It’s been just over 20 years since Beyoncé Knowles, Kelly Rowland and Michelle Williams announced that their destiny had been fulfilled with the discharge of their final studio album Destiny’s Child, however the trio still strongly support one another’s fates.

On Thursday, November 21, it was Michelle Williams’ turn as her former bandmates showed up at New York’s Lunt-Fontanne Theater for the premiere of her latest Broadway show, “Death Becomes Her,” alongside Beyoncé’s mother, Tina Knowles. To celebrate Destiny’s Child’s impromptu return, Beyoncé shared photos from the Broadway show on Saturday, showing the trio hugging backstage. Instagram. The montage featured her duet “Cowboy Carter” with Miley Cyrus, “II Most Wanted” which notably includes the lyric “I’ll be your shotgun rider until the day I die.”

Williams responded to the post, commenting, “I try not to cry too early in the day, BUT…. My sisters forever!”

Beyoncé added on Sunday one other tribute to her longtime friend, a portrait of Williams posing in the home of an empty theater with the caption “My Beauty.”

As reported People MagazineRowland also marked the special day by posting a close-up of her hand holding a “Death Becomes Her” sign to Instagram Stories. “Oh my God!!” – she signed the post.

Williams stars as Viola Van Horn in the brand new musical adaptation of the 1992 hit film starring Meryl Streep and Goldie Hawn. Megan Hilty and Jennifer Simard bring back the roles of Streep and Hawn – Madeline Ashton and Helen Sharp, respectively. Williams plays the temptress who leads the rival duo to extreme youth and sweetness efforts, with disastrous results. But as she noticed in your individual post honoring her enduring bond with Beyoncé and Kelly, their dynamic stays free from competition.

“They help me shine!!!” – she wrote next to a photograph of the three on the premiere, probably referring to the lyrics and theme of Robert Glasper’s single Experiment “Shine” “This song has been my theme lately, but it also reflects the love in my life!” – she continued. “It’s a blessing!!”

Kendrick Lamar has all the time been certainly one of rap’s more fascinating and sensitive artists. He took us into the deep recesses of his past, his way of considering and his motivations. But Lamar’s latest, surprise-titled album features the Compton, California MC as his most raw, unfiltered version of himself. And that is largely due to the feud that modified the trajectory of his profession.

For the past 15 years, Lamar has rigorously crafted his personal story for the masses. A person who claimed to guide a boring life was in a position to convey every aspect of his messages to the world. We discovered he went to Africa when he told us the trip inspired him in 2015. Near the top, we learned that Top Dawg Entertainment CEO Anthony “Top” Tiffith once robbed Lamar’s father. Lamar revealed his own relationship and mental health issues on the show. Unlike, say, Drake, who lives on the Internet and filters most of his personal life through TMZ, NBA courtside memes, and his own ecosystem of rumor mills, Lamar only shows up when he desires to tell us enough to feel a connection to him.

But all the pieces modified in 2024.

The feud with Drake forced Lamar to show to another person who’s putting his business on the road. This caused him to react for the primary time in his profession. And although he eviscerated Drake throughout the whole argument, this exchange of pure aggression taught us more about Lamar than we ever knew. Namely, we learned that Lamar is a compassionate and tender, yet vengeful, Gemini demon seed that’s equal parts hate and love, with each emotions flowing from his pores with the intensity of 1,000,000 warheads. It was through his feud with Drake that we learned what drives Lamar: his must be the perfect, the non-public insult he feels when someone tests him, his love for hip-hop and uniting culture with home, and the undeniable fact that this man I do not know what exaggeration is. We’ve spent the last decade learning lots about Lamar at our own pace, but now we all know what makes him… And I suppose we will thank Drake for that.

gives us a Lamar who has the alternative in his hands. He can ignore the unintentional leakage of a deeply felt ethos and create something latest. Or he can lean on the Lamar we all know and love greater than ever. Fortunately, he selected the latter and gave us an album that, while reflecting more of his complaints, also frees Lamar to point out his love as loudly as ever before. Sure, his harsh attacks on rapper Snoop Dogg I’m posting a Drake diss track earlier this 12 months and his sadness over rapper Lil Wayne’s anger at not being chosen for the Super Bowl halftime show in New Orleans in February 2025 will make headlines like other victory laps on Drake ‘at. But the album can also be a tribute to the influences that made Lamar who he’s.

In fact, it’s an old-school Buick, and the sounds of the album appear to be the music Lamar listened to when he was a child, driving around in certainly one of these classic cars. We get a Luther Vandross sample, interpolations of a Tupac Shakur song, an SWV hook, and a complete lot of West Coast tracks backed by DJ Mustard. This last one is particularly necessary to handle, dear reader, because many individuals check with these songs – “hey now”, “tv off” and “dodger blue” amongst them – as mere “Not Like Us” riffs. Please ignore them as they arrive from an era and understanding of hip-hop that doesn’t bear in mind regional sounds and a real love for music that sounds at home. In their very own way, these songs are also a rebuke to Drake. You see, the Canadian MC from “Houstalantavegas“fame helped usher in an era of Frankenstein music that connected so many regions that it became increasingly difficult to inform Atlanta from New York or Los Angeles from Chicago. But Kendrick uploaded the album clearly G-Funk inspired, synth driven, powerful The West Coast sound powered by the biggest producer within the region. Each song appears like it could possibly be a Super Bowl halftime hit and features hometown rappers (Dody 6, Sam Dew, Roddy Ricch and more), continuing the show’s theme of bringing the neighborhood together.

But it’s the opposite moments, those during which Lamar is menacingly introspective, chest out after crushing his rap peer, which can be as triumphant as DJ Mustard’s horns. “man at the Garden” is already amongst my most played songs of November. The song is inspired by Nas’ “One Mic,” one other early influence, and features the affirmative chorus “.” The song is not as up-tempo as protest anthems “Alright” or “Not Like Us,” but it surely has a chant that helps listeners end our own battle with imposter syndrome. “,” he raps on the track.

But Lamar’s Gemini tendencies are showing again on the album as he stands proud his chest and reflects on his flaws. ON “heart part 6” Lamar walks us through the formation of Top Dawg Entertainment and his group Black Hippy, while taking blame for the group’s shortcomings and admitting where he might have been more mature. This is the sort of vulnerability we have come to expect from Lamar, but it surely feels much more real because we all know him higher now.

The “Heart” series normally appears before Lamar’s album release. Add that to the very fact preview fragment the album features two cars and a song that wasn’t on the album, and it looks like we’ve got one other full-length project on the way in which. Lamar has been releasing songs during American holidays since his feud with Drake began, so I would not be surprised if there was a song for Thanksgiving, or somewhat MLK Day releases (which took place per week before the presidential inauguration). Either way, perhaps we’ll get a project that tells a whole story, like most of Lamar’s albums.

For now, we will bask within the organic, chaotic, experimental reality of the brand new Lamar, who feels most familiar and down-to-earth at the same time as his profession enters a special stratosphere.

Sade celebrates his son, Isaac Adu.

In the new music video for his first single in six years titled “Young Lion”, released on Friday, November 22, the 65-year-old Nigerian-British music legend gives a rare insight into his family life. In the song’s lyrics, she also reveals her perspective as a mother raising a transgender son.

The singer croons, “Young man/It’s been so hard for you/You must have felt so alone” originally of the music video, which features footage of her and Isaac over time. There are shots of the “Paradise” singer holding her son as a baby, him playing outside as a baby, and plenty of of them living and growing up together in the UK where they live.

The lyrics of the song proceed to illuminate Sade’s feelings as she watches her son grow up and realize his gender identity.

“Forgive me, son. I must have known,” she sings at one point.

Elsewhere in the song, he sings, “You shine like the sun.”

At the tip of the four-minute video, a clip of adult Isaac appears, after which the video ends with the classic shot of mother and son embracing on the beach.

Sade first shared the song in October as a part of an AIDS nonprofit Red Hota special compilation of the album “Transa”, which was released on Friday, November 22. The compilation goals to bring awareness to the transgender community and features songs from each members of the LGBTQ+ community and its allies. Other artists featured on the project include Andre 3000, Moses Sumney, Niecy Blues, Yaya Bey, Sam Smith and more.

I’m talking to Rolling Stone upon the song’s release, Isaac offered his response.

“Even though I didn’t have to forgive her for anything, the words, ‘Forgive me, son, I should have known,’ moved me,” he said. “My mother never tried to oppress the boy; Secretly, I always knew this was the case. She always let me be myself.”

He added: “I hope this will provide a sense of comfort, validation and a sense of being seen and understood.”

According to Sade, the song was inspired by a letter she gave Isaac on his twenty first birthday.

“I think a song where a parent apologizes for not understanding their child can be incredibly meaningful to the transgender community,” she said. “This song can serve as a beacon of hope and a reminder that parents can learn, grow, and ultimately accept their children for who they truly are.”

Sade, who shares Isaac with Jamaican record producer Bob Morgan, gave birth to their son in 1996. He is her only child.