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Source: Mike Marsland/Variety / Mike Marsland/Variety
Kendrick Lamar, Future, and Metro Boomin have been hit with a lawsuit over their chart-topping track “Like That,” stemming from alleged unpaid royalties related to a sample.
Veteran rapper Rodney O claims that the song uses elements from his classic track “Everlasting Bass” without proper compensation or credit. The legal action also targets the estate of Barry White, whose music appears on the Kanye West remix of the song. Rodney O argues that he never received full payment or acknowledgment for the use of his work, especially when the song was submitted for Grammy consideration without his name in the songwriting credits.
He also says he was not given the version of the track that features Kendrick Lamar’s headline-making verse dissing Drake, which has become one of the most talked-about moments in recent rap history. A spokesperson for Metro Boomin countered the claims, stating that they did secure rights to the sample and paid Rodney O $50,000. They also pointed to the Barry White estate as a possible reason for delayed royalty distribution, citing its ties to Epic Records as a potential complication.
The Barry White estate has yet to issue a statement regarding the lawsuit. As “Like That” continues to dominate the conversation in hip-hop, the legal dispute adds another layer of controversy—highlighting ongoing issues around sample clearances, fair compensation, and proper credit in the music industry.
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Pope Leo XIV was announced as the head of the Catholic Church on Thursday, becoming the first American pope in history. According to a genealogist, Pope Leo XIV has African-Creole roots, inspiring many on social media to claim the church leader as Black.
As reported by Black Catholic Messenger, Pope Leo XIV, formerly Robert Prevost of Chicago, has a connection to New Orleans via his maternal grandparents, who lived in the famed city before moving north to Chicago. Genealogist and expert on Creole history Jari Honora traced the pope’s roots to New Orleans. According to Census data, the pope’s mother, Mildred Martinez, was the mixed-race daughter of Joseph Martinez, who was born in Haiti, and Louise Baquié, a Creole who hailed from New Orleans.
The pope, raised in Chicago’s South Side neighborhood, joined the Augustinian order after being ordained in 1982. He earned a canon law doctorate degree at the Angelicum in Rome, ahead of working for more than a decade in Peru and overseeing an Augustinian seminary there.
The pope already owns the distinction of being the first American named as the pope, and would be considered the first Black pope in history, although it isn’t known if he claims his Creole roots or if he identifies as Black.
“It’s more complicated than that,” Honora said to Black Catholic Messenger. “I think that a person can be of Black ancestry or have Black roots, but to identify as Black, I think, is all about the lived experience.”
Honora was one of several genealogists and researchers who made the connection to Pope Leo XIV’s Creole ancestry, prompting notable chatter online. Many were already celebrating the pope’s ascension, and for being from Chicago, leading to hilarious and excitable reactions across social media.
The pope is part of a religious order named after the African saint, Augustine of Hippo. Leo XIV’s predecessor, Pope Francis, passed away on April 21 at the age of 88.
On X, reactions to the news that Pope Leo XIV has Creole roots have spread far and wide. We’ve got those reactions below.
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Photo: SOPA Images / Getty
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Pope Leo XIV was announced as the head of the Catholic Church on Thursday, becoming the first American pope in history. According to a genealogist, Pope Leo XIV has African-Creole roots, inspiring many on social media to claim the church leader as Black.
As reported by Black Catholic Messenger, Pope Leo XIV, formerly Robert Prevost of Chicago, has a connection to New Orleans via his maternal grandparents, who lived in the famed city before moving north to Chicago. Genealogist and expert on Creole history Jari Honora traced the pope’s roots to New Orleans. According to Census data, the pope’s mother, Mildred Martinez, was the mixed-race daughter of Joseph Martinez, who was born in Haiti, and Louise Baquié, a Creole who hailed from New Orleans.
The pope, raised in Chicago’s South Side neighborhood, joined the Augustinian order after being ordained in 1982. He earned a canon law doctorate degree at the Angelicum in Rome, ahead of working for more than a decade in Peru and overseeing an Augustinian seminary there.
The pope already owns the distinction of being the first American named as the pope, and would be considered the first Black pope in history, although it isn’t known if he claims his Creole roots or if he identifies as Black.
“It’s more complicated than that,” Honora said to Black Catholic Messenger. “I think that a person can be of Black ancestry or have Black roots, but to identify as Black, I think, is all about the lived experience.”
Honora was one of several genealogists and researchers who made the connection to Pope Leo XIV’s Creole ancestry, prompting notable chatter online. Many were already celebrating the pope’s ascension, and for being from Chicago, leading to hilarious and excitable reactions across social media.
The pope is part of a religious order named after the African saint, Augustine of Hippo. Leo XIV’s predecessor, Pope Francis, passed away on April 21 at the age of 88.
On X, reactions to the news that Pope Leo XIV has Creole roots have spread far and wide. We’ve got those reactions below.
—
Photo: SOPA Images / Getty
Southern California has long been shaped by the essence of Chicano and cholo culture, a deeply ingrained presence that speaks to the region’s multifaceted identity. Murals and tattoos served as canvases for a range of imagery steeped this subculture — from low riders and clowns to the iconic “smile now, cry later” masks, while vending machines once dispensed prismatic stickers featuring cholas, homies, and pachucos, each paired with the name of a classic oldies song.
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At swap meets and once-thriving CD stores, Lowrider Oldies compilations where the backdrop to nights spent cruisin’ in custom lowriders outfitted with hydraulics — at quinceañeras, damas and chamelanes arrived in similar old school cars to these. This rich tradition boomed as Black and Brown culture intertwined, with the soulful sounds of Marvin Gaye, Smokey Robinson and Brenton Wood echoing across the hood.
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For Cuco, the 26-year-old singer-songwriter and multi-instrumentalist hailing from Hawthorne by way of Inglewood in L.A. county, this kind of environment shaped him. With his third studio album Ridin’, out Friday (May 9) — his “love letter to L.A.” and Chicano car culture — the artist reimagines oldies music through a modern lens, blending analog and harmonic richness to bridge generations while honoring his roots.
“The association with oldies and cars is a big thing here [in L.A.],” Coco tells Billboard Español. “I don’t know if that’s culturally relevant for the rest of the world, but I wanted it to be a thing [with my album].” He mentions that each of his upcoming visuals, for singles link “Phases” and “My 45,” will be paired with a classic car. “Obviously, this is my love letter to L.A., but I wanted it to be something that feels like it can be everywhere,” Cuco notes.
From the shimmering stylings of boleros to modern interpretations of timeless soul, Ridin’ unpacks emotion and tradition, making connections between collective nostalgia and personal experience. “[That influence] has always been there,” Cuco explains.
He adds, “There’s a lot of norteño culture out here in L.A., but also cumbias, románticas, and boleros. There’s a different part of Mexican culture blowing up, and oldies have always been around. They influenced a lot of the romantic part of my music. Many people don’t really know that. But there’s a lot of layers to me. I wanted to make an album that felt more old school.”
One of the defining cuts — of the album produced by Tom Brennick (Amy Winehouse, Mark Ronson, Bruno Mars) and mixed by Tom Elmhirst (Adele, Frank Ocean, Travis Scott) — is the title track. “’Ridin’’ was the first track that we worked on for this record, the first that Tommy made,” Cuco says. “I wanted it to feel like a nursery rhyme. There’s also that psychedelic break at the end.”
Other songs like “ICNBYH” (short for I Can’t Ever Break Your Heart) showcase the singer-songwriter’s knack for crafting infectious, big choruses that leave a lasting imprint on listeners. “The chorus feels timeless, and I really wanted to lean into my vocals,” Cuco explains. “For a lot of my older fans, it’s something that would be easier to digest before going into the rest of the album.”
His love for brown-eyed soul also shines in “Para Ti,” a Spanish-language ballad á la Ralfi Pagan. “I think my pen in Spanish is strong,” he shares. “It’s something that comes naturally. It feels like a mix between a bolero and a romántica, that I listened to a lot [too].” It’s the only song in Spanish on the album, but Cuco has also teased a deluxe version with additional tracks en español as currently being in the works.
In addition to nods to old-school greats like Barbara Lewis, including an interpolation of Lewis’ enduring ’60s hit “Hello Stranger” in “Seems So”, Cuco says that “Ralfi Pagan and Joe Bataan were on repeat a lot,” along with Smokey Robinson, Al Green and Brenton Wood. He also acknowledges newer artists blending vintage sounds with fresh perspectives, such as Thee Sacred Souls, Thee Sinseers and Los Yesterdays: “I got to work with some of those folks and meet really cool people that I look up to in that world. It was really dope.”
Emotionally, one of the album’s most striking moments comes in “My Old Friend,” a gently wistful ballad that Cuco describes as his way of connecting to life’s losses without falling into sorrow: “I wanted to write [a song] to the people that have passed away in my life. It’s something that I can still celebrate with the people that are alive around me. My cousin, who was there when I wrote the song, said, ‘Why does it feel sad, dude?’ I was like, ‘It’s not supposed to be.’ But it can be, depending on who you’re thinking about.”
Then there’s “My 45,” the only collaboration on the album. “I don’t generally work with a lot of songwriters, but for this record, a good chunk of the song is with my friend, Jean Carter,” he explains. “That’s my brother right there. We played it at the El Rey [in L.A.] at the live show, and people are geeked over that track.”
Ridin’ not only aims to connect generations through its music but also celebrates the evolution of a culture that remains alive. Or, as Cuco says: “It brings you into the world of the new oldies.”
Cuco
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When you look at the bonkers hard rock roster for the upcoming final Black Sabbath show in Birmingham, U.K. on July 5 at Villa Park, there is definitely one name that is conspicuously absent: Judas Priest. The masters of British leather-and-motorcycle metal simply are nowhere to be found among the head-banging roster of greats lined lined up for the Back to the Beginning show that includes Guns N’ Roses, Metallica, Slayer, Anthrax, Alice in Chains, Pantera, Lamb of God and many more.
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Apparently, there is a very good explanation for their absence, according to singer Rob Halford: they’re double-booked. Speaking to Metal Hammer, Halford explained that his band is slated to join the Scorpions in Hanover, Germany on that date for a 60th anniversary celebration of the German rock group.
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“I had no idea it [the Sabbath show] was happening. It all got announced and was a big deal,” he said of the Scorpions and Priest concert taking place more than 630 miles away from fellow Brummie Ozzy’s show. “Suddenly I get this phone call [from Ozzy Osbourne’s wife and manager Sharon Osbourne], ‘Robbie, I know you’ve got this gig with Scorpions, but could you consider coming over to do a thing with Ozzy and the guys. He’d love to see you.’”
But Halford said as much as he’d like to be on hand for the last run with Ozzy and the gang, trying to pull double-duty would be too difficult. He said Sharon Osbourne even offered to fly him back to Birmingham on the day of the show to make an appearance a la Phil Collins’ legendary Concord flight from London to Philadelphia to play two sets at Live Aid in July 1985.
And though Collins’ whirlwind flights, technically, got him to the U.S. before he left due to the timezones he crossed, Halford said as much as he’d like to double-down he thinks it might be “dangerous… Even with a private plane, there’s a word called ‘technical’, where something could go wrong, or the weather that time of year could cause problems… I was absolutely gutted [to miss the show],” he said.
The Sabbath swan song, which will also be Ozzy’s final solo show, has the 76-year-old metal legend pushing himself to deliver a curtain call worthy of his nearly 60-year career. “I do weights, bike riding, I’ve got a guy living at my house who’s working with me. It’s tough – I’ve been laid up for such a long time,” Osbourne said of his workout regimen to get pumped for his first full set since New Year’s Eve in 2018 in the wake of a series of health issues and surgeries that have laid him low for several years and kept him off stages.
“I’ve been lying on my back doing nothing and the first thing to go is your strength. It’s like starting all over again,” he said. “I’ve got a vocal coach coming round four days a week to keep my voice going. I have problems walking. I also get blood pressure issues, from blood clots on my legs. I’m used to doing two hours on stage, jumping and running around. I don’t think I’ll be doing much jumping or running around this time. I may be sitting down.”
Though Halford will not be on hand, former longtime Priest guitarist K.K. Downing will perform at the show alongside members of Limp Bizkit, Smashing Pumpkins, Living Colour, Megadeth, Halestorm, Faith No More, Sleep Token, Red Hot Chili Peppers, Megadeth, Ghost, Soundgarden and Aerosmith singer Steven Tyler.
“All my mates are going to be there though, great bands and artists,” Halford told Metal Hammer, saying that Downing’s appearance will represent the “spirt” of Priest. “It’s a wonderful and epic moment for Sabbath and heavy metal — it re-emphasizes that Birmingham is where metal came from.”
It’s one thing for the Virginia Tech Hokies to blast Metallica‘s “Enter Sandman” as the football team’s game-day hype song when they take the field at Lane Stadium for home games. It’s quite another thing for the band to play the song on the team’s home field for the first time in front of a […]
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. Everyone’s favorite lovable blue alien has crash landed onto HEYDUDE’s site in a unique new way. In celebration of the upcoming […]
Rob49 is officially a music executive. The New Orleans rapper has launched his VULTURE MODE record label, which arrives as a joint venture with independent record label and publisher SLANG.
While entering his prime as a rapper in his own right, Rob is looking for the next generation of stars in hip-hop. The label isn’t wasting any time as fellow New Orleans native Moskino is the first artist signed to VULTURE MODE.
“I always knew I would be successful outside of music, but I thought more so as a serial entrepreneur who owns a bunch of businesses,” Rob49 tells Billboard. “But music is something that I naturally gravitate to, and I honestly feel like I have the ear to know who’s the next hot artist.”
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He continues: “And with that, I’m surrounded by a bunch of new young talent that is trying to make it out the trenches, so what better way to use my platform than to become a music executive and help bring their careers to life.”
Moskino is gearing up for a busy summer with the release of his King of the Underdogs project slated to arrive on June 6.
“Moski wanted to be a rapper long before I even wanted to,” Rob49 adds of the first rapper joining the VULTURE MODE family. “And I think he’s one of the hardest out of not only New Orleans, but in general. His ability to story-tell while maintaining his own unique sound, creating a new lane with that New Orleans style… It’s something that I think is very different and refreshing.”
Rene McLean
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Founded by Influence Media’s Rene McLean, SLANG has built a reputation as a reliable creative partner for the likes of Future, DJ Khaled and Will Smith over the years.
“We’ve always believed in building platforms, not just moments,” says McLean. “Partnering with Rob49 to launch VULTURE MODE was a natural step. He represents everything SLANG values, originality, vision, authenticity, and a relentless work ethic. Together, we’re building something that’s not just reactive to culture, but ahead of it.”
As far as his own artistry, Rob49 caught fire with his viral cultural hit “WTHELLY” and is slated to drop another project later this spring.
Alice in Chains were forced to call off their planned Thursday night (May 8) show at the Mohegan Sun Arena in Uncasville, CT after drummer Sean Kinney fell ill. According to a post on the group’s X feed, “After our soundcheck this evening at the Mohegan Sun Arena, Sean experienced a non-life-threatening medical emergency. We […]
Ahead of the band’s first tour in more than 15 years, Oasis‘ full catalog is now available in Spatial Audio with Dolby Atmos on Apple Music. Grammy-winning engineer Ryan Hewitt was commissioned by the band’s Big Brother Recordings Ltd. label to re-create the mixes from scratch, spending 18 months on the ambitious project. “Honoring the […]
