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Nearly a decade after indie R&B tastemakers and college students across the country first swooned over her self-released EPs and early collaborations with Monte Booker and Smino, Ravyn Lenae has earned her first Billboard Hot 100 hit with “Love Me Not” (chart dated April 12).
Lenae, who signed to Atlantic Records in 2016, originally released the bouncy, soulful, rock-inflected song in early May 2024 as the lead single from her sophomore studio album, Bird’s Eye. Thanks to a wave of TikTok momentum — one that’s also benefitted Janet Jackson’s “Someone to Call My Lover,” a kind of foremother to “Love Me Not” — the single steadily grew throughout the late winter and early spring and now reaches a No. 70 on this week’s Hot 100 (dated April 26). The Dahi-produced track also became the landmark 25th production credit for the Grammy-winning hip-hop/R&B producer.
With “Love Me Not” securing Lenae her long-awaited breakout moment, the song’s success also previews what’s shaping up to be the biggest year of her career. In April, the Chicago-bred singer-songwriter bewitched both weekends of Coachella-goers, perfectly priming both in-person and virtual audiences for her forthcoming stint as an opener on Sabrina Carpenter’s Short n’ Sweet tour. She’ll also visit her hometown for Lollapallooza (July 31-Aug. 3), where she’ll continuing playing sets built around Bird’s Eye, which Billboard staff named the No. 3 Best R&B Album of 2024.
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“I’m just happy for all artists who have been in this 10-plus years and are feeling the love and the benefits of so much time and effort and hard work,” she gushes to Billboard the day before her Coachella debut. “It’s a lot of that happening right now at the 10-year mark. The 10-year thing is real!”
In a conversation with Billboard, Ravyn Lenae talks her slow-burning success, drawing inspiration from Janet Jackson, gracing the Hot 100 for the first time with “Love Me Not,” and witnessing the power of TikTok firsthand.
Where were you when you found out “Love Me Not” hit the Hot 100?
I was at home watching TV, and my manager called me and told me that it was a real thing. I had a great day that day. I had great tacos, I called my mom, everything was going right. The weather was beautiful. I had a really emotional talk with Dahi and thanked him for being such an important person in my life and doing this with me and believing in me and challenging me.
Was there a specific moment in which you decided that you wanted to pursue music professionally?
I would say when I was in high school and I started putting music out on SoundCloud and I saw how much of a response I got. That made me feel like, “Oh, this is something that not just resonates with me, but people actually like this and they’re looking forward to the next thing that I do.” I think that gave me an inkling. Once Noname took me on tour [in 2017], that’s when I realized it was a possibility to do something I love every single day and be able to pay my bills too.
What was the inspiration behind “Love Me Not?”
That song was one of the first ones that we landed on for Bird’s Eye. I remember when Dahi played me the beat, I was like, “This is something I feel like I haven’t heard in such a long time.” For some reason, it reminded me of when I heard “Hey Ya!” [by OutKast] for the first time. That mix of soulfulness with pop sensibility that anybody could sing and dance to and feels like it could have came out in any era — that’s my favorite type of song.
Lyrically, I like to play with relationships and the push and pull of knowing you love somebody even though you know it can’t work. That really elementary approach to writing is one of my favorite things. I love when the lyrics feel a little sad, but the music feels upbeat, or even the inverse. [“Love Me Not”] has all the qualities of a really timeless song to me, so I knew that one had to be on [the album] and be the first [single].
Why did you decide to release “Love Me Not” alongside “Love Is Blind”?
“Love Me Not” was something that I really, really loved and I was excited for my fans to hear. But I also knew that it was a branch-out from the type of colors I dabbled in on [2022 album] Hypnos. I thought to support that, I should have something that felt like the most “Ravyn Lenae” song ever. “Love Is Blind” was a good pairing for people to see where I was going with [Bird’s Eye while] still rooted in my R&B bag, my sensuality and my yearning lyrics. I wanted people to understand where I was going, but also where I am and where I’ve been at the same time.
How did the how did the Rex Orange County remix come together? When did you know that you wanted to do a remix?
I knew I wanted a remix for the song a few months after I dropped it. I remember us talking about a feature on the song originally, so it was always in my head that I thought I heard another perspective on the song, especially a male perspective, almost like a duet type of feel. But I couldn’t think of who it was going to be, and I don’t like to decide things quickly.
My manager [John Bogaard] sugested Rex [Orange County], and I thought he was the perfect voice and perspective to add to the song and introduce it to a whole other audience.
The success of “Love Me Not” has been a real slow burn, not unlike your career in general. Are there times you wish everything would just click or are you content with the journey of it all?
I am constantly on a journey of balancing both of those extremes because it feels like two sides of my brain. One that’s like, “Get on the train!,” and the other part of me — like when I talk to my mom and my manager — [understands] that timing is everything. I have to trust that. I have to believe that. I have to stay patient and diligent and focused, and things will start to turn over for me. We’ve seen it over and over again.
I just saw Doechii [with whom she collaborated for 2022’s “Xtasy” remix] a few days ago in San Antonio. I hadn’t seen her since this major shift [in her career], so it’s been a while since I’ve been able to catch up with her. I was like, “Girl, when you won your Grammy, I started bawling!” I didn’t expect that [emotional response] to happen, but whenever I see those glimpses of hard work paying off, it reassures me that I’m on the right path. That’s what I’m holding on to right now; I’m trying not to get ahead of myself and stay right where I’m at and be happy about that.
I’m just happy for all artists who have been in this 10-plus years and are feeling the love and the benefits of so much time and effort and hard work. It’s a lot of that happening right now at the 10-year mark. The 10-year thing is real!
What else do you have planned for “Love Me Not?” You’ve been showing fellow Bird’s Eye track “Genius” a lot of love on TikTok recently.
I hope that I’m able to keep getting “Love Me Not” in new ears. I want that song to keep growing and reach as many people as possible. “Genius” is another one that I think has really strong potential to reach those super-large audiences. I’m just gonna keep pushing, working, performing, meeting people and being a good person. Beyond that, I’m working on new music that I’m so excited about.
What was your experience on the artist side watching TikTok help blow “Love Me Not” up?
Before it happened, I would have really negative thoughts like, “Maybe that type of viral moment isn’t in the cards for me.” You’re making TikToks and you feel like [they’re] not reaching anybody and you’re just putting stuff out into the void.
This was an exercise of me stepping outside of my comfort zone in a good way. Seeing people discover me and this song and then dive into my whole discography has really [shown that TikTok is] such a beautiful tool. Even beyond me, just seeing how accessible it is for people’s lives to change overnight.
I can’t help but draw similarities between “Love Me Not” popping off right now and also Janet Jackson’s “Someone to Call My Lover” having a revival. What do you think it is about these songs that are pulling in listeners right now?
I literally asked myself this the other day. I’m like, “This is too much of a coincidence!” First of all, “Someone to Call My Lover” is one of my favorite songs, so when I saw that happening it really felt like a shift. Janet is one of my biggest inspirations; she’s been able to blend R&B, alternative, rock and pop in the most beautiful, seamless way. I aspire my career to be like that too. I think people are just open to a mishmash of sounds and don’t care really who it’s coming from. Even the fact that [TikTok users] mixed “Love Me Not” with [Solange’s] “Losing You,” there’s definitely a shift happening. I think people want that soulful pop back.
What can you tell us about the new music right now?
Tricking my listeners into liking things that they probably wouldn’t have liked otherwise is something I’m really into. I’m always finding new ways to push and find new colors in my voice, get a little uncomfortable and get a little more raw. Pulling back those layers is something that I try to do with each song and each album.
A version of this story appears in the April 19, 2025, issue of Billboard.
Few artists embody the meaning of evolution quite like Anitta. The Brazilian superstar, unapologetically herself and fearless, has expanded the boundaries of global Latin music with hits in three different languages — an unprecedented feat among modern-day pop stars. As the recipient of the first-ever Vanguard Award at Billboard’s 2025 Latin Women in Music event — celebrating an artist who boldly forges her own paths — Anitta continues to prove why she’s in a league of her own.
Through her trilingual funk carioca, reggaetón, Afrobeat, and fizzy pop songs, the singer closes the divide between cultures while celebrating her Brazilian roots on the world stage, as evinced in her 2024 album, Funk Generation. With multiple songs reaching the coveted Billboard Hot 100 — such as “Envolver” at No. 70, “Bellakao” with Peso Pluma at No. 53, or most recently, “São Paulo” with The Weeknd at No. 43 — Anitta continues to blaze new trails in music and global pop culture.
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“I’ve been around a lot of performers. I will tell you — I will put my money on Anitta every day,” Rebeca León, her manager and longtime friend, tells Billboard. “She can sing for six hours straight, and her Carnival performances are the most incredible experiences.”
But Anitta’s path hasn’t been defined solely by music. After years of living in the fast lane, the artist, born Larissa de Macedo Machado, is now embracing her vulnerability and leaning into her more spiritual side. “Anitta is a persona she created,” explains León, referencing the personal challenges the artist has faced. “Larissa is the softer side of Anitta.” That introspection is at the heart of Larissa: The Other Side of Anitta, her 2025 Netflix documentary that explores the woman behind the icon, her journey of healing, and her fearless decision to embrace her true self, after going through personal issues.
In this interview, conducted in early April (a week after her birthday), Anitta reflects on her dual identities, her mission to bring funk carioca to the global stage, and her ongoing journey of embracing every part of herself — sensual, spiritual, and everything in between.
Anitta, first off, happy belated birthday! How did you celebrate this year?
I love celebrating my birthday. We are so blessed to be alive, we have to celebrate. This year, I started with a ritual. Here in Brazil, my father, my brother, and I all follow Yoruba [traditions]. But I also love incorporating Buddhism and Hinduism into my life. The first party was a Shamanic ritual with a Shaman who guides me in life. I invited Krishna Das to do a kirtan — a [chanting] practice with mantras — and he performed at my house. Krishna Das is a great singer. I love his songs. It was really special.
On the second day, I hosted a party with a band I love. Then the other day, I did another show in my house with a reggae band that I love. Then I traveled. Every year, my astrologers tell me where I should spend my birthday for my solar return, so I always celebrate it in a place based on their guidance. This year, I went to Fernando de Noronha, a great [archipelago] in Brazil.
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Congratulations on being chosen to receive the Vanguard Award at Billboard‘s Latin Women in Music event — how does it feel to be recognized in this way?
I’m really happy. Last year, I also received an award in Brazil because of how I fight for change. Movies, music, books — and entertainment in general — can [serve as a catalyst for] change in our culture and lives. A popular movie or a type of music can completely shift how people behave. I always try to apply that idea to my work. It could be through my music videos, my speeches, my dancers, my outfits, or even in interviews — I always try to bring attention to things I really believe people need to [notice]. I go with the flow, but I also try to change the flow a bit. In the beginning [of my career], it was all about [promoting] women empowerment because I could see a lot of men singing about women in a way [that implied] they could do everything, while women could not.
The documentary Larissa: The Other Side of Anitta shows so many incredible moments, from Río’s Carnival to being in love with your childhood sweetheart, to diving deeper into your spirituality. Now that you’re showing the world who Larissa is, how is it navigating these two identities — the personal and artistic?
That was something I really wanted to do. We’ve been watching other people’s lives on social media, and we believe [what we see]. We think that [those lives are] perfect. We tell ourselves, “Oh, I wish I was like that. I wasn’t born lucky,” or “I need a new car, a new house. I need more.” But in reality, that’s not what we actually need because we are comparing ourselves to lives that aren’t real. Social media only shows pieces of people’s lives. It doesn’t show how they got what they have, how they are feeling mentally or their pressures and struggles.
I wanted to use this movie to show people that it’s not like that. Everyone goes through struggles, and you can relate to my life even if you think it’s perfect. Deep down, we are all the same. I wanted to show that to gain success, money, or whatever you’re striving for, you have to work really hard. The internet today gives the impression that everything is easy, that you don’t need to work or study — you just get it. But I wanted to show that, no, success comes at a big cost. We need inspiration, but it’s also okay to hope.
Iude Rìchele
Last year, you made waves with your Funk Generation album. How important was it for you to bring funk carioca to the world stage?
That was the baile funk experience. It was important because I really believe this rhythm has the power to be the next wave. I also love Afrobeat, and funk [carioca] has roots that trace back to that, from Africa, Bambata. That’s why it feels similar. I thought it was really important to bring this culture to the world. We performed in so many countries, and when everybody showed up, it was super special. I felt so strong and empowered on stage representing this rhythm and its energy.
I think sensuality is also an essential part of who I am — something I’ll never regret or give up on. Sometimes when I talk about spirituality, like mantras I love or hope to work on one day, people think I’m going to stop doing [the other parts]. They ask if I’ll stop being sensual or stop dancing the way I do in funk. But there’s no need for separation; doing one thing doesn’t mean you can’t do the other. It’s the opposite, actually. We need to embrace all parts of ourselves — the sensuality, the spirituality, and the power I feel when I’m performing funk and dancing. It makes me feel so powerful, so special. I was really happy with that tour.
Your hours-long Carnival performances have been praised for their high energy and artistry. How do you physically and mentally prepare yourself?
Mentally, it’s the hardest. It can f–k up your mind if you’re not ready because there is so much noise, so many people, so much energy. You have to make a deal with yourself and understand [what it takes] to handle it, because it can be tricky with all the ups and downs.
Physically, [preparation] is important. I was traveling and working so much, but when I decided to stay in Brazil for the moment, I got healthier because I could establish a routine. The body likes routine. It’s important to give your body structure during the days between shows. For Carnival, I performed every Saturday and Sunday for two months, spending four to five hours on stage each time. [To sustain that,] you need to maintain a strong routine during the weekdays.
Iude Rìchele
As you embark on this new phase of your journey, what do you hope fans take away from seeing you as Larissa?
I’m trying not to be in a rush. I used to always try to deliver. You know, that anxiety that comes from big companies and people expecting results and numbers and paybacks. But now I’ve realized that the more we act in survival mode, the less we get. It’s hard to create something truly new and impactful when you have people in your environment being like, “What’s the next step? So what are we doing? What’s the plan?” Now I’m just trying to silence [those voices], and trying to be confident and follow my heart.
One thing I’ve always done in my career is trust [my intuition]. Even if everyone else was going right, I would go left. I didn’t mind waiting years for that decision to pay off. I would keep insisting on the left because that was the direction I felt good with. At some point, I started to lose that confidence because so many people around me were pushing for immediate results. But now, I’m trying to just keep this mindset. I don’t care if everyone else is going one way. If I feel like this is the right way, I’m going to keep going that way, no matter what.
Iude Rìchele
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Read Billboard’s Latin Women In Music 2025 executive list here.
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Hate or it or love, Supreme is always good for a clutch collaboration. The ubiquitous streetwear brand has linked with Spike Lee to create a capsule collection with the renowned director’s 40 Acres & A Mule production company.
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The Brooklyn-bred director and screenwriter skyrocketed to fame after the release of his self-funded, black and white classic film She’s Gotta Have It. The flick also happened to feature Lee himself portraying the now iconic Mars Blackmon character, which Nike soon enough co-opted for the famed Air Jordan campaign considering he wore a pair of Air Jordan 1’s in the film. Lee discussed how it went down in a sit down interview (which also features plenty of dope insight into his decades of work) released by Supreme (see below).
But, there are no Air Jordan callbacks in this Supreme drop. Instead, Lee’s critically acclaimed Malcolm X and Clockers make their way into the mix. The collab consists of an ill black Varsity jacket, a couple of tees, a Clockers 6-panel hat and a baseball jersey. While one tee is attuned to Malcolm X, the other features a photo of Lee while he’s in director mode.
The collection releases Thursday, April 24 at the usual 11am ET online drop time, and in stores. Asian shops gets their product the next day. Check out detailed photos below.
1. Spike Lee x 40 Acres x Supreme
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2. Spike Lee x 40 Acres x Supreme
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3. Spike Lee x 40 Acres x Supreme
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4. Spike Lee x 40 Acres x Supreme
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5. Spike Lee x 40 Acres x Supreme
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Riot Fest is one year shy of legal drinking age and celebrating its 20th anniversary this summer with a stacked lineup of classic indie and alternative bands led by East Bay punk legends Green Day, pop punkers Blink-182, alt-rock darlings Weezer and rock icon Jack White. Explore See latest videos, charts and news See latest […]
Singer-songwriter Phil Wickham scores his first top 10 debut on Billboard’s streaming-, airplay- and sales-based Hot Christian Songs chart as “What an Awesome God” flies in at No. 5 on the list dated April 26.
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The song marks the 14th top 10 for Wickham overall. He topped the chart with “House of the Lord” for two weeks in 2022.
“What an Awesome God,” which has become a popular worship anthem, was originally written and recorded by Rich Mullins. It’s from his album Winds of Heaven, Stuff on Earth, which peaked at No. 8 on Top Christian Albums in April 1989, becoming his first of seven top 10s. For Wickham’s update, released April 11, he and Jonathan Smith wrote new verses, combined with Mullins’ original chorus.
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Wickham’s single drew 2.1 million official U.S. streams in its opening week (April 11-17), according to Luminate. It also sold 4,000 downloads and opens atop Christian Digital Song Sales, giving Wickham his third No. 1 among 16 top 10s.
The track is set to be on Wickham’s upcoming LP.
‘Give’ Gets Pugh His Fifth No. 1
Earnest Pugh’s “Don’t Give Up,” which the Memphis, Tenn., native solely authored, crowns Gospel Airplay (4-1). It increased by 10% in plays during the tracking week.
Pugh adds his fifth leader. In March 2022, “Thank You So Much” reigned for two frames, preceded by “God Wants to Heal You,” which led for a week in July 2020; “I Need Your Glory” (13 weeks, starting in September 2011); and “Rain on Us” (two weeks, March 2010). He boasts one additional top 10, as “Survive” hit No. 9 in May 2018.
After years of health issues, Ozzy Osbourne, 76, is making sure that he’s in top shape when he suits up for what is being billed as Black Sabbath’s final-ever performance on July 5 in Villa Park in the band’s hometown of Birmingham, England.
In an interview this week with Billy Morrison on SiriusXM’s Ozzy’s Boneyard channel, Osbourne said he’s been in “heavy training” for the show that will see rock’s Prince of Darkness reunite with his bandmates for one last time on a bill that will also include Metallica, Slayer, Anthrax, Pantera, Lamb of God, Mastodon, Alice in Chains and many others.
“I haven’t done anything for, this will be seven years, and so I’ve been through all this surgery. It really is like starting from scratch,” said Osbourne, who has been dealing with a Parkinson’s disease diagnosis as well as a 2019 fall that aggravated a previous spinal injury and required multiple surgeries.
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Osbourne said his workouts include endurance training due to his long lay-off from performance. “The first thing to go when you’re laid up is your stamina, so believe it or so, I’m doing two sets of three-minute walks and weight training. I’m going and going you know,” he said. ” I’m waking up in my body, you know. I mean, three minutes to you, for instance, is nothing, but I’ve been laying on my back recovering from umpteen surgeries.”
Ozzy’s longtime collaborator guitarist Zakk Wylde recently teased that the metal legend could take flight during the Back to the Beginning all-day show on the throne that the will sit on during the show. “With Oz and his throne that just flies over the stadium or whatever, [where he] shoots out buckets of water and does everything like that,” Wylde said a recent interview. “So if Oz has a great time and it’s just, like, ‘I wanna go out on the road again,’ it’s just, like, ‘Good. Let’s do it again.’”
Wylde added that, “Ozzy was just sitting at the chair and he was singing ‘Mama, I’m Coming Home,’ and it sounded great. So hopefully we’ll just do this, and then Oz will go, ‘Let’s just fire up the machine again and we’ll do another tour.’”
Rage Against the Machine guitarist Tom Morello will be the musical director for the show that will mark Osbourne’s first time on stage since a brief 2022 set at the NFL Kickoff in Los Angeles; his last full show was in December 2018 at the Forum in L.A. as part of his No More Tours 2 outing. Other acts slated to perform at the final Sabbath blowout include: Halestorm, Gojira, as well as appearances by Smashing Pumpkins leader Billy Corgan, Guns N’ Roses’ Duff McKagan and Slash, Wolfgang Van Halen, Limp Bizkit’s Fred Durst, Lzzy Hale, Disturbed’s David Draiman, Korn’s Jonathan Davis, Sammy Hagar and many more.
Listen to Ozzy talking about his training regimen below.
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Meek Mill caught heat online after a Dubai pic surfaced of him cozied up with two “snow bunnies.”
The picture, snapped by an onlooker, shows Meek in swim trunks, arms wrapped around the waists of the two women, flashing a wide, carefree grin. What might’ve seemed like a harmless fan moment quickly turned into a digital roast session.
Fans were quick to call Meek Milly out for his choice of company, accusing the Philly rapper of turning his back on Black women. With memes and commentary flying, many referenced Dr. Umar Johnson’s infamous slogan: “Black queens forever, snow bunnies never.” Critics argued that, as a prominent figure in the Black community, Meek should be more mindful of the messages his actions send, especially in an era where representation and solidarity still matter deeply.
Adding fuel to the fire, fans brought up the recent controversies surrounding Shannon Sharpe, warning Meek to tread carefully in public spaces, particularly when it comes to interactions with women. While there’s no indication Meek did anything beyond pose for a quick picture, the internet’s judgment came fast and loud.
As usual, Meek has yet to respond publicly, but the message from many online seems clear. Check out some of the reactions below
Who said girl groups are dead?
Though it’s been several years since an R&B girl group has made a significant splash in the States, British trio FLO cemented itself as the progeny of iconic girl groups past across an excellent hour-and-a-half set at the Brooklyn Paramount on Monday night (April 21). Marking the first of two New York stops on their Access All Areas Tour, the FLO girls also spent the night outlining their own origin story — with Emmy, Grammy and Tony-winning multihyphenate Cynthia Erivo narrating the setlist like a whimsical fairy godmother.
Before Stella, Jorja and Renée took the stage, rising R&B singer Chxrry put on a fiery one-woman show for her opening set. Owning the stage with just a mic stand, a few standard lighting cues and backing track, Chxrry delivered incredibly strong vocals as she played songs across her catalog. From “Just Like Me” to “Favorite Girl,” Chxrry’s set familiarized the crowd with her work while showing off her performance chops across a range of tempos. “Never Had This” proved the highlight of her set: By matching sultry floor choreography and Beyoncé-esque hairography to the seductive, brooding production, Chxrry captivated the venue all by herself. Before ceding the stage to FLO, Chxrry delivered her a winning rendition of her biggest hit yet, “Poppin Out (Mistakes).” (R&B singer Josh Levi opened Tuesday night’s show on April 22.)
After the house DJ spun a few R&B classics (SWV’s “Weak,” Fantasia’s “When I See U”), Erivo’s voice rang out across the venue prompting several concertgoers to gasp some variation of, “It’s Elphaba!” “Ladies and gentlemen/ And those who do not subscribe to either/ Generously granting us access to all areas/ Miss Jorja, Miss Renée, Miss Stella/ This is FLO,” Erivo announced, slightly remixing the “Intro” she voiced on the group’s Access All Areas LP, which arrived late last year (Nov. 15, 2024). From there the girls launched into the first act of their set, tearing through “AAA,” Access All Areas singles “Walk Like This” and “Check,” and their Missy Elliott-assisted bop “Fly Girl.”
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With a relatively bare stage that consisted mostly of a staired platform leading to three separate doorways for each member (and mic stands that disappeared and reappeard throughout the show), FLO delivered a notably physical stage show. In addition to their otherworldly live vocals — their arrangements frequently added modulations and they often improvised slinkier riffs and more ambitious belts than the ones already on the album — the girls rarely stood still, always covering ground on stage through a mixture of dance breaks and light choreography that rejected stasis while ensuring the stability they needed to hit some of those jaw-dropping notes. Amari Marshall, a renowned choreographer who served as dance co-captain on Beyoncé’s Renaissance World Tour, worked closely with the trio for the Access All Areas Tour. Between the girls’ crisp synchronization and smart individualization of certain parts, Marshall was clearly a very effective coach. For “Bending My Rules” — an early vocal highlight among many — the girls brought out some prop wine glasses to set the mood, before launching into a spunky run of tracks (“IWH2BMX,” “Nocturnal,” and “How Does It Feel?”) that flaunted their sassier side.
Before the trio launched into some sexy choreography for “Soft” (still unclear if Brooklyn passed the mute challenge!) and “On & On,” ascendant R&B crooner Destin Conrad surprised the Brooklyn Paramount with a strong performance of “In the Air.” Shortly after, Erivo once again returned as narrator, explicitly placing FLO in the lineage of Destiny’s Child, Sugababes, SWV and “countless other iconic baddies of the past” by once again lifting bits of the Access All Areas intro.
For their final act, FLO momentarily departed from Access All Areas — ultimately playing all sixteen tracks from the album’s standard edition — and performed a couple of hits from earlier in their catalog. While the “In My Bag” hook and music video choreographer drew a hearty crowd response, the spruced-up arrangement of breakout debut single “Cardboard Box” made most of the venue lose their minds. Nonetheless, the indisputable highlight of the night came in the form of “Losing You,” a soulful ballad the trio released as a standalone single in 2022. With an arrangement that seemed to reach a new vocal peak with each new line, “Losing You” allowed each member one final moment to show off the most impressive parts of their respective voices — from Renée’s gorgeous lower reigster to Stella’s limitless upper range and Jorja’s incredibly powerful chest voice. Always keeping the focus on Access All Areas, the girls properly closed the show with an encore of “I’m Just A Girl” that found them putting on their best rockstar performances — head-banging, guitar-miming and all.
If FLO has anything to say about it, girl groups are certainly alive and well — and R&B is too.
Jay-Z’s rape accuser wants a federal judge to dismiss his defamation lawsuit against her, arguing she cannot be sued over allegations she made in court – and that a headline-grabbing NBC News interview is protected under the same legal logic.
In a court motion filed Tuesday, attorneys for the Jane Doe accuser and her attorney, Tony Buzbee, argued that her shocking accusations against the rapper were covered by the “fair report privilege” – a legal doctrine that largely bars defamation cases over allegations made during legal proceedings.
Jay-Z’s lawsuit – filed in March after Doe dropped her case against him – claims that she also defamed him by making similar allegations during an interview with NBC News. But in her new motion, she says those statements are also covered by the “fair report” protections.
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“The average person watching the report, and indeed anyone watching the report, would certainly understand that the statements refer to allegations in the lawsuit,” her lawyers write.
The case against Jay-Z, filed in December, claimed that he and Sean “Diddy” Combs had drugged and raped a 13-year-old girl at an after-party following the 2000 MTV Video Music Awards. Jay-Z forcefully denied the allegations, calling them a “blackmail attempt.” After just two months of heated litigation, Doe dropped her case without a settlement payment.
Weeks after the case was dropped, Jay-Z sued both Doe and Buzbee for defamation, malicious prosecution and other wrongdoing, claiming they had carried out an “evil conspiracy” to extort a settlement from him by making the “false and malicious” rape allegations.
“Mr. Carter does not commence this action lightly,” his lawyers wrote in the lawsuit, filed in Alabama federal court. “But the extortion and abuse of Mr. Carter by Doe and her lawyers must stop.”
In Tuesday’s motion to dismiss that case, attorneys for Doe and Buzbee argued that they cannot be sued because they had made such statements in court. And they said the “fair report” privilege also clearly applies to the NBC interview, even if Doe gave statements that weren’t exactly the same as the claims she had raised in court.
“It is immaterial that the NBC News piece does not preface every statement with a reference to Doe’s amended complaint,” her lawyers write. “Doe’s statements in the NBC News piece are substantially the same as the allegations of her underlying amended complaint, even if they are not identical.”
Attorneys for Doe and Buzbee also argued that the other claims in Jay-Z’s case are similarly faulty, saying he has not “come close” to showing that he can sue for malicious prosecution. A representative for Jay-Z did not immediately return a request for comment.
The Alabama lawsuit is part of a sprawling legal battle between Jay-Z and Buzbee in the wake of the rape allegation. A separate case in California, in which Jay-Z is suing the lawyer for extortion and defamation, is awaiting an early-stage ruling by a judge. Buzbee has also filed his own cases against both Jay-Z’s Roc Nation and his longtime law firm, Quinn Emanuel, alleging they have harassed his clients and committed other wrongdoing.
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Anadolu / Delroy Lindo
Marvel Studios’ take on Blade starring Mahershala Ali has become a running joke in Hollywood, and Delroy Lindo is providing some insight on why the film can’t seem to get out of limbo.
Speaking with Entertainment Weekly, Lindo, who is currently promoting Ryan Coogler’s epic vampire flick, Sinners, opened up about the troubled Marvel Studios project, touching on issues like creative differences that have hampered production for the film, which was announced in 2019.
Lindo was announced to be joining the Blade reboot in 2021, subsequently exiting the project, revealing to the publication that it “went off the rails.”
“When Marvel came to me, they seemed to be really interested in my input,” the Da 5 Bloods actor said. “And in the various conversations I had with producers, the writer, the director at the time, it was all leading into being very inclusive. It was really exciting conceptually, but it was also exciting in terms of the character that was going to form. And then, for whatever reason, it just went off the rails.”
Lindo revealed that his character in the Blade reboot was supposed to have a “Marcus Garvey-esque” persona.
“I’m not saying that it would’ve been an out-and-out Garvey-ite. Not that, but just in terms of how this man’s philosophy, his ethos, and what was driving him. He was a character who had, very similar to Sinners, created a community, a Black community. He was a character who was the head of this community,” Lindo added.
It sounds like we missed out on something epic.
Welp.
Ali’s Blade Movie Is Currently A Joke
Since Ali’s Blade has failed to enter the MCU, the Academy Award-winning actor has appeared in other films, as well as the forthcoming entry in the Jurassic Park film franchise, and in other movies that were announced around the same time as the reboot, which has become a constant gag.
Wesley Snipes, who successfully brought the Daywalker to the big screen in three feature-length films, and recently reprised the role in Deadpool & Wolverine, has even taken shots at Ali’s Blade movie.
Marvel Studios head Kevin Feige insists that Ali is still very much involved with the Blade project and that it’s coming. We will continue to put faith in the man that is finally giving us the X-Men we have wanted to see for years, and delivered some of the greatest comic book movies of all-time.
He deserves that much grace.