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In kicking off BET’s “house party of the year” — aka Soul Train Awards 2023 — host Keke Palmer ticked off three rules for the annual affair premiering Nov. 26, whose top winners were SZA, Usher and Victoria Monét.

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“Welcome to Keke’s,” said a grinning Palmer to the mix of nominees, performers, presenters and invited guests ensconced on sofas in the opulent backyard of a Beverly Hills mansion. “Rule No. 1: Act like you all got sense. No. 2: Treat my furniture like it’s your own. And No. 3: When you’re at a Keke party, get up when the spirit moves you!” And those gathered did just that despite the uninvited, blustery presence of Los Angeles’ signature Santa Ana winds. In fact, at one point during the pre-taped show, Palmer humorously noted, “I feel like my wig is falling off.”

One special note: In tandem with the Soul Train Awards saluting the end of the writer’s strike, it was announced that for the first time in Soul Train history, the 2023 writing team was comprised of all females of color.   

Featuring a cross section of established and emerging R&B/soul artists, the two-hour telecast’s performance highlights included:

Spirit of Life Award honoree Janelle Monae. Bedecked in a colorful flowered cape, matching boots and head crown and backed by an all-female horn section, Monae immediately revved up the proceedings, energetically sashaying her way through “Float” and “Champagne Shit.” Both tracks are from her latest album The Age of Pleasure, Grammy-nominated in both the album of the year and best progressive R&B album categories. 

Muni Long, who joined forces with fellow Grammy winners Jermaine Dupri (who introed the performance) and Bryan-Michael Cox (providing piano accompaniment) on “Made for Me” —which the trio also co-wrote with Jordan XL. Dressed in sparkling silver trousers accented by a white blazer that was adorned by a long sheer train in the back, Long delivered a nuanced performance of her latest single. Boosting the ballad’s emotional quotient: the take-me-to-church, soul-searing vocals of Long’s six backing vocalists.

This year’s Soul Cypher, which featured R&B artists Nicci Gilbert (lead vocalist of girl group Brownstone), Arin Ray, Eric Bellinger and Marsha Ambrosius (one-half of the duo Floetry). Accompanied by Cox — who also doubled as the show’s DJ — the quartet freestyled over Usher’s 2001 Hot 100 No. 1 “U Got It Bad,” co-written by Dupri and Cox. Noted Ambrosius during her mic turn, “The last time I was here, I won song of the year.” Sealing the deal: the group’s pristine harmonizing on the song’s hook as the cypher came to an end.

A double showing by Coco Jones, who also won best new artist. Jones first delivered a mesmerizing performance of her London on da Track-produced single “Double Back,” which samples the SWV hit “Rain.’” Then that revered group’s members Cheryl “Coko” Gamble, Tamara “Taj” George and Leanne “Lelee” Lyons took center stage and showed off their still potent vocalizing on “Rain,” with Jones joining the trio to close out the performance. Later in the show, Jones teamed up with BJ the Chicago Kid on their mid-tempo single “Spend the Night” — which host Palmer rightfully described as “the melodic pairing we didn’t know we needed.”

Speaking of Palmer, the actress also turned in an riveting performance by way her latest single,  “Ungorgeous.” Among the song’s lyrics is the line, “I’m tired of proving myself to you.” After sustaining a long note just before the ballad’s cold stop, Palmer the singer didn’t have anything to prove given the audience’s enthusiastic response.

The evening’s closing highlight was the presentation of the Legend Award to T-Pain. Rapper, activist and longtime friend David Banner spoke about the “rappa ternt sanga” whose new sound in the mid-2000s “had the whole world sprung. When people copied him, he stood. When people criticized him, he stood. He did not fold. That’s a legend in the making.”

Thanking Banner and his beautiful, “strong wife for dealing with his negatives and flaws” as T-Pain and his real name Faheem Rashad Najm — “a feat I haven’t figured out my damn self” — the artist reflected on turning 39 this year. “Receiving a legend award at 39 may be weird or a little early,” he acknowledged. “I feel like I’ve got two or three more songs I could probably do [laughter]. This is amazing. But to the new artists out there, I don’t want you to chase this. I don’t want you to base your life on how many of these people in this crowd can tell you that you can have this. I want you to know that you already got this. You already have this in your mind. on or care what other people say. Be who you are unapologetically. Be who you ever want to be.” 

Then T-Pain shifted the audience into full-fledged party mode with a rollicking, get-up-on-your-feet medley of his many hits. Among those he reeled off were “Got Money,” “Good Life,” “I’m N Luv (Wit a Stripper),” “Bartender,” “Low,” “Blame It,” “Buy U a Drank” and “All I Do Is Win.”

One of the highlights of Soul Train Awards 2023 was Janelle Monae’s powerful acceptance speech after being presented with the Spirit of Soul Award during the show’s premiere on BET (Nov. 26).

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Delivered before a rapt and cheering audience, the current Grammy Award nominee’s remarks fervently underscored the core mission of the annual ceremony, launched by Soul Train dance show creator Don Cornelius in 1987.

Here’s the full text of Monae’s nearly five-minute speech:

“There’s nothing like being recognized by your own family. Thank you, Soul Train. Thank you, BET, for keeping soul alive. So many people have reinvented that word. I’m so honored to have something like this for us that continues to evolve and showcase so many different forms of what soul can be. As I think about this moment, [there are these] words: ‘I used to walk into the room head down. I don’t walk, now I float’ [reciting a lyric from their song “Float”]. When I think about where my spirit is today, my spirit is lighter. And as I think about the word spirit, I know y’all have heard this: Let the spirit use you, baby. My grandmother would always say that. And I’m just so thankful for her spirit. Her spirit was one of humbleness. Her spirit was one of taking care of our family. She would always tell me, ‘Take care of your family, baby.’

“And that is what I’ve tried to do since the beginning of my career: take care of my family. Y’all are my family. I wanted to shine a light on our community through my storytelling, through the art that I make through music, movies, fashion; bringing it back around to us, to our Blackness, to our beauty. And I cannot help but think about the spirit of so many who’ve had to whisper to me, ‘thank you,’ in my ear because they did not feel seen. They did not feel safe. And they felt unheard for far too long. I’m thankful to be able to show up for you. I’m thankful to show up for my people in ways that are rooted in love. I’m thankful for that.

“I’m thankful for the spirit of so many who have come before me. The spirit of Prince, whose spirit taught me ‘I’m not a woman. I’m not a man. I am something that you’ll never understand’ [lyric from Prince’s “I Would Die 4 U”]. I’m thankful for the spirit of Nina Simone, who reminds me that my job as an artist is to reflect the times. I’m thankful for the spirit of Grace Jones, who encourages me to remain a free-ass MF. I’m thankful to the spirit of Earth, Wind & Fire for reminding me if there ain’t no beauty, make some beauty. Have mercy [paraphrasing lyric from the band’s “All About Love”]. I’m thankful for the spirit of Stevie Wonder, who reminds me that love is still in need of love today [referencing the icon’s “Love’s in Need of Love Today”].

“As we continue as a people to fight against the systemic injustices and abuses of power that have gone unchallenged for way too long, y’all … we see it around the world. We see what’s happening. I ask us all to please let the spirit of love use you. Let the spirit of kindness use you. Let the spirit of empathy use you. Let the spirit of peace be your guide, always and forever. And may our spirits guide us toward creating a safe and equitable space for our people. May we all experience joy, the spirit of true joy. I love you. Let the spirit use you, baby.”

At the end of 2021, Young Thug was one of hip-hop’s biggest rising stars: a critically-adored rapper with three chart-topping hits, three-chart topping albums, a Grammy award for song of the year and his own record label (YSL, short for Young Stoner Life) under Warner Music’s 300 Entertainment.

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Two years later, Thug (real name Jeffery Williams) is set to face a grueling trial starting Monday (Nov. 27) over allegations he ran a violent Atlanta street gang that committed murders, carjackings and many other crimes over the course of a decade — charges that, if proven, could send him to prison for decades.

Fulton County District Attorney Fani Willis, whose office is prosecuting the case, has said that YSL wrought “havoc” on the Atlanta area for nearly a decade: “It does not matter what your notoriety is, what your fame is,” Willis said hours after the superstar rapper was first arrested. Thug’s lawyer, Brian Steel, says he is innocent: “Mr. Williams committed no crime whatsoever.”

The YSL case pits prosecutors in America’s rap capital against one of the country’s biggest hip-hop artists, making it one of the music industry’s most closely-watched criminal cases in years. To get you up to speed before the trial, Billboard is explaining the YSL case: How did we get here? What exactly is this case about? And what comes next? Here’s everything you need to know.

What’s Young Thug accused of doing?

In May 2022, Willis unveiled a 56-count indictment against Thug and 27 other alleged members of YSL — an entity that she says is not really a record label called “Young Stoner Life,” but actually a violent Atlanta gang called “Young Slime Life” that’s affiliated with the national Bloods gang.

The case claims that since 2012, YSL members have committed a wide range of criminal wrongdoing centered on the Cleveland Avenue area of Atlanta, including murder, assault, robbery, theft, illegal gun possession, illegal drug possession and sales, and more. And prosecutors say that Thug was the clear leader of the organization — they’ve called him “King Slime — who “made YSL a well-known name” by “referring to it in his songs.”

In addition to Thug, the charges also targeted his star protégé Sergio “Gunna” Kitchens, as well as Deamonte “Yak Gotti” Kendrick, Arnold “Lil Duke” Martinez, Thug’s brother Quantavious “Unfoonk” Grier and many others.

The case is built on Georgia’s Racketeer Influenced and Corrupt Organizations Act, a law based on the more famous federal RICO statute that’s been used to target the mafia, drug cartels and other forms of organized crime. Such racketeering laws make it easier for prosecutors to sweep up members of an alleged criminal enterprise based on many individual actions.

Some of the most serious accusations in the indictment center on the 2015 killing of Donovan “Big Nut” Thomas Jr., who prosecutors say ran a rival gang in Atlanta. Five YSL members are directly charged with the murder, while Thug himself is accused of renting the car that was used to commit the killing.

Prosecutors also say other members looked to Thug for leadership on serious crimes. In one allegation, the indictment claims that two other YSL members discussed “how to obtain permission” from the rapper before attempting to murder rival rapper YFN Lucci (Rayshawn Bennett) while he was in jail.

After an updated, 65-count indictment was filed August 2022, the star himself is now facing eight counts, including one count of participating in the RICO conspiracy; one count of participating in a criminal street gang; three counts of violating the Georgia Controlled Substances Act; one count of possession of a firearm while committing a felony; and one count of possession of a machine gun.

Go read the full indictment here.

What happened to Gunna?

In the 18 months since the YSL indictment was first handed down, many of the original 28 defendants have either accepted plea deals or been separated from the case for procedural reasons, leaving only six defendants to face trial this week. Just weeks ago, for instance, Derontae “Bee” Bebee pleaded guilty and was sentenced to five years in prison.

The biggest plea came from Gunna, a critically-acclaimed YSL artist who has frequently been described as Young Thug’s protégé. Last December, he took a so-called Alford plea — a legal maneuver that allows a defendant to enter a formal admission of guilt while still maintaining their innocence. The deal made sense: Gunna had been charged in only one count of the indictment and faced far less serious accusations, mostly centered on his participation in music and social media that promoted YSL.

At the time, Gunna stressed that he had not agreed to work with prosecutors to convict Young Thug or any of the other defendants, and had “absolutely NO intention of being involved in the trial process in any way.” But at the court hearing where he entered the plea deal, Gunna publicly acknowledged that YSL was both “a music label and a gang,” and that he had “personal knowledge that members or associates of YSL have committed crimes and in furtherance of the gang.”

That has led to some backlash for the rapper, but true to his word, Gunna is not expected to testify at the upcoming trial. Citing an anonymous source, Rolling Stone reported in December that an understanding had been reached that “the state is not going to call him as a witness.” And if he were called, he would still be entitled to exercise his Fifth Amendment right to avoid answering questions.

Why are rap lyrics being cited in court?

The YSL case is one of the most prominent examples of prosecutors using lyrics as evidence against the artists who wrote them — a controversial practice that has drawn backlash from civil liberties activists, defense attorneys and, increasingly, the music industry.

Critics say the use of lyrics as evidence unfairly treats rap as a literal confession rather than a work of creative expression, potentially violating the First Amendment. Even worse, they say rap can have a prejudicial effect on jurors, tapping into existing biases toward young Black men and helping prosecutors win convictions where more concrete evidence is lacking.

California recently enacted first-of-its-kind legislation restricting the practice, and Democrats in Congress have proposed a bill that would do the same in federal cases — an effort supported by major music industry groups. But in the absence of such laws, courts around the country have mostly upheld the right of prosecutors to cite rap lyrics, particularly in gang-related cases.

For her part, the Fulton County District Attorney has offered no apologies: “If you decide to admit your crimes over a beat, I’m gonna use it,” Willis said last year. “I have some legal advice: don’t confess to crimes on rap lyrics if you do not want them used, or at least get out of my county.”

At a climactic pre-trial hearing earlier this month, Thug’s lawyer blasted prosecutors for attempting to use creative expression to convict his client. “They are targeting the right to free speech, and that’s wrong,” he said. “They are saying that just because he his singing about it, he is now part of a crime.”

Prosecutors argued back that lyrics were “proclamations of violence” by alleged gang members, making them “highly relevant” to proving that YSL was an illegal criminal enterprise. “The issue here is not rap,” one Fulton County attorney argued. “This is not randomly the state attempting to bring in Run DMC from the ’80s. This is specific. These are party admissions. They just happen come in the form of lyrics.”

In the end, Judge Ural Glanville sided with prosecutors and allowed the lyrics to be used in the case, repeatedly telling Thug’s lawyer that “the First Amendment is not on trial” in the case. “They’re not prosecuting your clients because of the songs they wrote,” Glanville said. “They’re using the songs to prove other things your clients may have been involved in. I don’t think it’s an attack on free speech.”

Go read the full list of lyrics that could be cited in the case here.

What took so long to get to trial?

The case against YSL is almost unfathomably complex — so much so that it has repeatedly strained the local legal system nearly to its breaking point.

With 28 men originally indicted, finding lawyers for all of them — a constitutional requirement — proved difficult. According to the Atlanta Journal Constitution, prosecutors secured millions in extra funding to bring huge gang cases, but Georgia’s public defense system did not receive equal funding to keep up. That forced the state to contract with numerous private defense attorneys to help cover the YSL case, but even that arrangement nearly fell apart this past spring over inadequate pay.

Jury selection was even harder. With the trial expected to last as long as a year, it proved nearly impossible to find a dozen people who could drop their financial commitments and halt their lives for that long. The selection process started in January with hopes that the trial could kick off in the spring, but it eventually took more than 10 months — by most accounts, the longest ever jury selection in Georgia state history.

Throughout all of that, Young Thug and the other defendants have been sitting in jail. Though Thug’s attorneys argued that he should be placed under house arrest, Judge Glanville repeatedly refused to grant him bond, swayed by arguments from prosecutors that doing so would increase the risk of witness intimidation.

How is Donald Trump involved?

If the words “Fani Willis” and “RICO” sound familiar, they should: She’s using the very same statute to bring an even-higher-profile case against Trump and others over alleged efforts to overturn the 2020 election in Georgia.

Back in August, a Fulton County grand jury in August indicted Trump and 18 others over accusations that they participated in a criminal scheme to try to keep the Republican in the White House after he lost the presidential election to Democrat Joe Biden. Several co-defendants in that case have recently pled guilty to lesser charges, including former Trump lawyers Sidney Powell and Jenna Ellis.

Willis recently proposed an August 2024 trial for the case — a timeline that could mean that both the YSL trial and the Trump trial would be happening simultaneously. Like the YSL case, the DA’s office expects the election trial to last many months.

Trump’s lead attorney, Steve Sadow, represented Gunna in the YSL case and negotiated his plea deal to end his involvement.

What do prosecutors need to prove?

As with all criminal cases, the burden is on prosecutors to prove “beyond a reasonable doubt” that Thug and others did what they’re accused of — meaning jurors must be virtually certain that they’re guilty before they vote to convict.

To prove the core RICO charges, the DA’s office will need to show a “pattern of racketeering activity” by the YSL members — meaning they conspired to run an illegal enterprise, or a “racket.”

Prosecutors will try to do so by detailing more than 150 “acts” that were allegedly carried out “in furtherance of the conspiracy.” Some of those will be what are called “predicates” — meaning actions that would crimes on their own, like the like Donovan murder. But others will merely be “overt acts,” meaning any concrete step that YSL members took to help the illegal enterprise, even if it isn’t a crime on its own. That’s where social media posts and song lyrics come into the case.

Importantly, prosecutors don’t need to show that every defendant knew about every element of YSL’s operations. They only need to prove that each YSL member knew about the conspiracy and agreed to be part of it, and took at least two actions to further it.

RICO is best known for the federal law that was created in the 1970s to target mob bosses who didn’t directly commit crimes themselves. But many states have passed their own versions, and Georgia’s, passed in 1981, is notably broader than the federal version. It has a longer list of crimes that can serve as “predicates,” and it covers shorter-term criminal conspiracies than the federal law.

Willis is very familiar with Georgia’s RICO statute. In addition to using it against YSL and former President Trump, she also recently brought a RICO case against a gang that allegedly robbed the Atlanta homes of celebrities like Mariah Carey.

And back in 2014, when she was an assistant DA, Willis served as lead prosecutor in a RICO case against a group of Atlanta educators over their role in widespread cheating on standardized tests. Following an eight month trial — the longest in Georgia history — Willis secured convictions against 11 of 12 of the teachers.

“The reason that I am a fan of RICO is, I think jurors are very, very intelligent,” Willis told reporters last year. “RICO is a tool that allows a prosecutor’s office and law enforcement to tell the whole story.”

How is the trial going to play out?

Starting first thing on Monday, the six remaining defendants — Thug, Marquavius Huey, Deamonte “Yak Gotti” Kendrick, Quamarvious Nichols, Rodalius Ryan and Shannon Stillwell — will go to trial.

The jury, composed of seven Black women, two white women, two Black men and one white man, will hear opening arguments from both sides, and then the DA’s office will begin calling witnesses. According to a report by Atlanta’s 11Alive, prosecutors said in court earlier this month that their list of potential witnesses includes a stunning 737 names, featuring 258 lay witnesses — regular people who can testify to what they saw — and 479 expert witnesses, who will explain complex issues to jurors.

Eventually, the defendants will get a chance to call their own witnesses. In a recent legal filing, Thug listed among his potential witnesses rappers T.I. (real name Clifford Harris) and Killer Mike (Michael Render), as well as music business executive Lyor Cohen, who co-founded 300 Entertainment. Thug’s attorneys will also call their own expert witnesses to counter the testimony from the government.

If convicted on the RICO charge, the defendants face prison sentences lasting anywhere from five to 20 years. But Thug and others also face separate charges over other specific crimes that, if proven, could add additional prison time to any eventual sentence.

Beyonce gave the Beyhive something to be thankful for on Thanksgiving morning (Nov. 23): a new and final trailer for her upcoming concert documentary, Renaissance: A Film by Beyonce. The two-minute teaser kicks off with a sideways home video before Queen Bey reveals who the cameraperson is when she addresses them: “Rumi, now can I […]

Next year could be a watershed moment for contemporary R&B at the Grammys, particularly in the General Field. With SZA leading all nominees at the 2024 Grammy Awards with nine nods and Victoria Monét (seven) and Coco Jones (five) right on her heels, a new class of R&B powerhouses is looking to make a major splash on Music’s Biggest Night.

At the top of 2023, Beyoncé became the most-awarded act in Grammy history thanks to her triumph in best dance/electronic album for her seismic Renaissance album. That same record — which won three additional Grammys and spawned a pair of Billboard Hot 100 top 10 hits — reigned victorious at the Soul Train Awards, where it secured the “Cuff It” singer her fourth album of the year win at the ceremony.

The Soul Train Music Awards launched in 1987 with a star-studded ceremony co-hosted by Dionne Warwick and Luther Vandross. Intended to celebrate the best in R&B, soul, rap, jazz, and gospel music, the Soul Train Music Awards predate any Grammy categories honoring rap and R&B albums. The Recording Academy introduced best R&B album (along with such other “genre album” awards as best pop album, best rock album and best country album) in 1995, with best rap album arriving the following year.

So, just how often do the winners of the Soul Train Music Award for album of the year sync up with the Grammy winners for best R&B album, best progressive R&B album and best rap album? While Soul Train cannot always be used as a proper precursor there is certainly considerable overlap between the two shows.

Every Soul Train Music Awards ceremony since 1995 — barring 2020 — has found the show’s album of the year winner getting, at the very least, a nod in its respective genre category at the corresponding Grammy ceremony. There have been 15 instances in which the Soul Train album of the year winner won the Grammy for their respective genre category. But there’s a catch.

For the the ceremony’s first nine years (1987-1996), album of the year was split into male, female, and group, with additional categories for rap, jazz and gospel albums. From 1997 to 2003, the awards were consolidated into a single R&B/soul or rap album of the year category. In 2004, Soul Train experimented with dropping genre specifications, presenting an award simply titled “album of the year.” They returned to the male, female, group split from 2005 to 2007, ultimately settling on one album of the year category from 2009 onwards.

Here’s some more Soul Train Music Awards lore: the 2008 ceremony was canceled due to the 2007-08 Writers Guild of America (WGA) strike. Luckily, the 2023 WGA strike ended in time for this year’s Soul Train Music Awards.

This year’s Soul Train album of the year nominees are SZA (SOS), Victoria Monét (Jaguar II), Coco Jones (What I Didn’t Tell You – Deluxe), Babyface (Girls Night Out – Extended), Burna Boy (I Told Them…), Ari Lennox (age/sex/location), Janelle Monáe (The Age of Pleasure) and Summer Walker (Clear 2: Soft Life – EP).

The 2023 Soul Train Music Awards will air on Sunday, Nov. 26, at 8 p.m. ET/PT on BET and BET Her. SZA, Summer Walker and Usher lead all nominees with nine nods each.

Here’s a brief overview of which albums have triumphed at both the Soul Train Music Awards and the Grammys.

1995

Jack Harlow has his third No. 1 on Billboard’s Streaming Songs chart thanks to “Lovin on Me,” which debuts atop the ranking dated Nov. 25. In the tracking week of Nov. 10-16, “Lovin on Me” earned 22.2 million official U.S. streams, according to Luminate. That’s in its first week of release, though prior to its […]

It’s been years since the infectious kids song “Baby Shark” wiggled its way onto everyone’s computer screens in 2016. And since it went viral in 2018, eventually charting in the Billboard Hot 100 top 40 the next year, the absurdly catchy dance-along hit has gained a number of high-profile fans — including Cardi B. So much so, Cardi […]

Ms. Lauryn Hill has had to push back the 25th anniversary tour celebrating her landmark Grammy-winning The Miseducation of Lauryn Hill album once again. The singer told fans in a statement on Tuesday (Nov. 21) that her ongoing issues with a severe vocal strain mean that she has to push the remaining dates on the outing into 2024.
“Id like to start this off by saying how much I’ve enjoyed being on the road, and how much I appreciate all of the fans who have come out to celebrate this incredible milestone anniversary and history making reunion with us. Being able to tour this album to sold out crowds after 25 years has been an emotional experience!” Hill wrote in an Instagram post accompanied by footage of her straining through a performance of “Ex-Factor,” her voice audibly hoarse and scratchy.

According to a statement from her spokesperson, Hill has been suffering from the side effects of nightly use of the steroid prednisone to treat her vocal condition; common side effects of using prednisone include dizziness, irregular heartbeat, headaches, irritability, rattling breathing, numbness in arms/legs, shortness of breath and labored breathing.

Hill addressed those unintended consequences in the post. “As many of you may know, I’ve been battling serious vocal strain for the past month. I made it through each show by taking prescribed prednisone, but this can be detrimental to the body when taken in large amounts over long periods of time,” she wrote. “In order to prevent any long term negative affect on my voice and my body, I need to take time off to allow for real vocal recovery so that I can discontinue the medication completely.”

Last month, Hill postponed a run of shows to “heal and rest” her voice, including a gig in Philadelphia that was originally slated to take place early in the run of shows that also find her reuniting on stage with her Fugees bandmates Wyclef Jean and Pras. She paid tribute to the pair in Tuesday’s note about the tour postponement.

“I’ve loved sharing the stage again with Wyclef and Pras. The Return of the Fugees has been powerful and amazing — those who’ve witnessed it can testify,” she wrote. “The tour itself reminds us the artists, and the audiences alike of earlier, perhaps less complicated times when ‘It could all be so simple…’ or ‘Ready Or Not, here I come!’ were on repeat on the airwaves. Simply put, classic. Classic music, classic performances with audiences who love those classics has been nothing but…wait for it…EPIC. (I almost said classic again! 🙀).”

The note ended with Hill breaking the news that the remainder of this year’s scheduled gigs — including shows in Atlanta, Nashville, Charlotte, Huntsville, Tampa, Miami and Boston — will be pushed to next year. The exception is Saturday night’s (Nov. 25) already rescheduled gig at the Wells Fargo Center in Philadelphia.

“The shows that were cancelled this year will be rescheduled for early 2024 AND because of the overwhelming response, we’ll be adding new cities to the tour, including overseas,” Hill added, noting that her team is working on a new calendar of dates that they plan to announce soon.

Check out Hill’s post below.

It’s Chris Brown’s time again on Billboard’s Top R&B Albums chart as his new project, 11:11, debuts at No. 1 on the list dated Nov. 25. The set, released on Nov. 10 through CBE/RCA Records, starts with 45,000 equivalent album units earned in the U.S. in the week ending Nov. 16, according to Luminate.

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The new champ also achieves a feat that had seemed nearly impossible in the last year, unseating his RCA labelmate SZA’s SOS blockbuster from the No. 1 spot on Top R&B Albums. Since SOS docked at No. 1 on the chart dated Dec. 24, 2022, the album had ranked at No. 1 every week since – a total of 48 frames.

Streaming contributes most of 11:11’s first-week activity. 38,000 units of the album’s 45,000 total are from streaming clicks, equaling 51 million official on-demand audio and video streams of the album’s songs. Traditional album units provide 6,000 units from the remaining sum, with the last 1,000 units from track-equivalent album units. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.)

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In all, 11:11 gives Brown his fifth No. 1 on the Top R&B Albums chart, which began in 2012.Elsewhere, 11:11 clocks a No. 2 entrance on Top R&B/Hip-Hop Albums and No. 9 on the all-genre Billboard 200. On both charts, the launch secures Brown’s 12th top 10 album – the entirety of his output, sans his collaborative mixtape with Young Thug, Slime & B, which peaked at No. 15 on the former and No. 24 on the latter list.

As 11:11 arrives, eight of its songs appear the Hot R&B Songs chart, including six debuts. The previously released singles “Sensational” jumps 21-7 in its third week on the list, while “Summer Too Hot” re-enters at No. 23 after having achieved a No. 6 peak in August. Here’s a look at the 11:11 placements on this week’s list:

No. 7, “Sensational,” featuring Davido & Lojay

No. 8, “Angel Numbers/Ten Toes”

No. 9, “That’s on You,” featuring Future

No. 11, “No One Else,” featuring Fridayy

No. 12, “Press Me”

No. 17, “Feel Something”

No. 22, “Nightmares,” featuring Bryson Messia

Brown also lands a ninth concurrent hit on this week’s chart. His collaboration with Ciara, “How We Roll,” slides 8-15, in part due to the 11:11 debuts, in its 14th chart week.

Meet Boys Are Rolling. The producing trio of Miles Sugarman, Crosby Spagnoli and Arno Sugarman are making a name for themselves by working with artists such as Joey Bada$$, Gunna, JID and Smino. The trio opens about how they came together, the projects they are working on, how they find artists to work with, the future of the group and more!Crosby Spagnoli:I definitely saw some people at the beginning were like, “Whoa, you guys made this.”

Miles Sugarman:It’s always, “You guys made this?” that’s always … Arno Sugarman:They always thought that we would pull up like somebody else’s beats or something.

Miles Sugarman:I’d say the simplest way to put it is Arno will start something, kind of get a great base idea down, we’ll then give it to Crosby. Crosby will polish it up, make it ready to then give to an artist, have it, like, song ready, and then I’ll get it to the artist. I’d say that’s the simplest way to put it.

Boys Are Rolling:Yeah.

Miles Sugarman:Me and Arno are brothers, so I guess we’ve known each other for quite a long time now and Crosby went to our high school. He and I did a music theory class together, and at the time, Arno was making beats on his computer, which wasn’t that popular, at least in my personal opinion. It didn’t seem that popular. And Crosby one day was like, “Oh, yo, like I make beats too, like, check this out.” I thought he was hilarious. I thought his music was really interesting, and because they were the only two that I personally knew that did that kind of, I guess, producing, I was like, “You guys need to meet.”

I find mostly bubbling artists, mainly through Spotify. I’ll check out artists that I really like, see who they’ve worked with or check their Instagram to see who likes them, and you’ll stumble upon something fantastic. Luckily, we now have, I feel like, enough credibility where I can DM someone who’s not, you know, completely blown up and usually we have a good success rate of who will hit us back. That’s my favorite part of this. It’s been like this is great. We want to work with them and actually have the ability to work with them.Watch the full video above!