James and Chico DeBarge have been arrested in California following a traffic stop that allegedly led police to discover suspected drugs. According to TMZ, the musician brothers were pulled over by police in Burbank on the night of Aug. 27 after officers reportedly observed traffic violations. James was allegedly driving a Chevy Tahoe towing a Nissan SUV, where Chico was reportedly seated. Sources also claimed both vehicles lacked license plates and the brothers were not wearing seat belts. During the traffic stop, law enforcement allegedly discovered suspected fentanyl and suspected methamphetamine in the brothers’ possession. Both James and Chico were arrested on suspicion of possessing a controlled substance, while Chico was also reportedly taken into custody on an outstanding warrant. NBC4 was the first outlet to report the arrests. The allegations remain unproven, and neither brother has publicly commented on the incident or the accusations. James and Chico are members of the renowned DeBarge musical family, which achieved major success during the 1980s and 1990s with hits including “Rhythm of the Night” and “I Like It.” Chico has previously spoken about his struggles with addiction and, according to TMZ, previously served time on narcotics-related charges. The latest arrests add another legal chapter to the family’s history, with the brothers now facing new allegations stemming from the California traffic stop.

Platinum-selling West Philly artist Armani White continues his strong 2026 run with “COST,” his fourth single of the year. Built on heavy 808s, skittering hi-hats and crisp percussion, the track flips the usual rap narrative by celebrating saving money rather than spending it. White encourages listeners to reconsider what is worth keeping and what should be discarded. Following May’s “[PRESS]” and subsequent releases “I LOVE YOU” and “I LOVE YOU (AATM) [Live]” with Noga Erez, “COST” extends his momentum.

Zimbabwean-Ethiopian artist Hanna, based in South Africa, releases her reflective new single “Energy,” a soulful exploration of trusting your instincts and recognizing good energy. Created during her time in Cape Town with producer Luc Veermeer, who also produced, mixed, and mastered the track, the song remained in Hanna’s vault before she repeatedly returned to its message of exploring and navigating relationships, people, and life by following your gut.

Yemi Alade teams up with fellow Nigerian artist Don Jazzy on “Ala Bekee,” a lively Afrobeats track from her upcoming album It’s Yemi Alade. Exploring ambition, life abroad, and navigating unfamiliar places, the song blends infectious rhythms with relatable lyrics. Directed by Clarence Peters, the colorful official video shows Alade and Don Jazzy preparing for a traditional African ceremony alongside dancers and fellow participants with Alade’s powerful vocals and Don Jazzy’s signature touch creating an energetic, celebratory collaboration.

Colombian artist Karol G and R&B/Pop star Bruno Mars have released the dreamy music video for “Still,” a nostalgic power ballad from Karol’s latest album, No Me Arrepiento De Sentir Tanto. Released September 2, the mostly black-and-white visual captures the pair trading lyrics backstage, riding go-karts, and getting cozy inside an empty stadium. Blending ’80s-inspired synthwave with a neon-soaked atmosphere, the all-English track finds the two artists harmonizing about unconditional love and lingering feelings after a breakup.

Harlem rapper Liim returns with his second studio album, A Sunflower Garden In Harlem Is Hard To Find, a 13-track showcase of his versatile artistry. The project moves effortlessly between jazz-funk, swag rap, and ’80s-inspired sounds, with standout tracks including “Is Loving Really Bad?” and “R.I.P. Peace.” “1980,” featuring AJRadico, delivers a nostalgic beat and throwback vocal style reminiscent of Run-D.M.C., adding another dimension to the young New York artist’s ambitious and summery collection.

For Throwback Thursday, we’re taking it back to 1996 with Joe’s R&B classic “All the Things (Your Man Won’t Do).” Written by Joe, Joshua Thompson and Michele Williams and produced by Joe and Thompson, the song first appeared on the soundtrack to Don’t Be a Menace to South Central While Drinking Your Juice in the Hood before becoming the opening track on Joe’s 1997 sophomore album, All That I Am. The single became Joe’s first Billboard Hot 100 hit, reaching No. 11. The ’90s were a golden era for R&B, and Joe Thomas was one of the artists keeping the genre’s romantic, grown-and-sexy sound alive. All That I Am established him as a serious voice in contemporary R&B, delivering memorable tracks such as “Good Girls,” “Don’t Wanna Be a Player” and “The Love Scene.” But “All the Things” stood apart, with Joe confidently offering to give his love interest everything she wasn’t receiving from her current man. Drawing inspiration from classic R&B groups like After 7 and the smooth stylings of Keith Sweat, “All the Things (Your Man Won’t Do)” delivered the perfect combination of seductive lyrics, polished production and Joe’s soulful vocals. The song was certified gold by the RIAA in April 1996, while its stylish music video was directed by Paul Hunter. Nearly three decades later, the track remains one of Joe’s signature records and a defining example of ’90s R&B at its finest.

A federal judge has dismissed the remaining claims brought by wardrobe stylist Asha Daniels, who alleged she experienced a hostile work environment while working on Lizzo’s 2023 European tour. U.S. District Judge Fernando L. Aenlle-Rocha ruled that Daniels’ case against Lizzo’s touring company, Big Grrrl Big Touring Inc., could not proceed. Lizzo had previously been dismissed as a defendant in December 2024. Daniels filed the lawsuit in September 2023, alleging racist and fat-phobic comments, sexual harassment and disability discrimination during the tour. She also claimed a wardrobe manager injured her by rolling a heavy clothing rack over her foot and pushing her. In his ruling, Aenlle-Rocha said Daniels failed to demonstrate that company employees showed general hostility toward women or treated men and women differently. He also determined that her alleged injuries did not meet the legal definition of a disability under the Americans with Disabilities Act.  Lizzo’s attorney, Melissa Y. Glass, called the ruling a “total victory” and described Daniels’ lawsuit as “ludicrous,” while saying the legal team was exploring options to protect its clients’ rights. Daniels’ attorney, Ron Zambrano, expressed disappointment and argued that the court improperly evaluated evidence that should have been considered by a jury. He specifically pointed to sexually charged comments and images involving managers, as well as Daniels’ physical injuries, saying the cumulative workplace environment should have been taken into account.

Two-time Grammy-winning jazz singer Cassandra Wilson has died at 70, passing away peacefully at her home in Jackson, Mississippi, surrounded by family, close friends and her longtime manager, Robert Torre. Torre, who managed Wilson for more than two decades, announced her death in a statement to WBGO. No cause of death has been revealed. Wilson’s family has asked for privacy as they mourn her loss, with memorial service details expected to be announced later. Born in Jackson, Wilson became one of the most acclaimed female jazz vocalists of her generation, earning two Grammy Awards during a career that blended traditional jazz with blues, country and folk influences. Known for her distinctive voice and innovative approach, she was recognized by Time magazine as “America’s Best Singer” in 2001. Her ability to expand jazz’s boundaries helped establish her as an influential and widely respected artist. Wilson remained connected to the jazz community throughout her final year. In January 2026, she appeared at the North Sea Jazz Festival in Rotterdam, Netherlands, where her life and contributions to music were celebrated alongside The Roots and other prominent American jazz artists. Her death marks the loss of a singular vocalist whose work helped broaden the possibilities of contemporary jazz while leaving a lasting influence on generations of musicians and listeners.