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Timbaland has launched his own AI entertainment company called Stage Zero and its first signee is the artist TaTa. Co-founded with Rocky Mudaliar and Zayd Portillo, Stage Zero’s first signee is an AI pop artist called TaTa, driven by Suno AI. The pop artist, along with a bevy of AI-driven creative tools will all be […]

05/27/2025

From Jay-Z and LL Cool J to Grandmaster Flash and the Furious Five, here’s every rapper in the Rock and Roll Hall of Fame.

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Hip-Hop music has long suffered from segmentation, pitting certain parts of the scene against one another in a foolhardy race for relevance. MIKE, one of the leading voices in the so-called underground scene, has managed to merge sounds that defy his designation via his brilliant new project with producer Tony Seltzer, Pinball II.

MIKE is an artist we’ve featured heavily in our CRT FRSH playlist roundups, and we’ve mentioned him in a few AOTY posts over the years. The depth, maturity, and presence of the artist born Michael Bonema are astounding when one learns he’s still in his 20s.

Looking back over MIKE’s discography, intentional listeners will recognize the growth from year to year, with the rapper-producer’s gruff voice conveying a bevy of emotions. As he rapped on “Tapestry” from his excellent Beware Of The Monkey mixtape, MIKE’s penchant for the “sad boogie” across his largely self-produced projects morphed into deeply analytical and often personal accounts of his journey in music, honoring his late mother, uplifting his family name, and making sure he’s a solid advocate for his associates.

PInball II doesn’t lean into the aesthetic that MIKE usually performs over and produces under his dj blackpwr alias. Giving Tony Seltzer the keys for a second time, MIKE allows himself to have fun, boast about his successes, and also celebrate his long climb into notoriety. Like their first outing, Seltzer, who has produced for the likes of Wiki, Ski Mask the Slump God, Princess Nokia, and more, gives MIKE a series of booming platters of backdrops that allow Big MIKE to flex.

The album opens with the stage-ready “Sin City,” which sounds prime for a marching band to replay. MIKE is in top sh*t talk mode, shouting out his 10k Global brethren Jadasea, Niontay, and redLee. This leads into “Dolemite” featuring Lunchbox, and the hazy, trap-influenced track is an abrupt shift in energy that feels purposeful all the same.

Seltzer warms things back up with “#71” with MIKE’s growling timbre sounding at home over the bouncy production. At one point, MIKE raps “These n*ggas hardly vicious, but got war paint” with all the sincerity in the world, and while there is a smile in his voice, it still sounds slightly menacing.

Pinball II is something of a roller coaster ride with slinky grooves like “Golden Dragon” and “Money & Power,” allowing MIKE to use his powerful vocal instrument and find pockets in the beat that most rappers would be lost trying to locate.

Features are kept to a minimum; however, 10k artist Sideshow shows up on the sinister “Hell Date” and once again, the Washington, D.C. rapper manages to pierce the soul with his grim outlook and his desire to break away from the streets but never leaving those elements behnd, a common theme in Sideshow’s music. The Ethiopian-American lyricist steals the show on the feature.

“Shaq & Kobe” once more pair MIKE with Florida’s Niontay, and their chemistry remains undeniable. Niontay raps in rushed, slurred bursts, and when juxtaposed against MIKE’s bass-heavy monotone delivery, the contrast in their voices over Seltzer’s heat rock helps the song soar higher.

If there is a song that has a sound similar to MIKE’s previous solo works, it would be “Jumanji,” featuring his friend and past collaborator, Earl Sweatshirt. Pinball II reaches its apex here as MIKE again employs a delivery reminiscent of what he did with Sweatshirt on the track “SENTRY” from the California rapper’s Voir Dire album, produced by The Alchemist. Sweatshirt, known to be a technician, allows himself to let his verses hang and float with little regard to the rhythm, making it one of the most refreshing verses we’ve heard from him.

Pinball II will lazily be called “trap,” or at least say it sounds influenced by that Hip-Hop sub-segment by casual listeners. Upon further listens, MIKE’s increased musical productivity has not dimmed his passion, considering this is his second release after the stellar Showbiz! album from earlier this year. As MIKE continues to establish his position in the scene he’s poised to lord over for years to come, corny as it comes off, the fans are winning as a result.

Find Pinball II at your preferred DSPs here.

Photo: 10k/Instagram

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All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. After being named Ray-Ban’s first-ever creative director back in February, A$AP Rocky has finally unveiled his debut sunglasses collection. The capsule, […]

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CRT FRSH, Hip-Hop Wired’s playlist where we attempt to showcase music we believe is “Certified Fresh,” is back again! With our latest update of the year, we’ve had a lot of catching up to do so let’s get to the newness.

Disclaimer:
The CRT FRSH playlist is a labor of love. We don’t take payments nor do we do favors. We only add joints to our playlist that fit the theme and vision we’re going for and don’t seek to waste the listener’s time. Further, we don’t stick to one lane of Hip-Hop. We believe that all aspects of the music should get some light, whether it’s young lions in the trenches or those hoping for that one shot to blow up to grizzled veterans puffing out their chests with lots more to say.

I want to explain how I approach curating the CRT FRSH playlist. Most importantly, I don’t segregate my Hip-Hop. Every form of music from the main cultural tree deserves a listen and a look. When I construct the playlist, I want to include all regions across the States and, when applicable, across the globe. I also want to entertain every fan of Hip-Hop, not just those who enjoy one segment of it. Now that we’ve got that out of the way, let’s get to it. — D.L. Chandler
Welcome back to the latest update to your newest and favorite playlist, Certified Fresh (CRT FRSH)! We’ve been MIA for a while so we’ll need to dig deep into the virtual crates as we bring the listeners and ourselves up to speed.
We open the playlist with “NOKIA” from Drake and PARTYNEXTDOOR’s collaborative album, $ome $exy $ongs 4 U, which has been making moves on the charts since dropping earlier this year. Taking it to Montreal, Mike Shabb’s “Crews pop” is one of several standout tracks from his hazy, well-executed album, shabbvangogh. Playboi Carti’s new MUSIC album is doing its numbers and the track “GOOD CREDIT” sounds ready for a stadium performance with Kendrick Lamar appearing for a scene-stealer verse.
MARCO PLUS, one of dopest rappers out of Atlanta, has been on CRT FRSH before and the track “gmfu” is more of his usual strong, hypnotic work. Doechii re-released an extended version of her stellar Alligator Bites Never Heal project and “Anxiety” is one of the bonus tracks of note. We took it back to 2024 and Nappy Nina and Swarvy’s slept-on Nothing Is My Favorite Thing and the track “Omakase” features some extremely dope verses from maassai and Stas THEE Boss.

We want to thank the rest of our CRT FRSH included acts such as GELO, GloRilla, Big Cheeok, Dhani, J. Cole, LORD JAH-MONTE OGBON, Freddie Gibbs, Hidden Renaissance, MACADEN, King Quad, JT, Samara Cyn, Sherwyn, Jack Harlow, Doja Cat, Zelooperz, Real Bad Man, The Alchemist, Wale, IDK, Lil Durk, Jhene Aiko, Pyraminds, Planet Asia, and Guilty Simpson.
We’ll be updating this playlist in two to three weeks with some, ahem, fresh updates and new acts along with a revamped structure to the segment. Stay tuned!
To be considered for inclusion in the CRT FRSH playlist, please email playlist curator D.L. Chandler at: dchandler@bhmdigital.com

Photo: Getty

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Angie Stone, an amazing singer and songwriter who established herself as a soul star in the late 1990s and early 2000s, passed away on Saturday, March 1, at the age of 63. Although most music fans are well aware of Angie Stone’s singing career, her roots in Hip-Hop run deep, and Hip-Hop Wired examines those connections.

Angie Stone was born Angela Laverne Brown on December 18, 1861, in Columbia, S.C. It was in her hometown that she was a member of The Sequence, an all-woman Hip-Hop trio consisting of Cheryl “Cheryl The Pearl” Cook, Gwendolyn “Blondie” Chisolm, and Angie “Angie B” Stone. The group came together when the three were all in high school, and they were first noticed after a Sugarhill Gang performance along with Sugar Hill Records founder and CEO, Sylvia Robinson.

The Sequence was the first female Hip-Hop trio to be signed to the famed Sugar Hill Records label and made history with their 1979 single “Funk You Up,”  the second single released from the label after “Rapper’s Delight” by the Sugarhill Gang. Stone is also credited on the pioneering Hip-Hop single, which helped usher the music to wider audiences and mainstream appeal.
The release and success of “Funk You Up” is significant as The Sequence was comprised of artists who hailed from the Southern United States, proving that Hip-Hop’s reach extended far beyond the five boroughs of New York.

Portions of “Funk You Up” have been sampled by the likes of Too, Short Boogie Down Productions, De La Soul, Ice Cube, and dozens more. Dr. Dre used sounds from the single for his 1995 single, “Keep Their Heads Ringin” as well. Although the group initially disbanded in 1985, the group made comeback songs in the modern era via a 2011 single “On Our Way To The Movies,” which did not feature Stone.

Stone worked with Hip-Hop duo Mantronix (DJ Kurtis Mantronik and MC Tee) before becoming the lead vocalist for the Vertical Hold trio, releasing a pair of albums in the early 1990s. She then joined with Gerry DeVeaux, Lenny Kravitz’s cousin, and Charlie Mole as a member of the group Devox. While the group didn’t last beyond one album, Stone’s songwriting prowess honed in her time in the previous groups led to her providing songwriting credits on D’Angelo’s Brown Sugar and Voodoo albums. Stone and D’Angelo had a son together as well.
In 2003, by now well established as an R&B vocalist and songwriter, Stone appeared on Erykah Badu’s “Love of My Life Worldwide” from the Texas singer’s Worldwide Underground album. Badu, and fellow featured acts Queen Latifah and Bahamadia all delivered bars with Stone on the anchor verse with “Funk You Up” as the backing sample.

In 2017, with the assistance of attorney Antavius Weems, The Sequence filed a Federal Copyright Infringement claim aimed at Bruno Mars, stating that his smash hit “Uptown Funk” used elements of “Funk You Up.”

Angie Stone and her contributions to music won’t be forgotten, as evidenced by the outpouring of adoration and regard from her fellow musicians and fans from around the world. Hopefully, those unaware of her strong roots in Hip-Hop culture are enlightened about her place in that great pantheon as well.
Rest powerfully in peace, Angie Stone.

Photo: Getty

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Roberta Flack, an enduring voice that the world got to know through her chart-topping and soul-stirring ballads, was a source of sound for several Hip-Hop producers over the years. As we continue to honor the life and legacy of the legendary vocalist, Hip-Hop Wired has compiled 10 songs that sampled Roberta Flack’s music.
My first time hearing Roberta Flack occurred when I was in elementary school via the song “Feel Like Makin’ Love,” a beautiful ballad written by the late Gene McDaniels. As I was still quite young, I didn’t know what the lyrics meant but what I could tell you then is that it sounded like what I imagined falling in love deeply was like. Roberta Flack’s serene, even-keeled voice sounded as if it descended from the heavens and few singers have had that effect on me. 

As I aged, so did my pursuit of music which is where my devotion to Hip-Hop strengthened and learning about the intricacies of sampling in music production. However, few songs have captured the essence of Flack’s sonics to the level of The Fugees’ 1996 rendition of “Killing Me Softly With His Song” and the beauty of it all is that The Fugees had the honor of having Flack perform the global hit with them.—D.L. Chandler
Flack’s music just didn’t boost the sonic profile of The Fugees, but also gave strong backdrops to the likes of Scarface, Gang Starr, T.I. Ye, Memphis Bleek, Lil’ Kim, Biz Markie, and countless others. Below, we’re featuring 10 songs that sampled Roberta Flack’s classic music. Let us know on social media or in the comments if we missed any of your favorites.


Photo: Getty

The estate of legendary rapper Notorious B.I.G. is suing Target, Home Depot and others over allegations that they sold unauthorized canvas prints of the famed “King of New York” photo that was snapped just days before his death.
In a lawsuit filed Tuesday in federal court, Notorious BIG LLC claims the retailers sold prints illegally created by iCanvas – a small firm that the estate says showed a “complete disregard for celebrities’ personality rights, lack of respect for artists’ efforts, and disdain for intellectual property law.”

“Defendants specifically chose to use Mr. Wallace’s persona, name, image, likeness … in an attempt to capitalize on their fame and extraordinary financial value,” Biggie’s estate writes, referring to his legal name, Christopher George Latore Wallace.

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The image at issue in the new lawsuit is “The King Of New York” – a portrait of Biggie wearing a gold crown in front of a red backdrop, snapped in March 1997 only three days before the rapper was killed in a Los Angeles shooting.

The photos — taken by photographer Barron Claiborne, who is also named as a plaintiff in the lawsuit — are some of the most well-known images of the late rapper. One is featured in a huge mural in his Bedford-Stuyvesant neighborhood of Brooklyn, and the plastic crown featured in the image sold at auction in 2020 for a whopping $594,750.

In their Tuesday lawsuit, the estate and Claiborne say that iCanvas sold canvas prints of the images for more than eight years without permission. In addition to selling them directly, the lawsuit claims the prints were also sold by Bed Bath & Beyond, Home Depot, Nordstrom and Target – each of which is named as a defendant in the lawsuit.

When contacted about the problem in 2023, Home Depot, Nordstrom and Target removed the offending products, the lawsuit says, but iCanvas and Bed Bath & Beyond allegedly continue to sell them.

The case claims that the sale of the images not only infringed Claiborne’s copyrights to the King images, but also breached federal trademark law and violated the rapper’s likeness rights.

“Mr. Wallace’s fan base has continued to expand since his passing,” the estate’s lawyers write. “Mr. Wallace’s persona, name, image, likeness, and artistic works are so well known that they are almost universally and instantly recognizable, even by those born after he died.”

The case could portend bigger problems for iCanvas. The lawyers for Biggie’s estate say they’re only a few of the “victims” of a “multi-year unlawful campaign” by the company to sell unauthorized prints of famous people and images, including musicians Beyonce, Prince, Jay-Z, Snoop Dog and LL Cool J.

None of the defendants immediately returned requests for comment on Wednesday.

It’s not the first time the Notorious B.I.G. estate has sued over photographs. In 2019, the estate sued hip-hop photographer Chi Modu over his famed 1996 image of Biggie standing in front of the World Trade Center. Though Modu owns the copyrights to the image, the estate claimed he was violating the rapper’s likeness rights by using it on merchandise.

That case settled last year on undisclosed terms – a deal that came with a warning from the estate’s attorneys about the use of his image: “Pictures of Christopher cannot be commercially exploited without a license from our client.”

Lil Wayne is gearing up to make waves ahead of Super Bowl LIX, teasing fans with a mysterious announcement set for Thursday, Feb. 6—just days before the big game in New Orleans.

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While speculation runs wild, the rap legend is keeping details under wraps, fueling anticipation with a cryptic Instagram Story video.

“Y’all know I’m not going to be there this week, which means I guess there’s a seat to fill,” Wayne said. “Shout out to New Orleans, but I’ve been working on something very special. I got something exciting coming for you Thursday, the 6th. Until then… I’m chillin’.”

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Though he hasn’t revealed specifics, fans are already theorizing what Tunechi has in store. Some are hoping for a surprise single or project announcement, while others are speculating about a Super Bowl-related activation.

With his long-teased album Tha Carter VI expected to drop this year, the timing aligns with what could be a major musical moment.

Back in December, Wayne recently publicly addressed his absence from the Super Bowl Halftime Show, where Kendrick Lamar will headline. Some fans initially expected Weezy to join Lamar on stage, given their past collaborations and mutual respect.

However, Wayne confirmed in a recent interview that he wouldn’t be attending the game and had spoken directly with Kendrick to clear up any misunderstandings.

“I’ve spoken to him, and I wish him all the best and I told him he better kill it,” Wayne told Skip Bayless on his show in December, during which the host revealed that he remains “baffled and angry” that his guest was not tapped to perform on the biggest stage there is in his own backyard.

“For whatever reason I believe it’s over my head,” Wayne said as part of what he described as the “general” reason why he thinks he was passed over for the gig during what is traditionally the most-viewed TV program of the year. “I don’t know why, period. Obviously I believe that it’s perfect… I do not know why.”

Wayne’s Carter series has been a dominant force on the Billboard 200, with Tha Carter V debuting at No. 1 in 2018 with 480,000 equivalent album units—his fourth chart-topping album. His most recent project, Tha Fix Before Tha VI, was released in 2023, serving as a precursor to the highly anticipated Tha Carter VI.

In 2023, the New Orleans rapper dropped the mixtape Tha Fix Before That VI (Bonus) featuring Jon Batiste, Euro, Cool & Dre, Fousheé, TheNightAftr, and DMX and he and 2 Chainz released Welcome 2 Collegrove, the follow-up to their 2016 collab album ColleGrove.

While he hasn’t released a full-length project yet this year, the Young Money boss has been active feature-wise. He appeared on French Montana‘s “Splash Brothers” alongside Rick Ross, Flau’jae‘s “Came Out A Beast,” DJ Premier‘s “Ya Don’t Stop” with Ross again and Big Sean, and he was featured on Ye and Ty Dolla $ign‘s Vultures 2 song “Lifestyle.”

When the news broke of Lamar’s upcoming performance in September last year, Weezy was very candid about being passed over. “First of all, I want to say forgive me for the delay. I had to get strength enough to do this without breaking,” said a somber Wayne in an Instagram post at the time.

“I’mma say thank you to every voice, every opinion, all the care, all love and support out there. Your words turned into arms and held me up when I tried to fall back.”

At the time, he said the news “Hurt. It hurt a lot. You know what I’m talking about. It hurt a whole lot. I blame myself for not being mentally prepared for a letdown. And for automatically mentally putting myself in that position like somebody told me that was my position. So I blame myself for that. But I thought that was nothing better than that spot and that stage and that platform in my city, so it hurt. It hurt a whole lot.”

Will Drake’s pending defamation lawsuit stop Kendrick Lamar from performing “Not Like Us” during his Super Bowl halftime performance? Legal experts say it might — but that it really shouldn’t.
Under normal circumstances, it’s silly to even ask the question. Obviously a Super Bowl halftime performer will play their chart-topping banger — a track that just swept record and song of the year at the Grammys and was arguably music’s most significant song of the past year.

But these are very much not normal circumstances. Last month, Drake filed a lawsuit over “Not Like Us,” accusing Universal Music Group of defaming him by boosting the scathing diss track. The case, which doesn’t name Lamar as a defendant, claims UMG spread the song’s “malicious narrative” — namely, that Drake is a pedophile — despite knowing it was false.

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That pending legal action makes it fair to wonder: When Lamar steps onto the world’s biggest stage on Sunday night (Feb. 9), will he face pressure to avoid the whole mess by just skipping “Not Like Us” entirely?

He shouldn’t, legal experts say, and for a pretty simple reason: Drake’s lawsuit against UMG is a legal loser. “I don’t think the case is strong at all,” says Samantha Barbas, a legal historian and an expert in defamation law at the University of Iowa’s College of Law.

For Drake to eventually win the case over “Not Like Us,” he’ll need to show that Lamar’s claims about him are provably false assertions — meaning the average person would hear them and assume Kendrick was stating actual facts. Barbas says that’ll be tough for Drake to do about a diss track, where fans expect bombast and “rhetorical hyperbole” more so than objective reality.

“In the context of a rap battle, the average listener is going to know that the allegations aren’t to be taken seriously,” she says. “Taunts and wild exaggerations are par for the course.”

Another challenge for Drake is that he’s a public figure. Under key First Amendment rulings by the U.S. Supreme Court, a public figure like Drake must show that UMG either knew the lyrics were false or that the company acted with reckless disregard for the truth — a legal standard that’s intentionally difficult to meet so that rich and famous people don’t abuse libel lawsuits to squelch free speech.

“A high-profile public figure like Drake immediately enters the case with a high burden of proof,” says Roy Gutterman, the director of the Newhouse School’s Tully Center for Free Speech at Syracuse University.

UMG’s attorneys will also likely point to the fact that Drake himself made harmful allegations against Kendrick earlier in the same exchange of diss tracks, including that Lamar had abused his fiancée and that one of his children was fathered by another man. Were those defamatory statements of fact, or merely the exercise of artistic license within the conventions of a specific genre of music?

“Factoring in the context here — music and art within an ongoing dispute between rival musicians — he has an even tougher case,” Gutterman says.

So if Drake’s case is likely to eventually be dismissed, then there’s no reason for Kendrick to hold back on Sunday, right?

Not exactly.

For starters, Federal Communications Commission rules prohibit the airing of “obscene, indecent, or profane content” on broadcast television during primetime hours. To avoid those rules, Super Bowl halftime performers typically avoid curse words or overtly sexual material — something that would probably already preclude the “pedophile” line and other lyrics in “Not Like Us.”

Corporate legal departments are also famously risk averse, and often prefer to play it safe rather than potentially face expensive litigation, even if they’d ultimately win. That could lead any of the big companies involved here to put pressure on Kendrick to skip “Not Like Us.” His label, UMG, has vowed to fight back against Drake’s “frivolous” lawsuit, but might not want to add complications mid-litigation; the game’s broadcaster, Fox, or the NFL itself might worry about getting added to the suit as defendants.

Gutterman said it would be “a significant stretch of liability law” for Drake to successfully sue Fox or the NFL simply because Kendrick played “Not Like Us” at the halftime show. But in practice, that might not be how their in-house attorneys are thinking about it.

“The threat of litigation can have a chilling effect on speech,” Barbas says. “The safe thing to do is not to publish or broadcast.”

Reps for Lamar did not return a request for comment on whether he’ll perform the song. The British tabloid newspaper The Sun, citing anonymous sources, reported last week that Kendrick has faced pressure to skip the track but plans to perform it anyway and “won’t be silenced.” But that report could not be confirmed by Billboard and was not widely re-reported by other outlets.

Asked whether they have a position on whether Lamar plays the song, reps for UMG, Fox, the NFL and Roc Nation (Jay-Z’s company that produces the halftime show) all either declined to comment or did not return requests for comment.

When the show kicks off on Sunday night, the most likely outcome is probably somewhere down the middle: That Kendrick plays the song’s already-iconic instrumental hook and perhaps some of the lyrics, but skips any of the portions that are directly at play in Drake’s lawsuit.

“It wouldn’t be surprising,” Barbas says, “if the challenged lyrics are changed.”