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Michael Jackson needed some guidance. “The first time he came to my home he said to me, ‘I’m getting ready to do my first solo record for Epic Records,’” Quincy Jones recalled in Q, his 2001 autobiography. “‘Do you think you can help me find a producer?’”
Jones, a musician of unparalleled range and talent who had already overseen or arranged records for Frank Sinatra, Sarah Vaughan, and Aretha Franklin, ended up filling the role himself — over the objections of Jackson’s record label, who deemed the producer “too jazzy.” Thanks to Jackson’s collaborations with Jones on Off the Wall, Thriller and Bad, the two men are inextricably linked.
If there was a downside to helping Jackson become an icon and sell enough albums to populate a small planet, it’s that this achievement often obscures the breadth of Jones’ own accomplishments, reducing his career in the late 1970s and 1980s to a single sidekick role. Jackson did need Jones at his side to make the best music of his most classic period. But this dependency was not mutual: Jones’ productions during this era — for the Johnson Brothers, George Benson, Chaka Khan, and Donna Summer, among others — can hold their own against Jackson’s finest singles.
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Jones’ dance music is propulsive, but more than that, it levitates. It makes sense that when Jackson appeared to defy the laws of physics by moonwalking on national television in 1983, he did so to one of Jones’ productions. There is a lot of great disco, yet there are just a handful of songs from this period able to conjure the feeling that Jones reliably created: His productions seem to glide, reveling in the heady momentum of liftoff, cheerfully spurning the ground that the rest of us must rely on to generate forward movement.
Jones made this look easy. For him, producing was always a group effort. When preparing to work with Jackson, the producer rounded up what he called his “killer Q posse,” a group of musicians where “every one was a black-belt master in his own category:” the songwriter Rod Temperton, the engineer Bruce Swedien, the keyboard player Greg Phillinganes, the trumpeter/arranger Jerry Hey, the bassist Louis Johnson, the drummer John Robinson, and the percussionist Paulinho da Costa.
This group worked on Off the Wall, released in the summer of 1979, and most of them also contributed to Rufus & Chaka Khan’s Masterjam, which came out later that year. All Jones’ powers are on display in “Any Love,” the latter album’s second track, an indictment of a playboy — “You don’t really love from deep within,” Khan sneers — that’s as savage as it is danceable. In the first verse, the drums march stiffly, while the bass is excitable like the cad Khan targets, popping rudely and bounding showily into the chorus. Jones gradually ratchets up power, adding jolting brass and a string section that zigs and zags dramatically. This clears the way for a jaw-dropping eruption from Khan, the sort of vocal bulldozing that Jackson, with his more delicate register, couldn’t match.
The following year, the “killer Q posse” returned on a pair of albums produced by Jones, both of which aimed to conquer the nocturnal hours — the Brothers Johnson’s Light Up the Night and George Benson’s Give Me the Night. “Closer to the One That You Love,” from the former, is an intricate, slinky miracle, with a sudden, vertigo-inducing vocal climb from lead singer George Johnson. And on Give Me the Night, both the title track — which hit No. 4 on the Billboard Hot 100 — and “Love X Love” are frisky and strutting, with guitar figures that skim across the brisk beats like smooth pebbles skipping across a pond.
Summer turned to Jones and his posse for their wizardry in 1982, managing to bottle lightning with “Love Is in Control (Finger on the Trigger).” The soaring harmonies on the chorus, the nasty edge to the bass line, the way the horns add sizzle to an already piping-hot track; these are all the indelible hallmarks of Jones’ work.
“Love Is in Control” only made it to No. 10 on the Hot 100, which would surely have been a disappointment for its producer. “Number 1 is euphoric and addictive,” he wrote in Q. “Numbers 2, 6, and 11 are my least-favorite chart positions.” Of course, Jones enjoyed plenty of that “euphoric and addictive” feeling after Thriller came out in November 1982.
If Q is any indication, Jones didn’t seem to care much about his work with Summer and Benson and Khan — or even his longer association with the Brothers Johnson, for whom he produced four albums. Jackson, of course, looms large in the book. And Jones is proud of his work in jazz and film scoring. But vital albums he helmed in the 1970s and 1980s barely even merit a mention in his autobiography. Jones passes over these remarkable songs, which can still reliably light up the night, as if they were just another humdrum day in the office.
Play “Love Is In Control” for a casual listener, though. They’ll probably say, “that sounds like Michael Jackson!” In truth, it sounds like Quincy Jones.
Solange loves her some Sosa. Footage captured Chief Keef meeting Solange over the weekend and the heartwarming exchange found the Chicago drill pioneer in shock that the A Seat at the Table singer was a fan of his music.
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“That’s you on the keys?” she asked Sosa about a certain song of his. He replied stunned: “What the f–k is going on?” All Solange could do was laugh at the interaction.
Another clip found Chief Keef calling her his “bestie.” “Y’all heard Solange my bestie,” he said. “That’s my bestie.”
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A bystander chimed in: “That’s hard!”
Fans lent their stamp of approval to the unlikely meet-up in The Neighborhood Talk‘s IG comment section. “I love how celebrities get star struck as well cuz Sosa ain’t wrong this is a wholesome moment frfr,” one person wrote.
Another added: “He was lowkey happy she knew who he was I love that for her!”
Chief Keef is currently on the road for his A Lil Tour run, which was rescheduled from earlier this year to close out 2024 due to a medical emergency. He’ll be making North American stops in Denver, Dallas, Houston, Atlanta, Brooklyn, Detroit, Philly and more before wrapping up in Washington, D.C. on Nov. 24.
Solange and Sosa are yet to collaborate, but perhaps that could change in the future. Chief Keef delivered his delayed Almighty So 2 project in May, which debuted at No. 30 on the Billboard 200.
Solange has been laying low on the album front as her last LP arrived in 2019 with When I Get Home. Earlier this year, she teased writing music for the tuba. “I’ve started writing music for the tuba, and I am trying to talk myself into releasing it, but I can only imagine the eye rolls from people being like, this b—h hasn’t made an album,” she told Harper’s Bazaar.
Watch the clip below.
Between the Election Day (Nov. 5) and the 2025 Grammy nominations reveal (Nov. 8), the week ahead promises to be one of the busiest in recent memory. The worlds of hip-hop and R&B are sure to be central to both of those events, but major cross-generational news has already made this week a heavy one.
According to his publicist, Quincy Jones, a 28-time Grammy-winning giant across entertainment, passed on Sunday night (Nov. 3) at his Bel Air home surrounded by his family. The producer behind Michael Jackson’s historic LP as well as iconic films such as The Wiz and The Color Purple, Jones’ contributions across music, film, television, and music journalism are immeasurable and his impact will continue to be felt for generations to come.
The news of Jones’ passing comes just days after the shocking conclusion to Young Thug‘s highly-publicized criminal trial. The Hot 100-topping rapper was sentenced to 15 years probation and no prison time after pleading guilty in the long-running case accusing him of leading a violent Atlanta street gang. The decision rocked the hip-hop world, with everyone from Sexyy Red to T.I. reacting to the news. R&B singer Mariah the Scientist, Thugger’s girlfriend, even skipped out on one of her shows on Latto’s Sugar Honey Iced Tea tour to go spend some time with her man.
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Jordan Hawkins’ rollicking ode to a “Love So Good” to Big Moochie Grape and Key Glock’s latest link-up. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: J.I the Prince of N.Y, “Get to Know Me”
Nearly a decade after he first appeared on The Rap Game, J.I the Prince of N.Y is still dropping heat. The Brooklyn emcee is always good for a track that seamlessly blends emotional vulnerability with New York braggadocio, and “Get to Know Me” is another winning addition to his catalog. “I know you brushing off ya pain, if you afraid to fall in love can you at least try to love me coldly/ You used to tell me bout ya day, now we dancing in the rain, do you really wanna get to know me?” he somberly sing-raps over a downcast R&B-inflected trap beat, courtesy of DopeBoyz and Buckroll Beats. “Get to Know Me” clearly positions J.I in the lane of A Boogie wit da Hoodie — and, in turn, the legacy of NY rap ballads (shoutout LL Cool J) — but his wordy hooks and stream-of-consciousness verses push him somewhere slightly different. J.I’s new track plays like a rambling apology, sometimes a pre-emptive atonement and other times he knows he’s already too late.
Nippa, “Pride”
London native Nippa has been steadily making waves on both sides of the pond with his slinky mixture of rap and R&B for some time now. “Pride,” a sultry Afrobeats-influenced ode to letting your guard down and giving into love, deserves to be his biggest hit yet. Over lovelorn guitar and a drum pattern that begs every waist in the room to start wining, he sings “Wonder if I try/ Take off my disguise/ Wonder how it feels to be you/ Feeds my ego, play and pick two.” The Louddaaa-helmed track is quite short, which perfectly positions it for endless remixes and extended version to further build out its atmospheric vibe.
Jordan Hawkins, “Love So Good”
Between Leon Thomas’ stunning Mutt LP and the ever-growing rumors of an impending rock album from Beyoncé, the union of rock and R&B has been growing notably stronger this year on the mainstream level — and North Carolina native Jordan Hawkins has something to say. “Love So Good,” a brash, raucous amalgamation of soul, rock, and gospel is a beautiful breath of fresh air. Beginning at the very apex of his falsetto, Hawkins tears through his ode to a life-changing love with an impassioned vocal performance that peppers his slight drawl with histrionic growls, effortlessly matching the rousing energy of the track’s instrumentation. Not too shabby for Hawkins’ first solo single of 2024.
Big Moochie Grape & Key Glock, “Manifest”
Big Moochie Grape is back. The Memphis rapper returned with his Eat or Get Ate 2 sequel project on Halloween. It’s a Paper Route Empire affair on “Manifest” with BMG calling on PRE honcho Key Glock for the braggadocious “Manifest.” Big Moochie manifested this life of luxury with some potent “za” in his pocket and $300,000 worth of ice around his neck. For him, it was always about the dollar signs. “All of these cap-a– rappers trying to fit in,” he raps over Bandplay’s cinematic production. “All I want is money, I don’t need friends.” Glock takes the baton and slows down the pace to balance out Big Moochie’s fervor.
BabyTron, “Nightmare On Yo Street”
Instead of Nightmare on Elm Street, BabyTron’s bringing a nightmare right to your block. With spooky season in full swing, Babytron adds to the terror with “Nightmare On Yo Street.” The Detroit rapper has carved out his own lane with a signature flow that feels like he’s talking directly to you while punching in every haunting bar. “This a f–king gun fight/ Why you bringing a knife,” he asks from the middle of a creepy cemetery in the official visual. It’s a welcomed addition to any ghostly playlist as BabyTron heads into his Tronicles album dropping on Friday (Nov. 8).
Ella Mai, “One of These”
An artist like Ella Mai wouldn’t typically appear in this column with hits on her resume, but “One of These” is an exception to the rule. The British singer may have found her next radio smash with the romantic tribute to her boyfriend and Boston Celtics forward Jayson Tatum. Mustard samples Timbaland’s hollow bounce from CeeLo Green’s “I’ll Be Around” while Ella Mai implores women to get them “One of These.” “Wake up in the morning, he got flowers at my feet,” she sings. Although — there’s just not many 20-something-year-old NBA stars walking the earth who could already waltz to the Hall of Fame.
Worl Boss is finally free — and now the Jamaican musical and cultural icon is getting the podcast treatment.
Worl Boss: The Vybz Kartel Story, an eight-part podcast series from SALT, Big Wave More Fire and Gulfstream Studios, is set to debut on Dec. 16, 2024. Created by Tahir Garcia and Sam Griesemer and executive produced by Nick Panama and Max Musina, the audio series will explore the life, career and influence of the dancehall icon.
“There’s so many incredible stories that exist within dancehall and reggae music and the culture here in Jamaica, and so many of them don’t get shared with the public. The only time you hear these stories is if you’re lucky,” Garcia, who also narrates the series, tells Billboard. “We took a step back, two or three years ago, and decided that we wanted this space to be able to tell the story properly. Obviously, podcasting has become this huge thing. But one thing that’s missing, especially in Jamaican culture, is this concept of [podcasts] being scripted. There’s so much more that can be brought to it with sound design and actually sitting down and editing interviews to tell the narrative in a way that captures everything and really preserved the essence of [Vybz Kartel’s] story.”
The new podcast series is told entirely by Jamaican voices and will exclusively feature interviews with important figures within Kartel’s circle, including the first female member of Kartel’s Portmore Empire crew Lisa Hyper, Kartel’s former DJ Creep Chromatic and famed musician Wayne Marshall. These key players will also be joined by Winford Williams — host of On Stage TV, the longest-runnning dancehall interview series — as well as essayist Carolyn Cooper, author and professor Donna Hope, and Milk and Jay Will, two important collaborators on Teacha’s Pet, Kartel’s reality show.
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Earlier this summer (July 31), just over a week before Jamaica’s Independence Day (Aug. 6), Kartel regained his freedom after the Court of Appeal unanimously ruled that he and his co-accused — Shawn Campbell, Kahira Jones and Andre St. John — will not face a new trial for the 2011 murder of Clive “Lizard” Williams. Although he was originally sentenced to 35 years in prison after a historic 64-day trial back in 2014, Kartel (and his co-accused) have always denied their involvement in Williams’ death.
“We have a lot of assets and we spoke to people at the source, including his camp, people in and around his orbit, fans and musicians. We did a pretty extensive job covering all the bases,” says Panama. “We have a lot of voices that are going to be represented and using that as a way to help breakthrough and create the world around the story is part of how we’ll successfully bring this to market. We’ve got some really great partners in the audio space that we’ll be announcing soon, and I think they’ll help amplify this project even more.”
Known for hits such as “Fever” and his Spice-assisted “Romping Shop,” Vybz Kartel’s raunchy music and slick wordplay have soundtracked multiple generations of dancehall listeners, and Garcia promises the new series will be for everyone: from first-time listeners to lifelong fans. “If this is your first introduction [to Vybz Kartel], it’s supposed to be just as impactful as it would be to someone who’s listened to him forever.”
In addition to his music and efforts to support Jamaica, Kartel’s legal woes have also become a major part of his legacy — one that Worl Boss does not shy away from. “Everything gets addressed and talked about. We just don’t dwell on that. It’s a part of the journey, but it doesn’t define the character,” explains Garcia, who also tells Billboard that, “the hardest part was getting people who are close to [Kartel] to speak freely — especially while he was still incarcerated — because nobody wanted to do anything that could potentially incriminate [him or themselves]. Everyone was very, very cautious about agreeing to do it, and what put them at ease was us not focusing on the mess.”
Although there are currently no additional details about the podcast’s distribution, Panama stresses that the podcast series is just one part of the story they hope to tell. “The second [part] is a documentary series and feature film that are in development with arguably one of the biggest Jamaican directors, and UTA’s representing the project,” he reveals. “That will probably be more of a late 2024 thing, but the reason we did those together is because the story is so dynamic. Dancehall is such a small genre from a small country that has an enormously outsized impact globally. To have a revered yet controversial figure at the heart of that with Vybz [Kartel] is such a fascinating character and cultural study.”
Since his release, Kartel has remained outside partying and enjoying his freedom ahead of a massive “Freedom Street” concert at the National Stadium in Kingston, Jamaica, on Dec. 31 — his first performance in 13 years. Production and filming for Worl Boss began before Kartel regain his freedom, but now “there’s a third act to his story,” Panama muses. “He wasted no time walking out of prison and getting his entrepreneurial and music endeavors back up and running and continuing to build his mythology.”
From February’s box office-topping Bob Marley: One Love biopic to Worl Boss, Jamaica has remained at the forefront of global popular culture throughout 2024. For his part, Garcia hopes this new podcast series is the beginning of several projects chronicling and preserving Caribbean culture and music history. “That’s one of the things we spoke about very early on in this process, what does the next step within this space look like?” he says. “Once [Worl Boss] starts rolling out, hopefully it reshapes what people think is possible, and that’s going to be even more exciting.”
Tyler, the Creator released his eighth studio album, Chromakopia, on Oct. 28. And on Monday (Nov. 4), the rapper celebrated that album debuting at No. 1 on the Billboard 200. The set launched with 299,500 equivalent album units earned in the U.S. in the week ending Oct. 31, his best week ever in terms of […]
This ain’t high school — Nicki Minaj is heading to college. In addition to resuming her education, the Barbz leader is relaunching her Student of the Game charity fund.
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It’s unclear what inspired Nicki’s push to further her education, but she told fans on X Sunday (Nov. 3) that the charity was back and she’s going to be a student once again.
“Barbz, as you may recall, 2 days ago, I mentioned me getting a college degree & that I’d share more on the Major & other details at a later time,” she wrote. “I wanted to also mention that I plan on resuming my #StudentOfTheGame Charity for Barbz who need help with College. Info 2 come.”
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Nicki helped handfuls of students facing financial issues back in 2017 when she stepped up to pay fans’ tuition, room and board, book costs, student loans and more to help alleviate the semester’s stress.
One person she helped get through college hopped into her replies, thanking her and letting Minaj know that her assistance allowed them to move onto law school. “You helped me graduate college by paying my student loans in 2017,” they wrote. “I graduated with my BA in Criminal Justice and now I’m onto law school. Thank you.”
You helped me graduate college by paying my student loans in 2017. I graduated with my BA in Criminal Justice and now I’m onto law school. Thank you.— J. (@J0rdan0re0) November 4, 2024
Another student she helped out added, “Will never forget this. You said mine on IG live and from there I just waited. I told my parents and like nobody else off social media. My mom was like this may be a scam. Don’t give out any personal information and I’m like mom this is really NICKI MINAJ. And I was like she follows me on Twitter but she still didn’t believe me. She didn’t know how serious you were with fans/fan interaction.”
Nicki went on an impromptu payment spree, helping fans out with educational costs in 2017 if they brought back straight As and had proof on their report cards. She promised to continue to make this more of thing and eventually turn it into a charity.
“This makes me so happy,” she wrote on IG in May 2017. “I’ll do another impromptu payment spree in a month or 2 but pls know that I’m launching my official charity for Student Loans/Tuition Payments VERY SOON! You’ll be able to officially sign up! I’ll keep you posted!”
She followed-up and made good on her word in July 2018 when Minaj awarded 37 students with the Student of the Game scholarship ahead of her Queen album arrival, which completely paid off student loans and tuition for the selected scholars.
It’s unclear exactly how Minaj plans to tackle her own education, but she wants to help more people along the way. The Queens-bred rapper graduated from Fiorello H. LaGuardia High School of Music & Art and Performing Arts in 2000.
It’s late October inside Atlanta’s Forbes Arena, where renowned HBCUs Morehouse and Spelman College are commemorating their 2024 Homecoming with a major on-campus concert. A high-energy DJ set of hometown classics from Lil Baby’s “My Dawg” to 21 Savage’s “Red Opps” fades as the lights dim. A voice calls out, “Are you ready for Hunxho?”‘ The crowd’s yells echo throughout the arena, growing even louder as the 25-year-old rapper-singer steps out from backstage, launching straight into his latest feature verse from Lil Durk’s single, “Late Checkout.”
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As the energy starts to settle, Hunxho suddenly shrugs off his black tracksuit jacket and tosses it into the crowd. Arms reach up, eager to catch it like a freshly worn Bronny James Lakers jersey. It’s the kind of response only real admiration can inspire. You can see it in the eyes of all the women pressed against the front row, following his every step across the stage. One young woman even mouths the words, “I love you,” as he passes by.
Love, lust, and vulnerability have become signature themes for Hunxho, who hails from North Carolina but was raised in East Atlanta. His conversational, introspective lyrics resonate with fans, turning tracks like “7 Am,” “Yes,” and “Looking For Love” into crowd anthems. These may not be radio hits, but they’re sung with platinum-level fervor by his devoted audience — a testament to his rapid rise.
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Some might say he went from unknown commodity to overnight star, wheeling out 1 billion streams and a sold-out headlining US tour, becoming an XXL 2024 Freshman, and jumping on remixes with industry heavy-hitters like 21 Savage and Summer Walker. But to say that wouldn’t be remotely true at all.
Earlier, before his performance, Billboard met Hunxho at his pre-show soundcheck in an empty Forbes Arena to hear the story from the man himself. Seeing him in person, you first notice his height, as he towers over his peers at an impressive six-foot-seven. His long legs give him an athletic, almost weightless stride that seems effortless on and off stage. “I hit a growth spurt at two,” he jokes, then clarifies, “Just playing. I for real got tall in middle school.”
By middle school, Hunxho — born Ibrahim Dodo— was already starting a cycle of school expulsions, reflecting the instability and lack of structure in his life. Growing up in East Atlanta without a father figure and facing the weight of aggressive poverty, he felt a need to be self-sufficient and bring in money. At 13, he realized he’d do whatever it took to get paid. Around the same time, he found rapping to be an outlet for self-expression. It started when two buddies he knew brought a studio setup to school. “They let me take the studio home, and I recorded my first verse in private. They loved it,” he recalls. That was the start of “Young Slime” – his first rap name.
Before the full story of Young Slime can be shared, six starstruck students timidly request photos with him, which Hunxho obliges. He takes each flick without saying a word. The students are also speechless, nervous in his presence, but hardly able to contain their excitement. Soon after taking their pictures, we move our conversation from the Forbes Arena to outside and overheard them loudly commenting on his “nonchalant” aura.
“People started asking for pictures a little at a time,” Hunxho explains. “It started with two people, then ten, and now — everyone.” When asked if fame ever becomes too much of a hassle, he replies, “Sometimes. When I’m irritated or going through it, yeah. But I still take ’em — they didn’t do anything wrong. Only time I probably won’t take a picture is if I’m with my kids. But sometimes I will, just so my kids know it’s alright.”
For Hunxho, the journey from “troublesome teen” to rap icon wasn’t quick or easy. After being expelled from multiple Georgia high schools by his senior year, he briefly relocated to North Carolina to play a season of basketball at Forest Trail Academy, eventually attending Northeastern Junior College in Colorado. Despite the move, Atlanta’s pull was too strong. Returning home, he faced brushes with the law and a stint in county jail before committing to his purpose in his music.
“Rapping was the most consistent thing I did,” he says, a consistency that deepened after a meeting with Saad, the CEO of 1865 Management. “Saad noticed me, and after we met, he got me sessions. I was in the studio every day.” Often, that meant spending day and night at 700 Studios, where the environment became his second home.
Further encouraged by the rise of several Atlanta artists, Hunxho honed a style of raw, melodic storytelling about resilience, romance, and survival. His career saw a major boost when 21 Savage remixed his hit “Let’s Get It,” and a record deal with 300 Entertainment in 2022 followed, sparking a turning point. “That felt like my first day as a rapper,” he recalls. “I told them, ‘Keep me busy — I’m not trying to get in no trouble.’ And my schedule filled up.” Yet even before that, he’d felt the shift: “My life was already changing. More people knew me. Songs were blowing up.”
Four new Hunxho releases came in 2023: Humble As Ever, 22, 4 Days In LA, and the game-changing For Her — which topped Billboard‘s Heatseekers Albums chart, with 18 of the 22 tracks garnering over a million streams on Spotify. The breakout hit, “Your Friends,” has 25 million streams, received a remix featuring Summer Walker, and has been certified gold by the RIAA, his first work to receive the honor.
Hunxho’s tireless work ethic was bled over to touring, where he’s opened for hitmakers Lil Baby, Kevin Gates and Sexxy Red. The extensive time on the road may have affected him differently before becoming a father to Xhosen, born in 2022, and Xho, who came the following year. Knowing how his father’s absence affected his upbringing, Hunxho confronts the issues of his career demands head-on on “Xhosen,” the seventh song on his latest album, Thank God.
“I was just going through my music one day and realized in almost every song I make, I mention God, so it’s only right,” reveals Hunxho about the title track to Thank God, which also includes notable features from Ty Dolla $ign, Polo G, Mariah the Scientist, Rylo Rodriguez, and Lil Durk.
Thank God is Hunxho’s most thoughtful, polished project. His pen game has improved, and his pitch is perfect for the way he crafts soul-touching music. Then, there’s the flows, the subject matter, and the singing — he does a lot to be versatile. And you can hear how deep he dug to be emotionally exposed about gratitude and redemption, glory and street honor, tender confessions, and harsh truths while giving all the glory to God.
Yet, despite his triumphs, he yearns for more even after the curtain closes on his epic homecoming performance. “I feel like I gotta go harder,” he says. “This album won’t last forever.”
On a monumental night for the Toronto Raptors and the team’s former star Vince Carter, the biggest news was about someone in the stands: Drake.
The hometown rapper and Toronto Raptors global ambassador sat courtside for the halftime retirement ceremony of Carter’s number Saturday night (Nov. 2), and joined TSN commentators Matt Devlin and Jack Armstrong for the broadcast of the game between the Raptors and Sacramento Kings.
After insisting the broadcast get a shot of fellow Toronto artist Jessie Reyez, Drake took some shots at his former friend DeMar DeRozan. The former Raptors star who now plays for the Kings appeared in the video for Kendrick Lamar’s Drake diss track “Not Like Us.”
Drake acknowledged the importance of Carter, the first Raptors player to have his jersey retired in Toronto, but said “unfortunate we’re playing this goof tonight,” referring to DeRozan.
Later, he said “If you ever put up a DeRozan banner, I’ll go up there and pull it down myself.”
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Drake violating Demar Derozan while commentating the game “If you ever put up a DeRozan banner, I’ll go up there & pull it down myself.” Called homeboy a “Goof” 😭😭 pic.twitter.com/Mo38Y5sicb— DJ Akademiks (@Akademiks) November 3, 2024
In a post-game media scrum, a reporter asked the Sacramento Kings star about Drake’s comment. “He’s going to have a long way to climb,” he quipped. “Tell him good luck.” Then, he abruptly got up and left the podium.
DeRozan appeared in the music video for his hometown Compton rapper Kendrick Lamar’s hit “Not Like Us,” which included many veiled and overt shots at Drake. He also danced onstage during the performance of the song at Kendrick’s hometown Pop Out concert .
It seemed like the former Raptor had chosen his side in the Drake-Kendrick feud, but he later told the Sacramento Bee that he and Drake were still on good terms. “Drake’s still my man,” he said . “None of it changed.”
Apparently Drake doesn’t feel the same way.
It was a special night for the Raptors, who retired the number of its first franchise superstar Vince Carter. Carter played for the team from 1998 to 2004, and put the city on the basketball map. His electrifying dunks made him a global culture phenomenon. He was an investor in Toronto’s first nightclub with bottle service, and brought many celebrities to the city.
Carter and the team had a bitter breakup, and many fans never forgave him until recently. But his influence remains undeniable. Some have argued the popularity of Carter paved the way for stars like Drake to make an international impact from Toronto.
Carter gave a shoutout to Drake during his speech and relayed a story that he once threw his armband to him at a Raptors game when the rapper was a teenager. “How about that?” he said. “A freaking icon here that I threw my armband to! See I be knowing.”
Drake’s appearances at Raptors games are less frequent than they used to be, but he still has a way of making headlines every time he’s there.
The award-winning trio of Coco Jones, Amanda Jones and Autumn Rowe are this year’s honorees for ASCAP Rhythm & Soul’s Women Behind the Music. The 16th annual celebration will take place Nov. 12 in Los Angeles.
Nicole George Middleton, ASCAP senior vp of membership and ASCAP Foundation executive director, will present the awards in salute to trailblazing women in music. “This event is so special to us,” said George-Middleton in a statement. “Over the past 16 years, ASCAP Women Behind the Music has given us a platform to celebrate exemplary women and their incredible achievements as leaders in the music industry. We are so proud to recognize the women who have made such a profound impact through their leadership and art, and we hope to empower the next generation to do the same.”
Coco Jones, nominated for five Grammy Awards last year including best new artist, won her first gramophone for best R&B performance earlier this year on behalf of her breakthrough hit “ICU.” The now platinum-certified track was the lead single from Jones’ 2022 EP What I Didn’t Tell You, released through High Standardz/Def Jam Recordings. With a new album in the works, the singer-songwriter-actress (Peacock’s Bel-Air; Netflix’s Vampires vs. the Bronx) recently released her latest single, “Most Beautiful Design” featuring London On Da Track & Future.
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Songwriter-producer-advocate Rowe is also a fellow Grammy honoree, winning the album of the year award in 2022 for her contributions to Jon Batiste’s We Are. Her songwriting credits include Alexis Jordan’s “Happiness,” the official song of the FIFA World Cup, plus collaborations with Dua Lipa and Diana Ross, among other artists. A staunch advocate for songwriter’s rights and women in music, Rowe recently launched her joint venture publishing company with Spirit Music Group and a mentorship program with BMG and SONA, “Ask the Insider.”
The first African-American woman to be nominated in the Primetime Emmy score category, composer Amanda Jones received that nod for outstanding music composition for a documentary series or special (original dramatic score) for Apple TV+’s documentary series Home Season 1 (the “Maine” episode). Jones won her first Daytime Emmy in 2023 for outstanding music composition and direction for her original music on two episodes of Apple TV+’s Home Season. Upcoming projects include Apple TV+’s #1 On the Call Sheet starring Halle Berry and Angela Bassett.
DJ-producer Niyah will provide musical entertainment for ASCAP Rhythm & Soul’s Women Behind the Music event. Prior honorees include artists Kelly Rowland, Victoria Monét, Salt-N-Pepa, Summer Walker and Jazmine Sullivan, songwriting-production duo Nova Wav and industry executives Phylicia Fant of Amazon Music and Interscope Geffen A&M’s Nicole Wyskoarko.
From virtual music experiences headlined by The Weeknd to exclusive skins inspired by Ariana Grande, pop music and gaming have enjoyed a symbiotic relationship via Fortnite Battle Royale.
Now, with the announcement of its new season on Friday (Nov. 1), Fortnite is looking to infuse hip-hop into its gaming universe. Arriving on Saturday (Nov. 2), Fortnite Battle Royale‘s Chapter 2 Remix will feature iconic music and looks from hip-hop stars Snoop Dogg, Eminem, Ice Spice and Juice WRLD. In the new season, players can engage with each artist through themed gameplay locations launching each week of November — a first for the game. Fortnite‘s millions of players can also don individual Fortnite Shop outfits inspired by each of the four artists.
On Friday evening, Snoop Dogg and Ice Spice surprised New Yorkers in Times Square with a surprise performance, taking over nearly every billboard in the center of the Big Apple. Ice Spice kicked things off in her trademark ginger inches and a hot pink ensemble, delivering renditions of “In Ha Mood” and “Princess Diana.” Donning a fly black leather jacket and pants combo, Snoop repped the West Coast with a lively, Fortnite name-checking medley of “Drop It Like It’s Hot,” “The Next Episode,” “Gorgeous” and “What’s My Name?” To close out the show, the two emcees joined each other onstage to debut the flashy new trailer for Chapter 2 Remix, which features sneak peeks at the worlds the different rappers will preside over in the game.
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Snoop Dogg — who recently announced his forthcoming Dr. Dre-helmed Missionary LP (due Dec. 13) — will kick off the first week as the official icon for season 6 of Fortnite. Snoop will assume a boss role and have his own mythic weapon and different points of interest on the map, as will Ice Spice, Eminem and Juice WRLD in subsequent weeks. “My son Cordell’s a big Fortnite player with me, so when we had the opportunity we jumped on it as a new way to connect with my sound and style,” the Long Beach rap icon said in a press release. “Anyone can be Snoop in Fortnite.”
Juice WRLD — a new-gen rap star who tragically passed on Dec. 8, 2019 — will make his Fortnite debut beginning Nov. 21, when the “Lucid Dreams” rapper will lead week four of the new season. On Nov. 30 at 2:00 p.m. ET, Fortnite will launch a Remix: The Finale live event in celebration of Juice’s legacy and his love for Fortnite. All players who log in between 1:00 a.m. ET on Nov. 30 and 1 a.m. ET on Dec. 1 will receive the cel-shaded Slayer Juice WRLD Outfit. The Party Never Ends, Juice WRLD’s latest posthumous album, is due Nov. 22 via Grade A Productions and Interscope Records.
“You will see some really interesting ways of integrating music,” Emily Levy, director of strategic partnerships, exclusively tells Billboard. “And we are debuting music at different points of the season in interesting places.”
Ice Spice will bookend her 2024 by leading week three (beginning Nov. 14), during which she’ll bring fans “into her experience as the Princess of New York,” according to the release. This year, the Bronx rapper dropped her debut studio album — Y2K! — which reached No. 18 on the Billboard 200 and spawned “Think U the S–t (Fart)” her highest-peaking unaccompanied Billboard Hot 100 entry at No. 40.
Eminem has already had a massive 2024 with the release of his The Death of Slim Shady LP, and he’s set to close out the year by bringing some of that success to Fortnite as the key artist for the second week of the season, beginning Nov. 7. The 15-time Grammy winner originally debuted in Fortnite in December 2023, which spawned the release of his Fortnite Radio compilation featuring classics like “The Monster” and “Not Afraid.” The set reached No. 19 on Top Album Sales and debuted at No. 8 on Top Vinyl Albums on the charts dated March 30, 2024.
Sneaker culture is also a close relative to hip-hop, and Fortnite hasn’t forgotten about the sneakerheads. Chapter 2 Remix will also introduce Kicks, a new type of cosmetic included as part of the Remix Pass that will drop in the Fortnite Shop on Nov. 12. The initial lineup of Kicks will feature Nike and Jordan brands alongside Fortnite originals.
Fortnite‘s new season continues a year that has already featured in-game concerts and festival performances from superstars such as Karol G, Billie Eilish and Metallica.