In a recent interview with The New York Times, JAY-Z offered measured guidance to aspiring songwriters. He emphasized the importance of perspective and lived experience in shaping creative work. Speaking about the pressures artists face to remain relevant, he suggested that authenticity cannot be manufactured. “If you’re trying to make young music and you’re not young, it’s gonna be inauthentic, and people can feel that,” he said. “You can smell it. So, the best thing anyone can do going through music is to tell their story and keep creating from that space.” To illustrate the point, he pointed to recent work by Clipse, specifically the track The Birds Don’t Sing. He described the song as an example of storytelling grounded in personal truth. He noted its emotional weight and clarity. “I love what the Clipse are doing right now and how it’s authentic to them, and they’re telling a story about their mom and dad who just passed away, and how deep that is with John Legend singing on the chorus and everything that they’ve been through,” he said. “It’s an authentic display, a piece of classic material that could’ve come out in ’96 or 2026. It still feels the same because it’s real and authentic to who they are.” “If you’re trying to make young music and you’re not young, it’s gonna be inauthentic and people can feel that.” “I love what the Clipse are doing right now and how it’s authentic to them…” — JAY-Z via The New York Timespic.twitter.com/P7C9C5uBMC — Kurrco (@Kurrco) April 28, 2026 JAY-Z’s Growth Leads a List of Defining Songwriters The conversation accompanied the publication’s feature on the 30 greatest living American songwriters, a list compiled with input from industry figures and critics. JAY-Z’s inclusion reflected not only his technical command but also the evolution of his subject matter over time. His later work, particularly 4:44, was noted for its directness. It addressed personal struggles and relationships with unusual candor. The Times described the album as “far blunter and more bruised than anything he had ever recorded.” The list also recognized a range of artists across genres, including Kendrick Lamar, Missy Elliott, and OutKast, among others. Together, the selections highlight how songwriting continues to evolve while remaining rooted in personal voice.

J. Cole has suggested that his forthcoming album, The Fall-Off, may represent a turning point in his career rather than a continuation of it. As the project approaches release, the rapper has indicated that his interests are moving away from releasing solo albums. Instead, he has expressed a growing focus on producing and contributing behind the scenes. The comments have prompted discussion about what the next phase of his work may look like. During a recent “Ask Me Anything” session with fans, Cole addressed his outlook directly. “I appreciate all the support. My love for music is authentic, and what’s truly exciting about this album is the immense inspiration I feel right now,” he said. “While I don’t foresee myself creating more albums under the ‘J. Cole’ name, my enthusiasm lies in music production.” He added, “I will continue to write and record music whenever the inspiration strikes, and I may release new tracks if I feel compelled to do so. However, The Fall-Off stands as a significant work that I won’t seek to surpass.” Cole expanded on that idea by describing a long-standing interest in collaboration. “I aspire to make beats and assist in producing for other artists, even if my input doesn’t entail creating the actual track,” he said. “Shaping someone else’s vision is a passion of mine that I haven’t fully explored, given that my focus for years has predominantly revolved around my own narrative.” He added that he believes his strengths may be better realized in a supporting role. A Pivotal Release The Fall-Off will be Cole’s seventh studio album and is scheduled for release on February 6. The project includes collaborations with Burna Boy, Erykah Badu, Future, Morray, Petey Pablo, PJ, and Tems. Industry projections cited by Talk of the Charts estimate first-week sales between 260,000 and 300,000 album-equivalent units. That performance would make it his strongest debut since KOD in 2018. Following the album’s release, Cole marked the moment with a low-key promotional effort. He traveled to North Carolina A&T University, where he sold copies of The Fall-Off directly from his car. The effort, which he referred to as a “Trunk Sale Tour,” echoed earlier moments in his career. It also reinforced his emphasis on accessibility and direct connection with listeners.

On a recent episode of the Million Dollaz Worth Of Game podcast, Lizzo reflected on the roots of hip-hop. She highlighted the genre’s struggle for recognition within a music industry long dominated by established players. Her comments offered insight into the challenges faced by Black artists, particularly around sampling—a practice central to hip-hop’s identity and creative innovation. Speaking with hosts Gillie and Wallo, Lizzo explored hip-hop’s complicated relationship with sampling. By borrowing sounds, rhythms, and melodies from existing recordings, artists have built the foundation of the genre. Yet she emphasized that copyright laws have often constrained Black creativity rather than safeguarding it. Recalling Biz Markie’s legal battles over “Alone Again,” Lizzo noted how disputes like his led to albums being pulled from stores. These actions reveal the broader consequences of restrictive sampling rules on Black musicians. Tracing the earliest pioneers of sampling to Black rappers of the 1980s and ’90s, Lizzo highlighted the ingenuity behind the practice. “They were sampling records because they didn’t have access to big studios,” she said. Many repurposed their parents’ vinyl to forge new sounds, often without formal musical training. “They were just outside, just like, ‘OK, this is just what it is.’ And then hip-hop was born, and it was this beautiful thing,” she added. This underscored the genre’s organic and innovative beginnings. Policing Black Creativity Reflecting on contemporary perceptions, Lizzo criticized the framing of sampling as theft. “The theft of it all, putting theft on Black culture, that’s the part that kind of turns me off,” she said. For her, sampling is a legitimate and essential creative practice, embedded in hip-hop’s DNA. Yet, it is often mischaracterized as criminal. She suggested that these restrictions may have racial undertones, functioning as a means to limit Black artistic expression. Fans can also expect Lizzo’s involvement on Cardi B’s forthcoming album, Am I The Drama?, set for September 19. The collaboration hints at further explorations across hip-hop, pop, and R&B. It signals the evolution of her artistry while honoring the foundational roots of the genre.

According to Billboard Canada, The Weeknd has set the record for most performances by a Canadian artist at one of Toronto’s biggest stadiums — the Rogers Centre, which also houses the Toronto Blue Jays. The singer performed four shows on his After Hours Til Dawn Tour at the Rogers Centre, which began on Thursday, August 7. The outlet also reported that he set the record for “most shows at the venue by a male solo artist on the same tour.” This trek would count as The Weeknd’s seventh concert tour. The stadium tour was in support of his fourth, fifth, and sixth studio albums: After Hours (2020), Dawn FM (2022), and Hurry Up Tomorrow (2025). This tour serves as a victory lap for the “Timeless” singer and marks the end of his Weeknd era. View this post on Instagram A post shared by NFR Podcast (@nfrpodcast) Last month, The Weeknd was awarded the ultimate honor from his hometown of Toronto by receiving the Key to the City and a citywide proclamation of “The Weeknd Weekend” from July 26-27.  Complex reported that the City of Toronto recognized” the pop star actor for his accomplishments as a singer-songwriter and producer, his enduring humanitarian efforts, and his dedication to giving back to his city.” During the private ceremony, The Weeknd was presented by Toronto Mayor Olivia Chow, who was attended by youth from West Scarborough and The Weeknd’s alma mater, Birchmount Park Collegiate Institute. “I’m deeply honored to receive the Key to the City. It feels good to be home,” The Weeknd said. “Toronto is where I found my voice, and I’m committed to helping the next generation find theirs. That’s why I’m proud to support the Boys & Girls Club of West Scarborough and my former high school, Birchmount Park, providing youth with the means to unlock their full potential.”

Is there anything that Queen Bey can’t do? Whether it’s sparking online debates or shattering Grammy records, Beyoncé has more than proven herself worthy of all her accolades. So it’s no surprise that when Billboard released its “The 75 Best R&B Artists of All Time” list, Beyoncé ranked high among her peers. Landing at No. 4 on the list, the Renaissance singer follows behind icons like Michael Jackson (No. 3), Aretha Franklin (No. 2), and Stevie Wonder (No. 1). The late, legendary, singer and diva, Whitney Houston, rounded out the group at No.5. The criteria for ranking included “vocal prowess, body of work, career longevity, industry achievements, game-changing influence, and enduring generational/cultural impact.” “Billboard’s Greatest Pop Star of the 21st Century also happens to be one of the Best R&B Artists of All Time. In fact, it’s her dedication to her R&B foundation that has helped her become one of music’s most innovative, impactful, and impressive artists,” the outlet wrote. “The 35-time Grammy-winning Houstonian first hit the Billboard charts as the lead vocalist of Destiny’s Child, the girl group in which she honed her now-signature staccato rap-singing, a vocal approach that can be heard in virtually every contemporary R&B song today.” Beyoncé has been named the #4 ‘Best R&B Singer of All-Time’ by Billboard staff. pic.twitter.com/bFcg8myACW — Pop Tingz (@ThePopTingz) June 19, 2025 Other notable artists included in the list include: James Brown (No.6), Prince (No.7), Mariah Carey (No.8), R.Kelly (No.9), and Marvin Gaye (No.10). Last December, Billboard crowned Queen Bey as the greatest pop star of the 21st century. The publication said she’s “the century’s biggest pop star based on her full 25 years of influence, evolution, and impact.” “The reasons why Beyoncé captured the top spot on our list were beyond numerous. Ranging from her 25 years of timeless albums and singles to her incalculable industry impact and influence on other artists, to her peerless raw talents as a singer and performer.” Billboard said. “Few artists this period can match her in any of the most critical basic categories of pop stardom. Commercial success, performance abilities, critical acclaim and accolades, industry influence, iconic cultural moments – and absolutely no one can equal her in all of them,” Billboard continued.

Chicago hip-hop has lost one of its early radio champions this week in Mark “DJ Ice Box” Josephson, whose broadcasts helped introduce local rap to a wider audience, who died July 19 at 58. Josephson was a University of Chicago student in 1986 when he began spinning records at WHPK-FM 88.5. He studied Near Eastern languages and civilizations while hosting late-night rap as DJ Ice Box. With a tagline of “This is Ice Box keeping your hip-hop fresh,” he played rap music on a University of Chicago radio show at a time mainstream radio wouldn’t touch the genre. https://t.co/0grml5dm6n — Chicago Sun-Times (@Suntimes) September 18, 2026 WHPK’s rap program launched in 1984. At the time, Chicago’s commercial stations rarely played hip-hop. The station operated at only 100 watts, but its signal reached much of the South Side. For young rappers, WHPK became a crucial connection to Chicago’s emerging hip-hop culture. “We stumbled across WHPK one day in the mid-’80s,” Darrell “Artistic” Roberts recalled. “They rapping.” Roberts belonged to the Curfew Crew, a group of teenage rappers from Chicago’s 101st Street and State Street area. The crew battled other neighborhood groups and taped WHPK broadcasts. Josephson and his fellow DJs played rap records sourced from New York. They also welcomed tapes from Chicago artists seeking their first radio exposure. Rappers sometimes called the station from a nearby payphone. DJs would collect their tapes and occasionally invite the artists inside. CHICAGO Hip-Hop DJ Mark “DJ Ice Box” Josephson Dead At 58 That connection helped Roberts get his first song played on Chicago radio. C. “Kingdom Rock” Sanders, a Curfew Crew contemporary, later co-founded the Chicago Hip Hop Heritage Museum. He remembered Josephson as an unconventional figure behind the turntables. “He was a slender, Caucasian, Jewish man with glasses and an Afro,” Sanders said. “You would not expect him to be playing the music he was playing.” John Schauer, another WHPK DJ known as J.P. Chill, said the pair never tried to mimic Black culture. “We were just like, ‘We are who we are,’” Schauer said. “We were different, and we were accepted.” Roberts said their connection transcended race. “Our spirits connected us to the culture,” he said. Josephson later became an attorney but never abandoned music. In 2024, he attended a Common concert wearing a WHPK shirt. “It was surreal to see a bunch of middle-aged Black guys get so excited to meet my dad,” his son, Ari Josephson, said. Josephson had frontotemporal dementia and ALS. He is survived by his wife, Lea, and children Ari and Shayna.

Hip-Hop star Yung Miami’s solo era is gathering serious momentum due to the success of her Uptown Records’ debut “Spend Dat.” Her breakout single for the relaunched Uptown Records, has reached RIAA platinum eligibility. Released April 24, the J. White Did It-produced track became a defining record of Miami’s 2026 run. It climbed to No. 17 on the Billboard Hot 100 and topped multiple radio charts. Yung Miami says she’s going to bet on herself everytime after ‘Spend Dat’ goes platinum pic.twitter.com/XqVZO0SrpE — 2Cool2Blog (@2Cool2Blog) September 15, 2026 The milestone arrives months after Miami joined Uptown Records’ first wave of artists. The storied label relaunched under Republic Collective with Miami, G Herbo and Trap Dickey. “This is a legendary label being resurrected,” Miami said of Uptown. “Uptown already feels like home.” “Spend Dat” has since become the centerpiece of her solo campaign. The former City Girls member has spent the year carving out space beyond her work with JT. The song’s RIAA milestone measures more than traditional purchases. Platinum represents one million certified units under the organization’s current digital single standards. The RIAA counts eligible permanent downloads and on-demand audio and video streams. One hundred fifty qualifying streams equal one certified unit. Hip-Hop Star Yung Miami’s “Spend Dat” Reaches RIAA Platinum Eligibility Miami has also expanded the song’s reach through two remixes. Lil Baby and Kodak Black joined the U.S. remix, while Davido, Shenseea and Vybz Kartel appeared on the international version. Those collaborations arrived as “Spend Dat” continued its chart run. The song has remained on the Billboard Hot 100 for multiple weeks, reinforcing its staying power. Miami’s achievement follows years of success with City Girls. Now, “Spend Dat” offers a different kind of statement. It belongs to her solo catalog, under a newly revived label with its own history. Uptown helped define hip-hop and R&B through artists including Mary J. Blige, Jodeci and Heavy D. For Miami, the connection carries symbolic weight. She is entering Uptown’s next chapter while building one of her own. The platinum-eligible “Spend Dat” has become the clearest marker yet of that transition. Its success gives Miami another significant milestone before her anticipated solo debut album. The record has already carried her from Miami nightlife to national radio and the Billboard Top 20. Now, the RIAA milestone adds another chapter to her solo ascent.

Hip-Hop star Drake has given fans another unreleased track to dissect, and one lyric is already drawing attention. The biggest name in hip-hop previewed the song during FOMO (Fear of Missing Out), his hour-long short film released Sept. 15. The project features previously unheard music and several high-profile collaborations. DRAKE DEDICATES NEW SONG FOR PALESTINIANS IN ‘PRAY FOR GAZA’ pic.twitter.com/nAcw1dClZc — RT (@RT_com) September 16, 2026 Around the 17:47 mark, Drake delivers the phrase “Pray for Gaza” over a dancehall-influenced production. The moment lasts only briefly, but it has quickly become one of FOMO’s most discussed musical details. Drake has not announced an official title for the track. He also has not confirmed plans for a standalone release. The meaning behind the lyric remains unclear. Complex noted that “Gaza” could reference the Gaza Strip and the ongoing conflict involving Israel and Palestinians. Drake Honors Palestinians With Unreleased Track, “Pray For Gaza,” In New Short Film, FOMO (Fear Of Missing Out) The word also carries significance within Jamaican dancehall. Vybz Kartel’s Portmore movement has long used Gaza as an identifying name. That connection adds another possible interpretation to Drake’s lyric. His longstanding admiration for dancehall and relationship with Kartel have also shaped the conversation. Still, Drake has previously addressed the Israel-Gaza conflict through his public actions. In 2023, he signed the Artists4Ceasefire open letter. The letter called for de-escalation and a ceasefire involving Gaza and Israel. Drake’s longtime producer, Noah “40” Shebib, later discussed the decision with Rolling Stone MENA. “He asked if Drake would and I went to talk to him and the team,” Shebib said. “That simple really.” That history offers context, but it does not confirm Drake’s intended meaning. For now, “pray for Gaza” remains open to interpretation. FOMO arrives during Drizzy’s broader ICEMAN era. The film also showcases his continued movement between rap, R&B and dancehall. The project gives listeners a glimpse at music Drake has yet to formally release. Whether “Pray For Gaza” eventually becomes an official track remains unknown. For now, the brief lyric has done what The 6 God’s surprise releases often accomplish. It has given listeners another mystery to unpack.

R&B superstar Chris Brown is addressing the backlash surrounding Rep. Jasmine Crockett’s decision to honor his musical legacy. The R&B superstar shared an Instagram Story Monday, Sept. 14, featuring a photo of himself embracing the Texas Democrat onstage. The moment came after Crockett recognized Brown and Usher during The R&B Tour’s stop at AT&T Stadium in Arlington on Saturday, Sept. 12. Chris Brown via IG story with a message for Jasmine Crockett: “I apologize for any backlash you have to deal with for awarding me.” this was beautiful . pic.twitter.com/2qAosb2ch9 — 𝖍𝖊𝖑𝖔 (@hwloiza) September 15, 2026 Crockett presented the artists with Congressional Record recognition for their contributions to music. She described the moment as a celebration of “Black joy” before recognizing Brown onstage. The tribute quickly sparked criticism because of Brown’s history of legal issues. Critics pointed to his 2009 guilty plea to felony assault involving Rihanna. His more recent legal troubles have also remained part of the public conversation surrounding his career. Brown appeared to acknowledge that scrutiny while thanking Crockett for the recognition. “Thank you so much . I apologize for any backlash you have to deal with for awarding me. I’m not political but I move off of frequency and energy and I’m so grateful. ONCE AGAIN, THANK YOU.” R&B Singer Chris Brown Apologizes To Rep. Jasmine Crockett For Backlash Over Congressional Recognition Honor In Dallas His response does not directly engage his critics. Instead, Brown centers his appreciation for Crockett and the recognition. The singer’s statement also draws a line between the honor and politics. By saying he is “not political,” Brown suggests he viewed the moment through his connection to music and the energy surrounding the celebration. His apology also recognizes the position Crockett now faces. Brown acknowledges that the backlash could extend beyond him and affect the congresswoman who presented the honor. Crockett’s appearance became a major talking point after the sold-out Arlington concert. She joined Texas state Rep. Venton Jones and producer RoccStar for the presentation. For Brown, however, the message remained centered on gratitude. Rather than defend his past or debate the criticism, he thanked Crockett again. His response leaves the broader controversy surrounding the recognition intact. The moment ultimately placed Brown’s R&B legacy and personal history in the same spotlight. Crockett celebrated his musical contributions, while Brown acknowledged the backlash that followed. His final words made his position clear: “ONCE AGAIN, THANK YOU.”