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Roy Haynes, a pioneering jazz drummer who went on to become one of the most recorded percussionists in music history, has died at the age of 99.
As per the New York Times, Haynes’ daughter – Leslie Haynes-Gilmore – confirmed that the drummer passed away on Tuesday (Nov. 12) in Nassau County, N.Y. following a brief illness.

Born on Mar. 13, 1925, Haynes grew up in the Roxbury neighborhood of Boston, Massachusetts, beginning his musical career in the early 1940s and becoming a full-time professional drummer in 1945. Throughout the decade, he worked with the likes of saxophonist Lester Young and performed as part of Charlie Parker’s quintet from 1949 to 1952.

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Haynes was also offered a role in Duke Ellington’s band in 1952, ultimately turning it down due to a desire of being in smaller bands which allowed more room for musical expression.

Haynes’ recorded output is an impressive one, boasting appearances as a sideman for names as revered and acclaimed as Miles Davis, Sarah Vaughan, Sonny Rollins, Thelonious Monk, Art Blakey, Ray Charles, Stan Getz, and countless others before the advent of the 1960s. Alongside this work as a sideman, his output as a bandleader was equally prolific, with his first record – Busman’s Holiday – arriving in 1954.

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Haynes received his first Grammy Award nomination in 1988 in the Best Jazz Instrumental Performance, Group for his work with Chick Corea. Over the next 19 years, he would take home two awards from his eight nominations. In 2012, he was given a Lifetime Achievement Award from the Grammys, with another Lifetime Achievement Award coming from the Jazz Foundation of America in 2019.

Haynes’ other awards included the the Chevalier de l’Ordre des Arts et des Lettres from the French government in 1996, and honorary doctorares from both the Berklee College of Music and the New England Conservatory. In 2004, DownBeat magazine inducted him into their Hall of Fame, having being named in their readers and critics polls on 14 occasions.

More than two years after they announced their farewell tour, new wave veterans The B-52s are still going strong, announcing an additional run of dates for their ognoing Las Vegas residency.

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Announced alongside the completion of their current residency, the group will return to The Venetian Resort in Vegas next year, performing five shows across Apr. 11, 12, 16, 18, and 19.

The B-52s initially announced shows at The Venetian back in 2022 when they revealed their ongoing farewell tour. That run of dates included three shows at the venue in October 2022, though additional shows were announced for May, and August and September 2023. Currently, the group will wrap up their latest residency on Wednesday (Nov. 13), having played another handful of shows in April.

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Formed in Athena, Georgia in 1976, The B-52s would release a total of seven albums between 1979 and 2008, including 1989’s Cosmic Thing which gave them their highest-charting release globally, peaking at No. 4 on the Billboard 200. The record also spawned their most successful singles, “Love Shack” and “Roam”, which both reached No. 3 on the Hot 100 that year.

Known for their pioneering status in the new wave genre and unique aesthetic, the group’s lineup has revolved around the quartet of Fred Schneider, Katie Pierson, Keith Strickland, and Cindy Wilson since its inception, though founding guitarist Ricky Wilson died from an AIDS-related illness in 1985. Strickland, meanwhile, has not been part of the touring ensemble since 2013.

“No one likes to throw a party more than we do, but after almost a half-century on the road, it’s time for one last blowout with our friends and family … our fans,” said Schneider in a statement alongside the announcement of their farewell tour.

“Who knew what started as a way to have some fun and play music for our friends’ at house parties in Athens in 1977 would evolve into over 45 years of making music and touring the world,” added Pierson. “It’s been cosmic.”

Tori Kelly is scoring yet another goal as the end of 2024 approaches. The National Women’s Soccer League announced on Tuesday (Nov. 12) that the two-time Grammy Winner will perform on the Adobe Stage at this year’s fourth annual NWSL Fan Fest. The event will take place just before the 2024 NWSL National Championship in Kansas City on November […]

Mark Zuckerberg is potentially making music with T-Pain. The Facebook founder posted a photo of the two in the studio on his Instagram Story with the caption, “It’s happening guys.” T-Pain then reposted the same pic with “It is time…” and referred to the Meta boss as “Z.” The two have forged an unlikely relationship over […]

Cordae’s latest project, The Crossroads, marks what he might describe as the most refined version of himself as an artist. In an exclusive interview with Billboard News, Cordae deep-dives into why this album — which comes out on Friday — feels like his strongest work yet.
Cordae is clear on why now is the right time to drop this album. “I think it’s ready. I think I’m better than I’ve ever been as an artist,” he says.

He spent time focusing on his craft and drawing inspiration from life to make sure he was putting his best foot forward. “I feel like I needed that time to just live life, assess life,” he says. “This album in particular, I needed to get better.”

For Cordae, growth has been about everything from beat selection to songwriting. “I wanted to get better, like, as a songwriter, as a rapper. I wanted my verses to be better. I wanted my storytelling to be better. I wanted my beat selection and taste in beat selection to get better, and that requires work and time, so I feel like this is my best foot forward thus far.”

The album title, The Crossroads, speaks to a turning point that he felt he reached. “I felt like I was at a crossroads in my life,” he says, describing a period when every decision felt high-stakes. “It was like life or death. … If I go right, everything is gonna be perfect and yay, life is great, and if I go left, all life is horrible.” Over time, he’s learned that life is rarely shaped by a single choice. “I’ve kinda realized that one decision doesn’t hold that much weight. It’s a culmination of decisions.”

Cordae also reflects on his journey with J. Cole, a major influence. After rapping over J. Cole’s “1985” beat and calling it “Old N—as,” the track went viral when WorldStarHipHop labeled it as a response to J. Cole’s original. That music video caught Cole’s attention, eventually leading to their collaboration. “That’s what ended up getting me the beats and us locking in,” he says.

Cordae credits the recent Drake and Kendrick Lamar rivalry for energizing hip-hop’s competitive edge. “It was great for hip-hop,” he says. “The competitive nature is kind of the fundamentals of hip-hop, like, ‘Nah, I’m nicer than you, son.’” The rivalry, he adds, energized the culture. “It kind of just put a battery in everyone’s back, like, nah, we can just say how we feel — even if it’s like, ‘F— this guy.’”

Watch the full interview with Cordae in the video above.

A week after Donald Trump won the 2024 U.S. Presidential election, The Blessed Madonna has Tuesday (Nov. 12) published an essay on her newly launchedSubstack in response.
The Kentucky-born, London-based producer (real name: Marea Stamper) writes that she is “yoked to the brink of collapse with contempt for millions of my fellow Americans, myself included possibly. When Project 2025 spelled out the plan to cement power in the hands of white, straight men, while kneecapping every inch of progress made in our country over the last fifty years, I believed them, just as I believed Trump in 2016. I believe they intend to do what they have promised. But still, I feel like someone kicked the air out of me.”

The Blessed Madonna, who released her debut album Godspeed in October, is one of the few politically vocal electronic artists in the scene and is one of a handful of producers to publicly comment on the election results, with Massive Attack and Moby also sharing their thoughts following the Nov. 5 election. Read her complete statement below.

At night, I flip through my phone and try to make a timeline, something that will put this in a linear form that I can understand.

417 weeks ago, I was boarding a plane and a bunch guys in camo and MAGA gear got on. I posted a picture and I tagged United Airlines and said, these men are wearing clothing associated with a hate group and I feel uncomfortable. I was absolutely serious. But the comments poured in calling me judgemental, overreactive, snide, unhelpful. “You don’t know these guys at all! Terrible form. You would go nuts if someone did that to you.” As if that MAGA hat isn’t the stand in for a white hood. As if we did not see those men scaling the wall of the Capitol four years later.

It doesn’t matter how many pictures I look at or timestamps I check though. It’s all a knot of repeating scenarios. I tell my mother it will be ok. I tell myself it will be ok. Someone does something that makes me lose faith in humanity. Someone does something that restores it, for a while. It all just swings back and forth, ticking like a metronome which does not tell time, but keeps it in a holding pattern.

This week the metronome’s pendulum has swung mostly to shame. I indulged in the kind of optimism that no mother who has ever had to give her black or brown son “the talk” about police brutality will ever have the luxury to enjoy. I am yoked to the brink of collapse with contempt for millions of my fellow Americans, myself included possibly. When Project 2025 spelled out the plan to cement power in the hands of white, straight men, while kneecapping every inch of progress made in our country over the last fifty years, I believed them, just as I believed Trump in 2016. I believe they intend to do what they have promised. But still, I feel like someone kicked the air out of me. Women have cast their vote for men who would let them bleed to death in a hospital parking lot from a miscarriage, should they need an abortion?

I am so angry, I feel as if I drank poison and am waiting for the other guys to die.

This is who we are. This is America.

Don’t say it’s not.

We have done this now not twice, but millions of times in millions of ways. We have have done it at the border. We have done it in for-profit prisons and for nothing executions. We have done it in forever wars and proxy wars and culture wars. We have sold our schools and public hospitals off for parts and left human beings in the wreckage.

And We The People have chosen as a country to buy what that vile man is selling, the real American dream: white supremacy. And he will sell it to you whether you can redeem or not. And he has sold it to you, though in the end, it will redeem no one and nothing. And so tonight, what I lack in optimism, is replaced with rage, which itself I believe can be a kind of love. It is not a gentle or comforting kind of love, but the love that lives behind bared teeth and says: motherf—ker, one of us is about to die trying.

Kelly Clarkson is throwing it back to the 1980s with her latest Kellyoke cover, taking the stage during her daytime talk show to perform The Bangles’ “Walk Like an Egyptian.” Explore Explore See latest videos, charts and news See latest videos, charts and news Dressed in a patterned blue and red mini-dress, Clarkson effortlessly belted […]

Tyler, The Creator completes a rare self-replacement at No. 1 on Billboard’s Hot R&B/Hip-Hop Songs chart as “Sticky,” featuring GloRilla, Sexyy Red and Lil Wayne evicts “St. Chroma,” featuring Daniel Caesar, from the summit on the list dated Nov. 16.

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By knocking his own record from the perch, Tyler, The Creator is the 16th artist in the chart’s 66-year history to achieve a self-replacement, and first since 21 Savage on Dec. 17, 2022. Then, the rapper’s “Rich Flex,” a collaboration with Drake, yielded to his own “Creepin’,” with Metro Boomin and The Weeknd.

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“Sticky,” released on Oct. 28, vaults 3-1 to get the gold after its first full tracking week for Billboard’s charts. On the multi-metric Hot R&B/Hip-Hop Songs chart, it registered 20.9 million official streams, 1,000 sales downloads and 726,000 airplay audience impressions in the U.S. in the week ending Nov. 7, according to Luminate. Thanks to the streaming sum, “Sticky” pushes 4-1 to rule the all-genre Streaming Songs chart, and ousts the rapper’s own “St. Chroma” from the top spot.

Elsewhere, “Sticky” skips 3-1 on the Hot Rap Songs chart and rolls 14-10 on the all-genre Billboard Hot 100.

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With the “Sticky” coronation on Hot R&B/Hip-Hop Songs, Tyler, The Creator scores his second No. 1 (after “St. Chroma” last week). GloRilla and Sexyy Red each achieve a first leader – the former’s previous career peak was No. 3, for the Cardi B collaboration “Tomorrow 2” in 2022, while the latter’s prior best was a No. 4 result with her and SZA features on Drake’s “Rich Baby Daddy” last year.

Lil Wayne, meanwhile, secures his 12th No. 1 on Hot R&B/Hip-Hop Songs and becomes the 10th artist to reach a dozen leaders since the chart began in 1958. Let’s review the club:

Artists With the Most No. 1s on Hot R&B/Hip-Hop Songs30, Drake20, Aretha Franklin20, Stevie Wonder17, James Brown16, Janet Jackson14, The Temptations13, Marvin Gaye13, Michael Jackson13, Usher12, Lil Wayne

“Sticky” is one of five tracks by Tyler, The Creator in the top 10 of this week’s Hot R&B/Hip-Hop Songs chart – a feat he achieves for the second consecutive week. Four tracks – “Sticky,” “St. Chroma” (down 1-2), the Teezo Touchdown-assisted “Darling, I” (4-5) and “Rah Tah Tah” (5-6) – are holdovers, while “Like Him,” featuring Lola Young, leaps 17-8.

All five songs appear on the rapper’s CHROMAKOPIA album, which rules the Billboard 200 and Top R&B/Hip-Hop Albums charts for a second week.

According to a new interview, Ice Cube still wanted to be cool with his friends in N.W.A after he left the legendary group in 1989 and even wanted Dr. Dre to produce his debut album AmeriKKKa’s Most Wanted. Cube sat down with Complex’s Idea Generation and spoke on how he tried to keep his business […]

Congratulations are in order for Skai Jackson, who is pregnant with her first child! The 22-year-old Jessie actress confirmed the exciting news with People, noting that the father is her boyfriend, whom she hasn’t publicly identified. “I’m thrilled to begin this new chapter in my life — embracing motherhood and diving into new acting projects. […]