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Salt-N-Pepa celebrated a high honor over the weekend after being inducted into the Rock and Roll Hall of Fame, joining legends such as Outkast, ’80s icon Cyndi Lauper, and Chubby Checker. During the induction speech, Salt-N-Pepa took a shot at the music industry, as the legendary trio is involved in a legal fight to gain streaming rights to their music.
This past Saturday (November 8), Salt-N-Pepa, which consists of Cheryl “Salt” James, Sandi “Pepa” Denton, and Deidra “Spindarella” Roper, accepted the Music Influence after a moving introduction from Missy Elillott, using the moment to take a bow for what they were able to achieve as the first women in Hip-Hop to hit superstar status.
Salt playfully and confidently delivered the speech, thanking their fans for emulating the group’s fly looks, and even teased their guy fans who had their posters on the wall. However, James aimed some darts in the direction of the Universal Music Group (UMG) but didn’t name them in the jab.
“As we celebrate this moment, fans can’t even stream our music. It’s been taken down from all streaming platforms because the industry still doesn’t want to play fair,” Denton began.
She continued with, “Salt-N-Pepa have never been afraid of a fight. This is the Influence Award. We have to keep using our influence until the industry honors creativity the way the audience does — with love, respect and fairness — and that includes streaming platforms too.”
Check out Salt-N-Pepa’s spcial Rock and Roll Hall of Fame moment below.
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Trending on Billboard
Michael Jackson’s “Thriller” strikes like a beast, rising from No. 32 to No. 10 on the Billboard Hot 100 dated Nov. 15, granting the late King of Pop a new chart longevity record.
With the song, which hit No. 4 on the Hot 100 in 1984, Jackson, who died in 2009, becomes the first artist ever to rank in the top 10 in six distinct decades (the 1970s, ‘80s, ‘90s, 2000s, ‘10s and now ‘20s).
Jackson surpasses Andy Williams, who died in 2012 and whose history includes placements in the top 10 in five decades (‘50s, ’60s, ’70s, ‘10s and ’20s, extended since 2018 thanks to “It’s the Most Wonderful Time of the Year”).
Jackson first reached the Hot 100’s top 10 as a soloist in November 1971 with his debut on his own, “Got To Be There.” Jackson boasts 30 top 10s, including 13 No. 1s. Until this week, Jackson, who died in 2009, last ranked in the top 10 as featured on Drake’s “Don’t Matter to Me” in 2018.
Notably, with Jackson, then just 11 years old, as a member, the Jackson 5 spent their first week in the Hot 100’s top 10 on the last chart of the ‘60s, dated Dec. 27, 1969, with their breakthrough hit, “I Want You Back.”
With Halloween kicking off the Oct. 31-Nov. 6 tracking week, “Thriller” drew 14 million official streams (up 57% week-over-week) and 9.3 million in radio airplay audience (up 124%), while selling 3,000 (up 1%) in the United States, according to Luminate.
Additionally, “Thriller” is now Jackson’s sole longest-charting Hot 100 hit: 26 weeks. It one-ups two other classics from his Thriller album, as “Billie Jean” and “Beat It” each spent 25 weeks on the chart beginning in 1983.
Here’s how the Internet is reacting to Rosalía’s new music.
11/10/2025
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Three decades after shaking up the hip-hop landscape, Wu-Tang Clan is tasting the fruits of its labor. On the heels of celebrating the unofficial Wu-Tang Clan Day holiday on Sunday, the Staten Island crew collected a handful of new certifications from the RIAA on Monday (Nov. 10).
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Included in the bunch of plaques is Wu’s debut single, “Protect Ya Neck,” which has gone platinum nearly 33 years after its initial release in December 1992.
The Wu-Tang Clan’s Enter The Wu-Tang (36 Chambers) 1993 debut is now 4x-platinum and cuts from the project like “C.R.E.A.M.” (4x), “Wu-Tang Clan Ain’t Nuthing ta F Wit” (1x) and “Method Man” (1x) also picked up platinum certifications. While “Bring Da Ruckas” and “Da Mystery of Chessboxin” are now certified gold.
Enter The Wu-Tang (36 Chambers) celebrated its 32nd anniversary on Sunday. The LP reached No. 41 on the Billboard 200.
“C.R.E.A.M.” is the group’s most commercially successful single, with the money-stacking anthem peaking at No. 60 on the Billboard Hot 100, where it spent 16 weeks. “Method Man” topped out at No. 69 on the Hot 100 and spent 14 weeks on the chart.
2025 has been a comeback year for the Wu, as the crew wrapped up the North American leg of The Final Chamber tour in July, which grossed $30.6 million, with 245,000 tickets sold, according to Billboard Boxscore.
Wu-Tang Clan will bring their farewell show global as The Final Chamber turns into a world tour next March, when the European leg kicks off on March 2 in Amsterdam.
The Billboard Hip-Hop Hall of Fame crew’s set to make stops in Berlin, Italy, Vienna, Cologne, Paris, Zurich, London and Manchester before heading to Dubai and Australia in March.
Trending on Billboard Weeks after Ace Frehley’s death, a newly obtained autopsy report has shed some light on why the KISS co-founder and iconic guitarist died suddenly at the age of 74 in October. According to to outlets such as TMZ and People, documents provided by the Morris County Medical Examiner in New Jersey confirmed […]
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There are two things you don’t play with when it comes to Westside Gunn: Hip-Hop and wrestling. WWE tried him big time.
The Griselda MC pulled up to Monday Night Raw in Buffalo, but things went left after getting kicked out of the venue. He went to social media to sound off against the WWE’s treatment to him, For YEAAAAAAARS I mean NOBODY w/ 2 feet has spent the amount of $ I have supporting and pushing a brand I’ve loved since I could remember. All the good times it brought to my life to the point when I started making music I incorporated in everything like WU TANG did karate. I made ppl who hated the product watch it again I made it look kool, whne at the time ppl thought i was nerdy.”
Westside also goes in-depth about the WWE allegedly threatening him to remove wrestling content from his music, “I was threatened to take everything out of my music which I only did to pay homage or my whole catalog would be demolished and everyboyd knows how hard I worked coming from Buffalo for me to get that threat for just supporting and being a real fan hurt me. But I stayed quiet and still like a krazy man sat front row bc I loved the culture.”
Westside Gunn has been a huge wrestling fan his whole life, a day one supporter to the point of starting his own wrestling group called 4th Rope. Curating “The Heels Have Eyes” wrestling tour, blending Hip-Hop and wrestling. Hip-Hop Wired was in the building for Westside’s tour stop in Atlanta at Center Stage. Featuring a dope music set from Onyx, Benny The Butcher, and a live DJ set from Conductor Williams.
Ending the night off with a 3-way ladder match for the 4th Rope Tag Team Championship between The Hardy Boyz, & The Infantry.
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Since the late 1990s, Mexico City’s Plaza de la Constitución, better known as the Zócalo, has been the spot for musical events that have turned the country’s main public square into the biggest stage for massive and unforgettable shows.
The last major crowd event hosted at the so-called First Square of the nation’s capital was the screening of the iconic Mexican singer-songwriter Juan Gabriel’s first concert at the Palacio de Bellas Artes in 1990. This event, held last Saturday (Nov. 8), brought together 170,000 people, according to data from the city government. The screening was organized by Netflix to promote the docuseries Juan Gabriel: I Must, I Can, I Will (or in Spanish, Juan Gabriel: Debo, puedo y quiero), which had premiered just days earlier.
This was the second time a concert by the late “Divo de Juárez” at Bellas Artes was screened in the plaza. A similar event took place in September 2024, when the screening of his 2013 performance at Mexico’s most prestigious cultural venue drew 70,000 people.
Mexico City’s Zócalo is considered an iconic and highly significant location, as it is a square full of symbolism where politics, social movements, culture, and religion converge. It is the second-largest public square in the world, only behind Tiananmen Square in Beijing.
One of the earliest recorded concerts held at the Zócalo was by Los Tigres del Norte in 1999, which lasted nearly three hours. Since then, Paul McCartney, Roger Waters, Justin Bieber, Shakira, Los Fabulosos Cadillacs and Grupo Firme have been among the artists who have performed there in front of thousands of people — in some cases even declaring that this was the “biggest” show of their careers, as happened with Spanish star Rosalía and New York band Interpol.
Here are the 12 most massive concerts held in recent years at Mexico City’s Zócalo, according to official figures from the city government. Check out which one takes the No. 1 spot!
Editor’s Note: The list is ranked from lowest to highest attendance and only includes live performances. In the case of a tie, entries are listed in alphabetical order.
Los Tigres del Norte
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On Oct. 29, Universal Music Group (UMG) announced a landmark deal with AI music startup Udio. As part of the agreement, Udio, which UMG was suing for widespread copyright infringement along with the two other major music companies, offered a compensatory settlement with UMG, effectively ending UMG’s part of the lawsuit and paving the way for a new version of Udio, set to release in 2026, which would be a “new commercial music creation, consumption and streaming experience” that would remunerate participating UMG artists.
To survey the industry’s reaction to the deal, Billboard spoke with professionals who have been following the development of AI music closely from various vantage points, including labels, investment firms, AI music start-ups, the songwriting community and consultancies.
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“This deal is beneficial for the music industry,” one label professional tells Billboard. “My question is, though, is it beneficial for Udio? In the short term, they’re going to go through some tension as they do a reset, but this could be great. It’s early.”
To most who spoke to Billboard for this story, the timing of the deal wasn’t entirely surprising. One label executive points out that news of the agreement was cleverly released just hours before UMG’s Q3 earnings call. Still, Sean Power, CEO of Musical AI, says he “expected a deal in Q1 of 2026, not now.”
Since this summer, reports have circulated that the majors have been discussing settlements with Suno and Udio, leading many to believe the talks were getting close. But as the year wore on, some grew skeptical that settlements would be reached by the end of the year. Though the UMG-Udio deal represents the start of reconciliation, these lawsuits are far from over — Warner Music Group and Sony Music are still pursuing their claims against Udio, and all three majors are still pursuing their lawsuit against Suno.
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Vickie Nauman, founder of music-tech consultancy CrossBorder Works, says she’s been watching out for this deal since Lucian Grainge, UMG’s chairman/CEO, released a letter on Oct. 13 expressing the company’s plans to pursue AI deals. “I saw that as Lucian putting a stake in the ground about AI,” Nauman says. “When I read that, I thought, ‘He wouldn’t say this unless he’s pretty sure he will reach a deal soon.’ That letter exuded confidence.”
As part of the deal with UMG, Udio is pivoting its offerings, launching a new version of the service in 2026 that will be focused on building fandom and encouraging engagement with existing music, rather than just offering brand-new songs at the click of a button, as it does now. The new version of Udio will feature a number of tools that will allow users to remix, mash up and riff on the songs of participating UMG artists. Users will also be able to create songs in the style of participating artists and use some artists’ voices on songs.
One investor, who has not invested in Suno or Udio and spoke to Billboard on the condition of anonymity, said that he fears Udio will run into the same problems as AI film company Runway, which signed a deal with Lionsgate to adapt their intellectual property — a partnership that, one year later, has yet to produce results. “The Lionsgate catalog is too small to create a model,” a person familiar with the situation told The Wrap. “In fact, the Disney catalog is too small to create a model.”
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A label executive, who spoke under the condition of anonymity, adds: “I’d like to see Udio succeed, because I think they’re trying to get on the right side of history. Do I think this deal puts them in a little bit of a box, though? Yes.”
Songwriter/producer Oak Felder raised another point in my TikTok comment section: “The question is: how does [this deal] affect catalogs that are split between Universal and Sony or any other publisher without a deal[?] Udio can’t utilize a song in Universal’s catalog that’s split between writers on non-Universal publishers, right?” (A UMG rep declined to provide specific details on that point.)
Udio and UMG’s deal allows artists to opt in with “granular” controls, as Udio CEO Andrew Sanchez told Billboard shortly after the deal was announced, over which parts of the new Udio service they want to participate in — seen as a win for artists’ autonomy. But the investor asks: “How many of these artists are actually going to opt in?”
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Another possible challenge for Udio: there are already multiple companies offering, or planning to offer, remixing and fan-focused AI features. This includes MashApp, Hook and Spotify, which recently announced that it’s working on AI music products, including remixing features, with the consent of the majors and some large independent music companies.
“It’s a calculated risk,” says Nauman about Udio’s decision to pivot, but she notes that trying to build a business that allows everyone to create quick songs was a risk, too. “I think that just the idea of being able to prompt a few songs easily is kind of a fad, so this [new Udio service] could be interesting. But users will be the ultimate arbiter here.”
Executives interviewed for this story were mixed on how they think Udio’s deal with UMG will impact Suno. “If I were Suno, I would be feeling a lot of pressure after this deal,” says Power. “But also, I don’t imagine that its investors are scared of litigating this to the end.”
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Barclays Research recently pointed out that Suno’s fundraising better insulates it from the impact of these lawsuits with the majors than Udio: “Even a [tough] settlement…would likely only mean the disappearance of Udio, while…Suno may have the necessary financial firepower.”
The anonymous investor adds, “One thing that helps Suno here is they will capture all the Udio users that are going to unsubscribe,” given that Udio is pivoting to become a different service. As part of the UMG deal, Udio prevented its users from exporting their work from Udio, effective immediately. This led to backlash among users, who felt they should’ve been warned about the change. Soon after, Udio allowed users to export their work during a 48-hour window.
Nauman says the UMG-Udio deal “puts every single AI music company, including Suno, on notice. I’ve already seen a number of comments from people in music who are saying Udio is very impressive and friendly. That’s an important piece to this. When engaging with rights holders and licensing, it’s both incredibly transactional but also very relationship and trust-driven. Udio is in a strong position by earning that trust.”
Most interviewed for this story saw the deal as an important step forward for the music business. But does it make Warner and Sony more likely to come to the table? “What Sony and Warner do here, I’m not exactly sure,” says Power. “I’m going to be very interested to see where things land, and I’m really thinking about Universal here. They’re now the ones who can say they made the big move.”
Trending on Billboard
Who will win the top prize at the Latin Grammys 2025? Every year, Billboard Latin and Billboard Español editors dissect the top categories — song of the year, record of the year, album of the year, and best new artist — to forecast the winners and spotlight the most deserving artists.
As we approach the Latin Grammys on Thursday (Nov. 13), our Latin/Español editorial team has engaged in spirited analysis, weighing market trends and historical voting behaviors to make educated predictions. This discussion includes insights from Billboard’s Leila Cobo, Chief Content Officer, Latin/Español; assistant editor, Latin, Jessica Roiz; senior editor, Latin, Griselda Flores; and Billboard Español associate editor Isabela Raygoza.
On its 26th anniversary, the Latin Grammy Awards ceremony will broadcast live from the MGM Grand Garden Arena in Las Vegas. The three-hour telecast will be produced by TelevisaUnivision and air across the network’s U.S. platforms, beginning at 8 p.m. ET. The Latin Grammy Premiere, where the majority of the categories are awarded, will precede the telecast.
To refresh your memory, here’s the complete list of this year’s nominees. Below, our predictions:
Album of the Year
Rauw Alejandro, Cosa Nuestra
Bad Bunny, DeBÍ TiRAR MáS FOToS
CA7RIEL & Paco Amoroso, Papota
Gloria Estefan, Raíces
Vicente García, Puñito De Yocahú
Joaquina, al romper la burbuja
Natalia Lafourcade, Cancionera
Carín León, Palabra De To’s (Seca)
Liniker, Caju
Elena Rose, En Las Nubes – Con Mis Panas
Alejandro Sanz, ¿Y Ahora Qué?
Leila Cobo: I cannot imagine anything other than Bad Bunny’s Debí Tirar Más Fotos winning here. I think it would be a travesty if he didn’t win. I’m not saying the other albums aren’t great, there are a lot of really good albums in that category — but this album is that perfect balance of commercial success and critical acclaim, from the biggest artist in the world right now after Taylor Swift, I’d say. I can’t imagine anyone else could win.
Griselda Flores: If Bad Bunny wasn’t nominated, I could see Rauw Alejandro as a frontrunner. His album really set the stage for Bad Bunny’s and Karol’s tropical-leaning albums. But there’s so much momentum around Bad Bunny — the residency, the Super Bowl halftime show — and Debí Tirar Más Fotos is worthy of a win. Lyrically and sonically it’s strong. It has substance. Plus, it beams with pride and it’s such a big statement in this political climate. This will be the year he wins this category.
Isabela Raygoza: I agree. The back-to-roots approach and how he positioned Puerto Rico in the larger conversation. I thought it was amazing and beautiful, and he brings these icons of plena to perform on the album and also gives it this modern urbano sound. It does embody a love of his cultural and musical roots, but also with a contemporary and commercial appeal. If it’s not Bad Bunny, potentially Gloria Estefan could take this one if the Latin Academy wants to honor a legend.
Jessica Roiz: If Bad Bunny doesn’t win, it will be a big snub, and it will be controversial. I agree with what everyone has already said. But other favorites that I would like to see win are Elena Rose’s debut album; I’m happy it got recognition. And Papota is a really cool and edgy alternative album that I feel is doing something different.
Raygoza: CA7RIEL & Paco Amoroso’s Papota would be the wildcard winner for sure.
Song of the Year
“Baile Inolvidable,” Marco Daniel Borrero, Antonio Caraballo, Kaled Elikai Rivera Cordova, Julio Gaston, Armando Josue Lopez, Jay Anthony Nuñez, Benito Antonio Martínez Ocasio & Roberto Jose Rosado Torres, songwriters (Bad Bunny)
“Bogotá,” Andres Cepeda, Mauricio Rengifo & Andres Torres, songwriters (Andrés Cepeda)
“Cancionera,” Natalia Lafourcade, songwriter (Natalia Lafourcade)
“DtMF,” Bad Bunny, Marco Daniel Borrero, Scott Dittrich, Benjamin Falik, Roberto José Rosado Torres, Hugo René Sención Sanabria & Tyler Spry, songwriters (Bad Bunny)
“El Día Del Amigo,” Rafa Arcaute, Gino Borri, Catriel Guerreiro, Ulises Guerriero, Amanda Ibanez, Vicente Jiménez & Federico Vindver, songwriters (Ca7riel & Paco Amoroso)
“Otra Noche De Llorar,” Mon Laferte, songwriter (Mon Laferte)
“Palmeras En El Jardín,” Manuel Lorente Freire, Luis Miguel Gómez Castaño, Elena Rose & Alejandro Sanz, songwriters (Alejandro Sanz)
“Si Antes Te Hubiera Conocido,” Edgar Barrera, Andres Jael Correa Rios & Karol G, songwriters (Karol G)
“#Tetas,” Rafa Arcaute, Gino Borri, CA7RIEL, Gale, Ulises Guerriero, Vicente Jiménez & Federico Vindver, songwriters (CA7RIEL & Paco Amoroso)
“Veludo Marrom,” Liniker, songwriter (Liniker)
Roiz: I hope it’s “Baile Inolvidable.” That’s my favorite song this year. It’s Bad Bunny’s first salsa song, and it turned out to be phenomenal. That was the first song that really resonated with me when I first listened to the album in January. I know Rauw Alejandro did the salsa thing before with “Tú Con Él,” but Bad Bunny took it to the next level. I think all the salsa legends showed up to his residency because of this one song.
Cobo: I am going with Karol G. I think “Si Antes Te Hubiera Conocido” was the song of the year. It’s one of those smash hits that in 20 years, we’ll still be dancing to it. It’s that kind of song, it has permanence, such a strong melody. I love “Baile Inolvidable,” but overall, “Si Antes Te Hubiera Conocido,” for me — it’s a better crafted song. It’s the kind of song that has lasting appeal.
Raygoza: I love “Si Antes Te Hubiera Conocido.” And it’s with Edgar Barrera, who is a prolific songwriter/producer. It maintained that mainstream appeal, but also that balladic emotional depth. She sings it really beautifully.
Flores: While I love both of those songs, I believe “DtMF” will and should win. Personally, this is my favorite on the album because of the message of living in the moment that resonates so well today, at a time when everything seems to moving at warp speed. “I should have taken more photos, I should have given you the kisses and hugs that I didn’t,” I mean, how can you not get behind that? And sonically — marrying the rhythms of modern plena with the pulsating beats of reggaetón — it’s just really gorgeous. And, out of all the songs in the album, this one is up for record and song of the year at the Grammys.
Record of the Year
Bad Bunny, “Baile Inolvidable”
Bad Bunny, “DTMF”
CA7RIEL & Paco Amoroso, “El Día Del Amigo”
CA7RIEL & Paco Amoroso, “#Tetas”
Jorge Drexler & Conociendo Rusia, “Desastres Fabulosos”
Zoe Gotusso, “Lara”
Karol G, “Si Antes Te Hubiera Conocido”
Natalia Lafourcade, “Cancionera”
Liniker, “Ao Teu Lado”
Alejandro Sanz, “Palmeras En El Jardín”
Cobo: For record, here I would say “Baile Inolvidable.” It’s a song that pulls in so many directions. It’s already a great song but the production is really clever. He’s able to do something very contemporary and turn it into something classic and vice versa in ways that are not obvious. I very much like what he did there.
Flores: Same here. I like “Baile Inolvidable” as the winner of this particular category. But can also see Natalia Lafourcade winning because of her work with “Cancionera.” She won this same category two years ago for “De Todas Las Flores,” and I think the Academy really appreciates her craft and the way she approaches the production aspect of her music, which is very raw and folky.
Raygoza: I think Jorge Drexler and Conociendo Rusia have a shot here. Conociendo Rusia is like a hidden gem, and I am such a huge fan of his music. The way they created “Desastres Fabulosos” is very poetic, very elegant — the production is incredible. It was produced by Nico Cotton, who is exceptional, so he has that alternative, trap edge. But this song has technical brilliance. And Jorge Drexler is a Latin Grammy darling, so this is very possible here.
Roiz: Bad Bunny went above and beyond for “Baile Inolvidable,” stepping outside of his comfort zone. He deserves this win.
Best New Artist
Alleh
Annasofia
Yerai Cortés
Juliane Gamboa
Camila Guevara
Isadora
Alex Luna
Paloma Morphy
Sued Nunes
Ruzzi
Flores: If Annasofia wins, that would be three consecutive wins for Julio Reyes Copello’s Miami Art House, which would be interesting… It would be nice to see Ruzzi, who is a multi-instrumentalist from Mexico, win. She’s collaborated with Natalia Lafourcade and Ximena Sariñana. Alex Luna is also pretty cool. His lyrics feel young and relatable and he has that Gen Z/Millennial appeal. I sort of love that new Mexican pop scene with artists like Alex and Latin Mafia, who aren’t your typical pop artists who sing ballads, they have a more worldly approach to their sound.
Raygoza: Looking at the history of recent winners, like Ela Taubert, Joaquina and Silvana Estrada, there’s like a clear pattern. My favorite here is Yerai Cortés, from Spain, and he’s helping resurrect the new flamenco and he’s already performed alongside C. Tangana. He’s a young guitarist, he’s honoring this historic genre and modernizing. This would be a refreshing win considering the previous winners.
Cobo: Isa, I am with you. I think Yerai Cortés would be a break from the tradition of the past few years. He’s pretty well known in Spain. The association with C. Tangana is because he did the documentary “La Guitarra Flamenca de Yerai Cortés.” Yerai has that name recognition in Spain, he’s the subject of a documentary, comes from a family of musicians, he’s on tour, it makes sense.
Roiz: I was pleasantly surprised to see Camila Guevera from Cuba nominated. I discovered her when I was listening reparto music, although she doesn’t do reparto music. She does soulful boleros, trova and she’s really good, and she is the granddaughter of late Cuban trovador Pablo Milanés. She’s super talented.
For R&B superstar Mary J. Blige, the losses of her friends and fellow stars D’Angelo and Angie Stone have been weighing heavily on her. She recently admitted to how their deaths have been affecting her in a recent interview, nearly a month after D’Angelo’s death, after a private battle with pancreatic cancer on Oct. 14.“I worked with him and Angie. I knew Angie very well and I knew D’Angelo very well, and I’m just still shocked and surprised,” Blige said, speaking with People magazine. Stone, D’Angelo’s former partner, lost her life in a car crash in Montgomery, Alabama, while en route to a show in Atlanta earlier this year in March. “I just can’t believe that both of them are gone,” she added.
The Grammy Award-winning vocalist spoke about how both artists were extremely gifted and, in turn, very guarded about their personal and professional circles.
“If they let you in, that means you were special because they didn’t mess with a lot of people,” Blige said. “They were very quiet, both of them, and very selective on who they let into their world as far as working with them. I was grateful to have that opportunity to be around them like that.”
Blige and D’Angelo performed on the same concert lineups in the past few years, particularly the Liberation Tour in 2012 and 2013, along with singer Melanie Fiona in support of their respective albums – My Life II…The Journey Continues and Black Messiah. Angie Stone and Mary J. Blige were frequent songwriting collaborators.Angie Stone and D’Angelo leave behind a son, Michael Archer II, who is now 27. In a statement madelast month, he thanked fans and supporters, saying, “I am grateful for your thoughts and prayers during these very difficult times, as it has been a very rough and sad year for me. I ask that you please continue to keep me in your thoughts, as it will not be easy, but one thing that both my parents taught me was to be strong, and I intend to do just that.”
Blige was recently promoting the For My Fans concert film, which was shown at Madison Square Garden in New York City on Nov. 5 and Nov. 8. The film showed highlights from her global tour, which featured Ne-Yo and Mario, celebrating both the artists and her devoted fanbase.
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Photo: Getty
