More than two decades after Aaliyah’s tragic death, her family is embroiled in a new legal battle involving money, music rights and allegations surrounding the singer’s final trip to the Bahamas. According to court documents reported by TMZ, Aaliyah’s cousin Jomo Hankerson has sued his father, Barry Hankerson, and Blackground Records over a previous settlement involving valuable music assets. Barry, who was Aaliyah’s uncle and longtime manager, has responded with allegations involving Jomo’s role in coordinating travel for Aaliyah’s 2001 music video shoot. Barry claims Jomo was paid to arrange travel for Aaliyah and the team traveling to the Bahamas, where the singer was filming shortly before the fatal August 2001 plane crash that killed her and everyone else aboard. In court filings, Barry alleged that Jomo failed to fulfill his responsibility and claimed the tragedy “may have been avoided” had the arrangements been properly handled. Barry also said Aaliyah’s death permanently damaged his relationship with his son. Jomo has denied the allegations connected to the trip and has accused his father of violating an agreement concerning recording masters and music publishing rights involving Aaliyah, Toni Braxton, DMX and Timbaland. Jomo claims he was entitled to 12% of the revenue Barry generated from the disputed music assets and alleges that Blackground Records was used to conceal money and create expenses unrelated to those assets. He is seeking more than $1.2 million in damages. Barry has denied wrongdoing and contends that the settlement agreement is invalid because fraud was involved in its execution. He has also accused Jomo of threatening to release unreleased Aaliyah recordings if his financial demands were not met, an allegation Jomo denies. With both sides disputing the accusations, the court has yet to resolve the family’s ongoing legal fight.

More than three decades into her celebrated career, six-time GRAMMY Award nominee Tamia returns with “Forever and a Day,” a heartfelt new single celebrating passionate, enduring love, friendship, emotional security, and commitment. Written and produced with acclaimed hitmakers Claude Kelly and Chuck Harmony, the romantic track captures the excitement of lasting love. The collaboration reunites Tamia with Kelly and Harmony, who previously worked on her GRAMMY-nominated Beautiful Surprise title track and “It’s Not Fair.”

Akron, Ohio native Serrin Joy is a rising R&B singer-songwriter continuing to make her mark with her latest single “On Ur Mind,” a confident, flirtatious track about attraction, self-worth, and demanding genuine attention. The song finds Joy addressing a potential partner who appears interested, while encouraging them to be direct and reciprocate her feelings. With lyrics that blend vulnerability and confidence, she expresses impatience and excitement while reminding her love interest not to underestimate her value. “On Ur Mind” showcases Serrin Joy’s bold personality and growing presence as an emerging voice in contemporary R&B.

Ciara returns with a fresh version of her empowering single “Yes,” featuring viral Jackson, Mississippi-born rapper and singer Akeem Ali. Released as part of her Yes Pack, the reimagined track arrives with an official visualizer, showcasing Ali’s charismatic delivery and quick-witted lyricism. Originally released July 6 to celebrate Ciara and Russell Wilson’s tenth wedding anniversary, “Yes” celebrates love, joy, connection, and self-love while introducing new energy to the uplifting anthem. The visual for the single features Ciara and Akeem taking in a lovely summer day while riding in an old-school car that aptly suits the two's delightful back-n-forth.

Jamaican dancehall icon Patra returns with “No Threat,” a confident single reaffirming her status as one of the genre’s enduring female voices. Addressing doubts about her ability to compete in today’s music landscape, Patra draws on her legacy and experience while declaring she has no plans to step aside. The release launches a new chapter featuring additional music, international performances, an official video, and global distribution support. On the track Patra also pays tribute to the late reggae legend Cocoa Tea, whose message closely reflects the spirit behind the song.

Erykah Badu and The Alchemist have finally unveiled their long-awaited collaborative album, Before the World Blows: The Abi and Alan Experiment, released digitally this past August 28. Recorded over 18 months between Dallas and Los Angeles, the 16-track project blends Badu’s soulful, experimental artistry with The Alchemist’s sample-heavy production. Tracks including “Next 2 U” and “Witch Doctor” feature an eclectic lineup of guests, including Westside Gunn, Earl Sweatshirt, Thundercat, Steve Lacy, DRAM, Kamasi Washington, and Joi. The duo will also take the album on a North American tour.

For this Throwback Thursday, we revisit Brian McKnight’s emotional R&B classic “One Last Cry.” Released May 25, 1993, as the fourth single from his self-titled 1992 debut album, the heartfelt breakup ballad was co-written and co-produced by McKnight alongside Brandon and Melanie Barnes. The song became McKnight’s first solo hit on the Billboard Hot 100, climbing to No. 13, while also reaching No. 14 on the Cash Box Top 100. “One Last Cry” helped establish McKnight as one of R&B’s standout voices of the 1990s. Its emotional lyrics and McKnight’s smooth, expressive vocals captured the pain of accepting the end of a relationship, making the song a memorable staple of the era. The track’s success also contributed to the momentum of his debut album, which was released by Mercury Records and eventually certified platinum.  The song’s influence has continued decades after its original release, with artists including the Backstreet Boys, Justin Timberlake, Heather Headley and Nina covering the classic. In 2025, Melinda Lindner’s rendition reached No. 30 on the Adult Contemporary chart, demonstrating the song’s lasting appeal. Directed by Leta Warner, the original music video further cemented “One Last Cry” as a defining moment in McKnight’s early career.

The iconic Reebok G-Unit G6 sneakers are back, giving 50 Cent fans and sneaker collectors another opportunity to own a piece of hip-hop history. Originally released in 2003, the sneakers were designed with input from Curtis “50 Cent” Jackson during his rise to superstardom. The rapper recently reflected on the original release, calling the experience “special” and noting that the clean white sneakers quickly became part of the culture. The G6 sneakers were part of Reebok’s high-profile partnership with 50 Cent and G-Unit, which continued until 2006. After years of fans asking for their return, Reebok brought the limited-edition sneakers back in 2026. The updated release maintains the original aesthetic, featuring a low-profile silhouette, leather and suede construction, red-and-blue accents, G-Unit branding and an ice-rubber outsole.

C+C Music Factory co-founder Robert Clivillés has filed a federal lawsuit against longtime creative partner Frederick “Freedom” Williams, alleging that Williams improperly used the group’s name for decades. The nine-count complaint, filed August 14 in the Eastern District of New York, seeks at least $10 million in compensatory damages, with potential treble damages under the Lanham Act increasing the trademark-related claim to $30 million. Clivillés is also seeking punitive damages and an injunction preventing further unauthorized use of the name. At the center of the dispute is ownership of the C+C Music Factory name. According to the complaint, the initials refer specifically to Clivillés and the late David Cole, who formed the group in New York City in 1990. Clivillés claims an estate settlement agreement reached with Cole’s estate in 1996 made him the sole authorized user of the C+C Music Factory name and brand. The lawsuit characterizes Williams as a featured performer rather than a founder or co-owner, noting that several other vocalists also contributed to the group’s recordings. The complaint alleges that Williams began performing as C+C Music Factory without Clivillés’ authorization after pursuing a solo career, eventually earning thousands of dollars per performance. Clivillés is asking the court to cancel a C+C Music Factory trademark currently held by Williams’ company, Freedom Williams Entertainment LLC. The lawsuit also cites a June 2026 recording, “Into the Future,” as an example of alleged unauthorized use. The nine claims include trademark infringement, fraud, unfair competition, unjust enrichment, defamation and breach of contract.