Dawn Richard and Durand Bernarr bring warmth, soul and intention to “baby, can we?” with a smooth duet that recalls the golden era of ’90s R&B. Directed by Dawn Richard and Carl Harrison Jr., the video unfolds in a lively park setting where dancers and everyday people celebrate a beautiful spring day, matching the song’s uplifting spirit. Produced and co-written by the Katalyst Collective, the track finds Richard singing about wanting deeper connection, genuine effort and life’s simple pleasures rather than a relationship built solely on physical attraction.

Kelela’s “outta time” featuring A.K. Paul is a hypnotic, late-night slow burn that blends electronic soul with aching vulnerability. Directed by Ryosuke Tanzawa, the minimalist visual places Kelela and Paul inside a studio as darkness gradually falls outside, mirroring the emotional unraveling of a relationship running out of chances. Produced by A.K. Paul, whose textured guitar and vocals add a haunting intimacy, the track feels both futuristic and deeply personal. Originally written during the Take Me Apart era, “outta time” finally arrives as a standout preview of Kelela’s forthcoming album new avatar, due July 10.

Grammy Award winner Cheryl “Salt” James continues her inspiring solo journey with “Overcomers,” a powerful new collaboration featuring fellow Grammy winner Erica Campbell. Blending uplifting hip-hop with gospel influences, the track radiates positivity, resilience and purpose, making it a strong contender for a summer anthem. Built on warm production, memorable lyrics and an infectious chorus, the song celebrates faith, self-respect and the importance of surrounding yourself with genuine support. Salt delivers thoughtful verses about maintaining personal standards and protecting inner peace, while Campbell’s soulful vocals add spiritual depth. As the fourth single in Salt’s solo rollout, “Overcomers” further showcases an artist creating music rooted in growth, wisdom and authenticity. 

Mai Anna makes a striking first impression with “Baby Blue,” an atmospheric alt-R&B single that introduces the Japanese and Puerto Rican singer-songwriter's unique artistic vision. Produced by Solomon Fox, the song blends dreamy textures with emotional honesty as Mai Anna reflects on finding peace through cherished memories and personal reflection. The accompanying music video complements the track’s wistful mood, bringing to life a deeply cathartic chapter of her journey. Now signed to Epic Records, the rising star uses “Baby Blue” to preview her debut album, Sleepy Eyes, a project that promises to showcase the full breadth of her vulnerability, creativity and ethereal sound. 

Dancehall icon Shaggy celebrates four decades of musical success with Lottery, his 16th studio album and a vibrant collection of 13 tracks that showcase the versatility that has defined his career. Largely self-produced alongside longtime collaborator Shane Hoosong, the Grammy-winning artist continues to blend Jamaican musical traditions with elements of pop, R&B and contemporary global sounds. The album features an impressive lineup of guests, including Sting, Anthony Hamilton, Akon and more, highlighting Shaggy’s ability to connect genres and audiences across generations. Led by the upbeat single “Looking Lovely” featuring Robin Thicke, Lottery delivers a confident, feel-good soundtrack that reinforces Shaggy’s status as one of reggae and dancehall’s most successful crossover pioneers. 

When Fear of a Black Hat premiered in 1993, it arrived as one of the sharpest and funniest examinations of hip-hop culture ever put on film. Written and directed by Rusty Cundieff, the mockumentary borrowed the documentary style popularized by This Is Spinal Tap and turned its lens toward the rapidly evolving world of rap music. While some audiences initially overlooked the film, its reputation has only grown over the years, earning it cult-classic status among hip-hop fans and comedy lovers alike. More than three decades later, it remains a clever snapshot of a genre wrestling with fame, controversy, authenticity, and commercialization. At the center of the story is N.W.H. (“Niggaz With Hats”), a hilarious parody of gangsta rap groups such as N.W.A. Through the eyes of graduate student Nina Blackburn, viewers watch as Ice Cold, Tasty Taste, and Tone Def explain the supposed social significance behind their outrageous lyrics, violent imagery, and oversized hats. The film brilliantly skewers the tendency of some artists to attach elaborate political explanations to songs that are clearly designed to shock or sell records. Whether discussing tracks like “Booty Juice” or “Come and Pet the P.U.S.S.Y.,” the group’s deadpan insistence that every crude lyric carries profound meaning creates some of the movie’s funniest moments. The film’s satire extends far beyond N.W.H. itself. Nearly every aspect of early 1990s hip-hop culture receives a playful jab, from rap rivalries and record-label politics to music video clichés and the endless parade of performers using “Ice” in their stage names. Characters such as Vanilla Sherbet, Yo Highness, and M.C. Slammer parody real-life stars, while songs like “Fuck the Security Guards,” “Granny Said Kick Yo Ass,” and “Ice Froggy Frog” cleverly mimic some of the era’s biggest hits. Even serious topics, including censorship battles, racial tensions, and the quest for street credibility, are examined through a comedic lens that exposes both the absurdities and realities of the music business. Today, Fear of a Black Hat stands as more than just a comedy, it is a loving roast of hip-hop culture created by people who clearly understood and appreciated the genre. Rather than mocking rap from the outside, the film celebrated its creativity while poking fun at its contradictions. In doing so, Rusty Cundieff crafted a movie that remains surprisingly relevant, especially in an era when debates about authenticity, image, and commercial success continue to dominate hip-hop conversations. For fans of rap history, Fear of a Black Hat remains an essential and underrated tribute to a culture confident enough to laugh at itself. 

Rapper Mystikal has been sentenced to 20 years in prison after pleading guilty to third-degree rape in Louisiana. The artist, whose real name is Michael Tyler, entered the plea in March as part of an agreement that reduced the original charges against him. Tyler had initially faced more serious allegations, including first-degree rape, simple robbery, domestic abuse battery, and false imprisonment. According to reports, a conviction on the original rape charge could have resulted in a mandatory life sentence. Court proceedings revealed allegations that Tyler assaulted an unnamed woman at his home, where prosecutors said he punched and choked her, pulled out her braids, and sexually assaulted her. The victim told the court that Tyler prevented her from leaving by taking her phone and car keys and allegedly transferred money to himself from her phone before allowing her to leave. Prior to sentencing, Tyler addressed the court, stating, “If I did that to you, I deserve the max sentence.” A week before his sentencing hearing, Tyler attempted to withdraw his guilty plea, claiming he was under significant emotional distress and pressure when he accepted the deal, but the court dismissed the motion. The sentence marks the latest legal setback for the rapper, who has faced multiple criminal cases over the past two decades. In 2004, Tyler was convicted of sexual assault and extortion and served six years in prison, a conviction that required him to register as a sex offender. He was later jailed for violating probation following a domestic abuse arrest in 2012. Tyler also faced rape and kidnapping charges in 2017, though that case was eventually dropped. Once one of hip-hop's biggest stars, Mystikal is best known for his 2000 hit song “Shake Ya Ass” and the chart-topping album Let's Get Ready. His most recent album of original material, Tarantula, was released in 2001.

Singer and former Danity Kane member Dawn Richard suffered a significant legal setback after a federal judge dismissed the majority of her lawsuit against Sean Combs. In a June 15 ruling, U.S. District Judge Katherine Polk Failla threw out nearly all 18 claims Richard filed in 2024, with prejudice, preventing those claims from being refiled in federal court. However, one claim alleging violations of New York's Victims of Gender-Motivated Violence Act was dismissed without prejudice, allowing Richard the opportunity to pursue the matter in state court. Richard's lawsuit stemmed from her years working with Combs, first on the MTV reality series Making the Band and later as a member of the group Diddy – Dirty Money. She alleged that during her eight-year professional relationship with Combs, she was subjected to emotional abuse, manipulation, threats, sleep and food deprivation, and other forms of mistreatment. In her ruling, Judge Failla stated that the allegations, if proven true, were "execrable," but determined that most of Richard's federal claims could not proceed. Richard's attorney, Arick Fudali of The Bloom Firm, said the singer intends to continue pursuing justice through New York state courts. Combs' representatives welcomed the ruling and reiterated their longstanding denial of Richard's allegations. A spokesperson pointed to Richard's continued collaborations with Combs after the alleged incidents, including her participation in a 2020 Making the Band reboot and appearance on Combs' 2023 album, arguing that her claims lacked credibility. The spokesperson described the allegations as "purely fictional" and expressed satisfaction with the court's decision. Despite the dismissal of most claims, Richard's legal team remains focused on advancing the gender-motivated violence claim, ensuring that the legal battle between the former collaborators is not yet over.

Nigerian singer Brymo has sparked debate after calling on some of Afrobeats' biggest names to step aside and allow younger artists to take center stage. During a recent interview with TVC, the "Ara" hitmaker argued that the industry's continued focus on the so-called "Big 3" — Wizkid, Davido, and Burna Boy — is preventing emerging talents from receiving the recognition they deserve. Brymo suggested that the dominance of established stars has slowed the natural progression of the music industry and limited opportunities for a new generation to lead. The singer expressed frustration with ongoing conversations that continue to revolve around veteran artists while younger performers achieve major milestones both locally and internationally. According to Brymo, discussions about Nigerian music should shift away from criticizing the lyrical content of newer artists and instead address what he described as efforts by some established acts to maintain control of the spotlight through the "Big 3" narrative. He emphasized that every era should have the opportunity to define its own stars and shape the future of the culture. Brymo specifically highlighted Rema as an artist he believes should already be the undisputed face of Nigerian pop music. He argued that Rema's accomplishments and global success warrant greater recognition and questioned why industry conversations still center on veteran names such as Olamide and 2Baba alongside Wizkid and Burna Boy. Brymo's comments have added fuel to an ongoing debate about generational change within Afrobeats as younger stars continue to expand the genre's influence around the world.