Earlier this week, Rolling Stone dropped its “The 250 Greatest Songs of the 21st Century So Far” list. According to the outlet, Missy Elliott’s iconic track, “Get Your Freak On,” is the No.1 song of the 21st century. “…It was a challenge, a dare, the sound of Miss E and Timbaland defying everyone else to keep up with the future or get left behind,” the outlet wrote. The outlet continued: “And after more than two decades, ‘Get Ur Freak On’ still sounds like the future — everything vibrant and inventive and cool about 21st-century pop is in here somewhere.” The track, which dropped in 2001 and featured on the rapper’s third studio album Miss E… So Addictive. Upon its release, the track landed at number seven on the US Billboard Hot 100 chart. That said, Miss E… So Addictive debuted at No.2 on the US Billboard 200 chart, selling 250,000 copies in its first week. It’s also been certified platinum by the Recording Industry Association of America (RIAA). In 2002, at the 44th Grammy Awards, Missy Elliott walked away with a Grammy Award for Best Rap Solo Performance for “Get Ur Freak On.” Missy Elliott Reaches Settlement In Long-Running Lawsuit In other news, back in August, Missy Elliott finally put an end to a lawsuit that followed her for years. On August 22nd, just as jury selection was about to begin in a Philadelphia courtroom, she and producer Terry Williams agreed to settle their dispute, closing a chapter that had been active for seven years. The conflict stemmed from Williams’ claims that he helped write several songs during Elliott’s early career. He pointed to four tracks from her group Sista’s 1994 project 4 All the Sistas Around Da World and argued that Elliott went on to publish the material without giving him the credit or payment he believed he deserved. He later tried to connect his argument to Aaliyah’s 1996 single “Heartbroken,” but in August 2024, U.S. District Judge Nitza Quiñones Alejandro ruled that the attempt came too late after more than two decades had already passed.

Hip-hop producer Swizz Beatz and several music publishers have sued a North Carolina entertainment venue in federal court, alleging it publicly performed copyrighted songs, including the late DMX’s hit “Party Up (Up in Here),” without obtaining the licenses required under federal copyright law. The complaint, filed Tuesday in the U.S. District Court for the Western District of North Carolina, accuses BoatYard Lake Norman and its owner, Chris Boukedes, of repeatedly playing protected musical works despite years of outreach and licensing offers from the American Society of Composers, Authors and Publishers, known as ASCAP. At the center of the dispute is “Party Up (Up in Here),” the chart-topping DMX single co-written by Swizz Beatz. The lawsuit alleges the venue publicly performed the song and other copyrighted works without authorization, depriving songwriters, composers and music publishers of performance royalties. According to the complaint, ASCAP representatives attempted to secure compliance through telephone calls, emails and mailed correspondence. The organization contends those efforts were unsuccessful. Swizz Beatz Goes After North Carolina Nightclub For The Illegal Use Of DMX’s Hit “Party Up” In Federal Court “ASCAP has contacted Defendants by telephone, by mail, and by e-mail,” the complaint states. Despite those communications, the defendants allegedly “refused all of ASCAP’s license offers for Boatyard” while continuing to publicly perform copyrighted compositions within ASCAP’s repertory. The action also includes claims involving “Jump Around,” “Party All the Time” and “Shut Up and Dance,” with several publishing companies joining as plaintiffs. Universal Music Corp. is among the entities asserting rights connected to “Party Up (Up in Here).” The plaintiffs seek up to $30,000 in statutory damages. Along with injunctive relief and other remedies available under the Copyright Act. The lawsuit is one of several copyright enforcement actions filed nationwide this week by ASCAP-affiliated songwriters and publishers. In a statement, ASCAP Executive Vice President of Licensing Stephanie Ruyle said the venues chose not to pay. “Each of the establishments sued today has chosen to infringe upon the hard work of songwriters instead of licensing the music they play, despite repeated notifications and opportunities to do so.”

Brooklyn drill rapper Sleepy Hallow, whose real name is Tegan Chambers, has been released from prison after serving approximately eight months of a one-year sentence imposed in connection with a sprawling New York gang conspiracy case. The rapper announced his release Thursday in an Instagram post featuring photographs of himself posing alongside luxury vehicles and music plaques. “I’m back, now go pick a side n’ stay there,” Chambers wrote. View this post on Instagram Chambers was among 32 defendants named in a 140-count indictment unsealed by New York prosecutors in May 2023. Authorities alleged that members and associates of a Brooklyn street gang participated in a range of criminal activities, leading to charges that included conspiracy and violent offenses against multiple defendants. In October 2025, Chambers pleaded guilty to fourth-degree conspiracy and was sentenced to one year in prison. Court records show the plea resolved his role in the prosecution’s broader gang conspiracy case. Brooklyn Rap Star Sleepy Hallow Released After 8 Months, Prepares “First Day Out” Track The case also ensnared fellow Brooklyn drill artist Michael Williams, known as Sheff G. Williams pleaded guilty to second-degree attempted murder and second- and fourth-degree conspiracy charges. He received a five-year prison sentence in October 2025. Chambers’ release marks the latest development in a prosecution that drew significant attention because of the involvement of prominent figures in New York’s drill music scene. The rapper indicated he intends to quickly return to his music career. In addition to announcing his release, Sleepy Hallow said he’s filming the “First Day Out” music video. He invited fans to the video shoot in New York City. “First Day Out” tracks are commonly associated with songs released by artists following incarceration. The planned release suggests Sleepy Hallow is seeking to capitalize on renewed public attention following his prison term. Sleep Hallow is set to perform at Hot 97’s Summer Jam on July 24.

The music world was met with heartbreaking news Sunday after reports emerged that singer-songwriter Oliver Tree had died at the age of 32 in a helicopter collision in Rio de Janeiro. Brazilian aviation authorities confirmed to CNN Brasil that Tree was among six people killed when two helicopters collided in midair before crashing in Recreio dos Bandeirantes, a coastal neighborhood in the city’s southwest zone. Furthermore, the accident has prompted an ongoing investigation as officials work to determine what caused the aircraft to collide. According to authorities, five victims were aboard one helicopter, while the second aircraft was occupied solely by its pilot. Officials identified the others who died as Lucas Vignale, Gaspar Prim, Lucas Brito Chaves, Alexandre Souza, and Charles Marsillac. Among them was Prim, a 23-year-old Argentine YouTuber known to millions online as Gaspi. His videos helped him build a following approaching three million subscribers. The crash also left a trail of destruction on the ground. Investigators said one of the helicopters struck an area used to store electric vehicles. This triggered fires that damaged roughly 20 cars. Images and reports from the scene described emergency crews moving quickly to contain the flames. At the same time, authorities secured the area for examination. As Investigators Search for Answers, Fans Mourn a One-of-a-Kind Artist In a statement provided to CNN Brasil, Brazil’s National Civil Aviation Agency, known as ANAC, said the circumstances surrounding the collision remain under review. The agency also extended condolences to the families and friends of those who lost their lives. However, officials have not publicly announced what may have contributed to the crash. For many listeners, Tree was a singular figure in modern music, blending humor, vulnerability, and unconventional visuals into a career that defied easy categorization. The artist attracted more than 11 million monthly listeners on Spotify and found global success with songs including “Miss You” and “Life Goes On.” Before the reported accident, he had recently performed in São Paulo. He was preparing to launch a European tour in Lisbon on July 1. This was to be followed by several U.S. dates, including an Aug. 4 headlining appearance at New York’s Terminal 5.

Drake’s latest run of music has settled into a familiar pattern: immediate chart impact followed by a slower, more unpredictable afterlife online. With ICEMAN still circulating at the top of streaming charts, the project has already produced one clear centerpiece in “Janice STFU,” which spent two weeks at No. 1 on the Billboard Hot 100. The track was quickly absorbed into playlists and radio rotations, giving it the early shape of a seasonal hit. But as the summer progresses, attention has begun to shift toward another album cut that is gaining traction in a less traditional way. That record, “Shabang,” has grown into its own moment largely through digital culture rather than conventional promotion. In fact, the energy around the song highlights the enduring influence of chart-topping artist Drake on social media music trends. The song, produced by Maneesh On The Beat alongside 40, rose to No. 4 on the Hot 100 last week and continues to show upward movement. Its strongest momentum, however, has come from short-form video platforms, where users have built a looping visual trend around its hook. In those clips, everyday objects appear to materialize or vanish in sync with the beat, turning the song into a kind of shared visual joke. “Maneesh on the beat, shabang / All of my opps, they dead.” View this post on Instagram From Viral Trend to Chart King: ‘ICEMAN’ Keeps Its Grip on No. 1 What began as fan-driven experimentation has widened into a more visible pop-culture ripple. Notably, even major platforms and personalities have joined in on challenges connected to music from Drake. Figures including Summer Walker and Joe Jonas have joined in, helping the trend spill further into mainstream feeds. In that sense, the song now operates in two registers at once: as a charting single and as a piece of online choreography shaped by repetition and imitation. Even with that viral pull, ICEMAN remains firmly anchored at No. 1 on the album chart for a third straight week, underscoring Drake’s continued commercial reach. His companion projects, Maid of Honour and Habibti, have eased in position but remain part of the broader rollout that continues to evolve week by week. As streaming habits shift and social media cycles accelerate, the release strategy has taken on a layered quality, with different songs finding success on different timelines. For now, the data points all circle back to a familiar conclusion: the music is still moving, even after the initial release has passed.

The death of songwriter Talay Riley has left many across the music industry grappling with shock and disbelief. Riley, whose birth name was Mark “Yinka” Orabiyi, was killed in a stabbing incident in East London, according to published reports. A second man was also injured during the attack. However, authorities said his injuries were not considered life-threatening. Police have made three arrests in connection with the case. Two individuals were released and a third remains under investigation after being granted bail. For many artists and executives who crossed paths with Talay Riley, the loss extends far beyond his impressive list of songwriting credits. He built a reputation as a gifted creative force. His work quietly helped shape modern R&B and pop music. As news spread, tributes began appearing from colleagues and friends who remembered not only his talent but also his character. Among the first public statements came from his manager, Cleo Amedume. She reflected on Riley’s lasting impact. “Talay will fondly be remembered by those who knew him publicly for his incredible talent as a Grammy Award winning, multi platinum selling songwriter & artist,” the statement read. While Riley may not have been a household name to every listener, his music reached audiences around the world. His credits included Khalid’s “Young Dumb & Broke” and H.E.R.’s “Lights On.” These songs became defining moments in both artists’ catalogs. He also contributed to projects involving global stars such as Dua Lipa and Britney Spears. This earned him widespread respect within songwriting circles. Those collaborations helped establish him as one of the industry’s most trusted and versatile writers. View this post on Instagram Remembering Talay Riley’s Legacy as Tributes Continue to Pour In Amedume also thanked supporters who have reached out since the tragedy became public. “We are deeply grateful for the enormous outpouring of love and support that we have received through messages, calls and visits over the past hours. Thank you for your continued consideration and sensitivity at what is a devastating time for us all,” the statement continued. Before his death, Riley had reportedly been focused on new music and future creative endeavors. As investigators continue working to determine exactly what happened, many who knew him are choosing to focus on the body of work he leaves behind. They also focus on the lives he touched throughout his career.

Is Drake’s new number one single, “Janice STFU,” a diss towards his longtime rival Joe Budden? Fans think so and have evidence to back it up. The record exploded across streaming platforms shortly after ICEMAN dropped, quickly becoming one of the project’s biggest songs alongside HABIBTI and MAID OF HONOUR. Drake also dominated the Billboard Hot 100 with 42 charting records, continuing one of the strongest commercial runs of his career. Still, much of the online conversation shifted toward Joe Budden. No way Joe Budden many years back his “given white woman name is Janice” Damn, Janice STFU pic.twitter.com/HM6HfvKtRm — Hip-Hop Unison (@hiphopunison) May 27, 2026 The theory gained momentum after an older clip from The Joe Budden Podcast resurfaced online. During the segment, Budden joked that his “given white woman name is Janice.” Seconds later, he told his co-hosts to “shut the f*ck up.” Fans immediately connected both phrases to Drake’s song title. The timing fueled widespread speculation across social media. Is Drake’s “Janice STFU” An Insult Towards Joe Budden? Many listeners believe the title was intentional, especially considering Drake’s history of coded references and layered disses. Throughout his career, the OVO rapper has built a reputation for embedding subtle shots inside lyrics, captions, interviews, and song titles. Hip-hop fans regularly dissect his music for hidden meanings aimed at rivals and critics. Neither Drake nor Budden has publicly addressed the theory. However, the tension between both figures stretches back years. Budden frequently criticized Drake’s music and artistic direction during episodes of The Joe Budden Podcast. Drake later responded through social media posts and records many fans viewed as direct attacks. Listeners also pointed toward Drake’s song “Make Them Remember,” where he appeared to reference Budden more openly. Whether “Janice STFU” truly targets the former Slaughterhouse rapper remains unconfirmed. Even so, the resurfaced podcast clip intensified discussion around ICEMAN and added another layer to Drake’s latest chart-topping moment. Now, hip-hop fans are waiting to see whether Budden addresses the rumors on his podcast. Given their history, many expect a response sooner rather than later.

Drake’s latest release cycle arrived less like a single moment than a sweep across the charts, with three new albums—ICEMAN, Maid of Honour, and Habibti—landing simultaneously on Billboard’s major rankings. The impact was immediate on the Hot 100, where “Janice STFU” opened at No. 1 and pushed him past Michael Jackson for the most chart-toppers by a solo male artist. It marks his 14th No. 1 single, placing him alongside Rihanna and Taylor Swift in the broader hierarchy, behind Mariah Carey’s 19 and the Beatles’ 20. Across the trilogy, the scale of his chart presence was unusually dense even by his standards. Forty-two of the 43 tracks entered the Hot 100, with nine appearing inside the top ten, while only “Where’s Your Stuff Interlude” failed to chart due to its short runtime. In total, the rollout added another statistical layer to an already sprawling record of chart appearances that continues to stretch the boundaries of modern release strategies. .@Drake‘s “Janice STFU” officially debuts at No. 1 on this week’s #Hot100. It becomes his 14th career No. 1 hit, passing Michael Jackson for the most among solo male artists. Overall, he ties Rihanna and Taylor Swift for the third-most after the Beatles (20) and Mariah Carey… — billboard charts (@billboardcharts) May 26, 2026 Drake Tops 400 Hot 100 Entries, Extending Chart History Lead The new figures also extend Drake’s long-running dominance in cumulative Hot 100 entries. He previously set the mark in 2018 with Scorpion, which placed 27 songs on the chart in a single week, before that record was later surpassed by Morgan Wallen’s 36-song showing with One Thing at a Time in 2023. Still, Drake retains the overall lead for total entries, climbing from 362 to 402 and becoming the first artist to cross the 400-song threshold. Taylor Swift remains the closest comparator in total Hot 100 appearances, with 276 entries across her catalog. Taken together, the numbers reinforce how Drake’s commercial reach has become measured not just in hits but in volume—an accumulation that continues to reshape the upper limits of chart history. .@Drake charts a record 42 songs on this week’s #Hot100: No. 1, “Janice STFU”No. 2, “Ran to Atlanta,” feat. Future & Molly SantanaNo. 3, “Whisper My Name”No. 4, “Shabang”No. 6, “National Treasures”No. 7, “Make Them Cry”No. 8, “Dust”No. 9, “2 Hard 4 the Radio”No. 10,… — billboard charts (@billboardcharts) May 26, 2026

Drake reached another commercial milestone this week as “Janice STFU” debuted at No. 1 on the Billboard Hot 100, extending a chart run that has increasingly placed him in rare historical company. The single delivered his 14th Hot 100 chart-topper, moving him ahead of Michael Jackson for the most No. 1 songs by a male solo artist. At the same time, Drake flooded the chart with 42 entries in a single week, a figure that further illustrated the scale of engagement surrounding his latest releases. Much of the anticipation leading into the moment had centered on whether he would eventually pass Jackson’s long-standing mark. Drake appeared aware of that conversation throughout the rollout for ICEMAN, whose imagery and presentation repeatedly nodded toward Jackson’s influence and larger-than-life aura. Once the Billboard rankings became official, he responded online with a stylized image tied to the “ICEMAN” theme and a caption that leaned into the symbolism of the achievement. View this post on Instagram Drake Turns Doubt Into Another Record-Breaking Run “Neck broke from carrying the chain/Back broke from carrying the game/Records broken carry on my name/Carry on carry on,” Drake wrote on social media shortly after the chart news spread. The post circulated widely within hours, becoming part of the larger reaction surrounding the record-setting week. For supporters, it read as a moment of vindication after years of speculation about how long his dominance could continue. Questions about Drake’s staying power had grown louder in recent years, particularly during stretches when listeners debated whether his output still carried the same cultural weight. Yet the commercial response to this release cycle has complicated those doubts, with streaming numbers and chart placement again placing him at the center of mainstream rap. Debate around his standing among current hip-hop heavyweights, including Kendrick Lamar, is unlikely to disappear, but for now, Drake’s latest chart run has shifted the conversation back toward numbers and longevity.

For the better part of the last few years, Rihanna and A$AP Rocky have kept public attention fixed more on parenthood than celebrity drama. That shifted again this week after Rihanna shared a playful TikTok promoting Rocky’s upcoming Don’t Be Dumb tour. The tour begins in Chicago in the coming days. What might have otherwise passed as a light promotional moment quickly reignited online discussion surrounding Drake. These were the pointed lyrics fans believe were aimed at the couple on his recent releases. The video, circulated widely after being reposted by Kurrco on X, showed a woman dancing her way toward a smoke shop. Meanwhile, text across the screen read: “me pullin up to my man tour in flats cause now I gotta bring the kids.” The post was brief, funny and unmistakably domestic. It presented Rihanna less as a global superstar than as a mother preparing for life on the road with young children. Fans, however, quickly tied the clip to Drake’s recent music. In his music, references interpreted as shots at Rihanna and Rocky have become a recurring topic online. Much of the attention centers on “Burning Bridges” from ICEMAN. On the track, Drake raps, “Your baby mama ain’t even post the single / Where she at?” Listeners almost immediately connected the line to Rocky’s album rollout and Rihanna’s public support—or perceived lack of it at the time. Other songs, including “Firm Friends,” have also fueled speculation about lingering friction between the artists. Rihanna shows support for A$AP Rocky’s upcoming tour with a new TikTok “me pullin up to my man tour in flats cause now I gotta bring the kids” The DON’T BE DUMB Tour kicks off in less than a week pic.twitter.com/mPzDgqCqwS — Kurrco (@Kurrco) May 22, 2026 Rihanna Keeps Focus on Family as Rap Feuds Fuel Speculation The roots of that tension remain largely speculative. Still, fans continue drawing connections between Drake’s past history with Rihanna and Rocky’s role during last year’s Kendrick Lamar feud. Rocky previously suggested disagreements between the rappers were tied partly to personal relationships. His appearances on Future and Metro Boomin’s WE STILL DON’T TRUST YOU intensified conversation around alliances inside rap’s ongoing rivalries. Even so, Rihanna’s latest TikTok appeared far removed from industry feuds. At its center was a familiar scene: a partner cheering on someone she loves while juggling the realities of raising children in public view.