spotify, Apple Podcasts, Rumble and X.
The alliance between 310babii and Everytable is a collaboration built from scratch, thought through from the pan up, as the artist himself insists, and executed with real culinary intention. There is exchange and active participation, trial and error, and a conscious decision about which flavors represent home.
From a clear idea, translating a cultural identity into a dish you can eat any day of the week, without costumes or gimmicks.
The starting point is compelling, taking a classic Italian structure—spaghetti marinara with shrimp and submitting it to the logic of the neighborhood. The result doesn’t aim for gratuitous sophistication but for balance. The roasted garlic doesn’t dominate; it rounds everything out. The blend of Italian hot peppers and roasted garlic purée creates a progressive intensity, the kind that hits the palate first and lingers in memory.
The presence of Timothy Reardon, Everytable’s Vice President of Culinary and a Michelin-trained chef, is felt in the dish’s technical restraint. Everything is where it should be. The shrimp stays juicy, the sauce keeps its precise acidity, and the pasta doesn’t get lost under the weight of the concept. But the most interesting moment comes at the end with a topping of rustic basil breadcrumbs. That crunch, insisted upon by 310babii, works more as a cultural gesture than a purely gastronomic one. It’s a direct reference to 310babii’s West Coast comfort food.
In that sense, the Fire Shrimp Pasta speaks more to Inglewood than to Italy. The dish doesn’t try to be universal or neutral. It has character, it has origin, and it carries a sense of local pride that feels authentic. It’s no coincidence that the artist himself talks about seeing it “on the shelf in his own neighborhood.” This isn’t an aspirational product; it’s a dish meant to circulate, to be available, to be part of everyday life.
Here, Everytable reinforces its narrative of food justice without falling into empty rhetoric. The idea of offering fresh, scratch-cooked food adapted to each community becomes tangible when the menu reflects the people who live there. This collaboration doesn’t just add visibility; it adds coherence.
Lil Jon faces every parent’s worst nightmare right now. His son, DJ Young Slade, vanished from his Milton, Georgia, home on Monday morning.
The Milton Police Department put out a missing persons alert on Tuesday for 28-year-old Nathan Murray Smith. That’s Young Slade’s real name. Police say he ran out of his house on foot around 6 A.M. and hasn’t been seen since.
The details paint a scary picture. Smith left without his phone, possibly without clothes, and carrying no personal belongings. Police describe him as 5’9″, 150 pounds with short black hair and a lip tattoo on his right collarbone.
Authorities stress Smith may be disoriented and could need help. That’s the kind of language that makes families hold their breath.
According to Rough Draft Atlanta, police were spotted searching Mayfield Lake, which sits right along Baldwin Drive, where Smith lives. The lake search suggests they’re covering all possibilities in this case.
Young Slade has been working to follow his Grammy-winning father’s path in music. That father-son bond makes this situation even more heartbreaking.
Smith’s disappearance has all the signs of someone in crisis. Running out without belongings, possibly without clothes, in February weather creates serious concerns.
Milton sits in Georgia’s Fulton County, known for its affluent neighborhoods and family communities. It’s not the kind of place where people just vanish without explanation.
The timing adds another layer of worry. Early morning departures often signal mental health emergencies or other serious situations requiring immediate help.
Police haven’t released details about what led to Smith leaving his home. They’re focusing on finding him safely and getting him the help he might need.
Police are asking anyone with information to contact the Milton Police Department immediately. Even small details could make the difference in bringing Young Slade home safely.
Olivia Dean stood at the center of the Grammy Awards Sunday not just as a winner but as a reminder of how new artists continue to reset the emotional temperature of popular music.
The British singer-songwriter claimed best new artist in a year crowded with viral hits and algorithm-driven success stories, yet her victory leaned on something quieter and more enduring.
Known for a soulful voice and a timeless approach to songwriting, the U.K.-born songstress emerged as a symbol patience and intention.
Her acceptance speech underscored that theme with a tinge of politics.
“I want to say I’m up here as a granddaughter of an immigrant,” Dean said. “I’m a product of bravery, and I think those people deserve to be celebrated.”
As she spoke, several celebrities in the audience wore pins protesting U.S. Immigration and Customs Enforcement, giving her words added weight in a room grappling with politics and culture.
Dean’s win followed a breakout year fueled by her romantic sophomore album The Art of Loving, a project that stressed intimacy and classic pop. Tracks such as “Man I Need,” “A Couple Minutes” and “So Easy (To Fall In Love)” establish her as a vocalist willing to slow things down.
The album’s warm reception positioned her as part of a newer wave of U.K.-born artists redefining modern pop through soul and restraint.
Her impact has not gone unnoticed by industry veterans.
Legendary producer Jimmy Jam recently singled Dean out while discussing the strength of emerging talent.
“My favorite new artist is Olivia Dean from the UK. I absolutely love her. She’s amazing. There’s a lot of great stuff out there. I have a playlist that I keep during the year and I was probably about 50 songs on it right now from things in 2025 that I discovered that I thought were absolutely amazing,” Jam said.
The endorsement from one half of the iconic Jimmy Jam and Terry Lewis duo speaks to a larger point about the current moment in music. While technology has accelerated discovery and creation, the artists who endure are those who can balance innovation with emotional depth.
Dean’s meteoric rise suggests that new voices can still thrive by honoring craft rather than trolling, gimmicks or capitulating to algorithms.
In winning best new artist, Dean topped Katseye, The Marías, Addison Rae, sombr, Leon Thomas, Alex Warren and Lola Young, all of which have remarkable potential to be greats.
She now joins a long and varied list of past recipients that includes the Beatles, Mariah Carey, Adele, Dua Lipa and Chance the Rapper. Lauryn Hill, a favorite of Dean’s parents and the inspiration for her middle name, won the same award in 1999.
The lineage and the moment point to the enduring, oftentimes disruptive power of new artists. Dean’s Grammy is a signal to the industry that authenticity, heritage and thoughtful songwriting still have a place in the music industry.
