BTS fans have a reputation for being extraordinarily passionate, not just when it comes to things they love, but also in regards to the things they don’t. And so on Wednesday (March 4), Diplo — who produced five of the tracks on the boy band’s ARIRANG — asked with ARMY to go easy on him once the album drops.

Sharing a throwback photo of himself posing with members Jung Kook and RM, as well as screenshots of the newly released ARIRANG tracklist with his name listed on the production credits, the DJ wrote on Instagram of BTS’ new songs, “ARMY please be nice … I made 5 of these.”

Diplo also included a video of himself and the Bangtan Boys in 2020 hanging out backstage at the 2020 Grammys with Lil Nas X, Billy Ray Cyrus and Mason Ramsey, with whom they performed “Old Town Road” at that year’s ceremony.

As revealed Tuesday (March 3), Diplo worked on the tracks “Body to Body,” “FYA,” “One More Night,” “Like Animals” and album closer “Into the Sun” on ARIRANG. The project has 14 songs total, with Tame Impala’s Kevin Parker, Mike WiLL Made-It and Ryan Tedder also helping produce. Members of the band — which is also comprised of Jin, Suga, j-hope, Jimin and V — had hands in producing every single one of the tracks.

The EDM titan had been open about his role in ARIRANG even before the tracklist’s release, which precedes the album’s drop on March 20. In February, Diplo told TMZ that BTS’ next album was “gonna shock the world,” adding, “I just feel so lucky … to link up with a group like that and have them trust me and do some awesome music.”

ARMY has certainly been waiting a long time for new BTS music, which means the pressure is on — for Diplo and everyone else who had a hand in crafting ARIRANG. The record will mark the band’s first full-length since 2020’s Be, which topped the Billboard 200 and spawned several No. 1 hits on the Billboard Hot 100, fueling an unprecedented run for the K-pop group over the next couple of years before they pressed pause to pursue solo activities and complete military service requirements.

Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor Neil Sedaka, who died on Feb. 27 at age 86, by looking at his last of three No. 1 hits, the harder-edged “Bad Blood.”

By September 1975, Sedaka was, officially, back. He’d scored his second career No. 1 with the sweet pop ballad “Laughter in the Rain,” he’d hit the top 40 twice more with “The Immigrant” and “That’s When the Music Takes Me,” he’d performed a very well-received run of concerts at famed Los Angeles venue The Troubadour, and he’d even seen his 1973 song “Love Will Keep Us Together” become the biggest hit of ’75 in the hands of The Captain and Tennille. It was easily his most triumphant year in over a decade, since his first pop peak of 1962. But his own biggest hit was still yet to come: “Bad Blood,” with an assist by the man who helped him find his way back to the mainstream in the first place.

Elton John revived Sedaka’s stateside fortunes in the mid-’70s, after the two met at a Bee Gees concert in the early ’70s, while the former was becoming a superstar and the latter was in the midst of trying to revive his dormant career in the U.K. By the mid-’70s, Sedaka had successfully reintroduced himself to the British market, scoring a pair of top 20 hits, but still needed help finding his way back to U.S. shores. John, a longtime Sedaka fan, stepped in with his newly founded Rocket Records label to help facilitate. “It had been like Elvis coming up and giving us the chance to release his records,” he later recalled in an Elton-themed issue of the Story of Pop magazine series, about the fortuitous timing of the partnership. “We couldn’t believe our luck.”

The subsequently released Sedaka’s Back compilation of highlights from the three British albums released during the singer-songwriter’s U.K. sojourn was a major success, spawning the three aforementioned hits. But the radio run of “That’s When the Music Takes Me” was interrupted by another Sedaka song starting to get spins, one which wasn’t even released yet in the states: “Bad Blood” had been recorded for the winkingly titled Overnight Success album, released in the U.K. in early 1975, while America was still catching up to Sedaka’s Back. (It would released in the U.S. later in the year, with a slightly altered tracklist, as The Hungry Years.) But the song still caught the interest of stateside DJs, in large part due to the uncredited but unmistakable voice providing backing vocals throughout the track: Sir Elton himself.

By 1975, Elton John was the biggest pop star in the world. At the time “Bad Blood” caught heat that September, he’d already scored two Hot 100 No. 1 hits (“Lucy in the Sky With Diamonds” and “Philadelphia Freedom”) in that calendar year, as well as two Billboard 200 No. 1 albums in his Greatest Hits (which topped the chart for 10 weeks between the end of ’74 and beginning of ’75) and Captain Fantastic and the Brown Dirt Cowboy — the first album ever to debut atop the chart — and would best both listings once more before year’s end. He was perhaps the only singer-songwriter on either side of the Atlantic more scorching at that point than Sedaka himself, so it was unsurprising that discovery of a duet between the two ended up being a game-changer.

And John’s backing vocals on “Bad Blood” weren’t just a narrative selling point for the song, they were a crucial ingredient. The signature hook in the song is on the chorus, where Sedaka and John trade off the two-word title — “Bad!” / (“Baaaad!“) / “Blood!” / (“Blooood!“) — before coming together to sing the rest of the refrain in pitch-perfect harmony. John also pipes in to punctuate key moments of the verse (“Small change!“) and joins Sedaka for the entirety of the “Doo-ron, do-ron” bridge breakdown section. And John’s finest contribution to the effort might be how in the final two runs through the refrain, he jumps in a half-beat early the second time around the “Bad Blood” call-and-response, giving the song that little extra spice to make it unforgettable.

And it was already a pretty tasty gumbo to begin with. Beginning with that swampy, Dr. John-style electric piano rumble — played, remarkably enough, by future leading pop balladeer David Foster — leading into a slowed down Bo Diddley shuffle, the song was immediately a totally new sound for Sedaka, albeit one in keeping with a lot of the dominant sounds of the mid-’70s, including from his pack-leading label boss. The song’s slow lurch gives it a kind of molasses stickiness, and its New Orleans vibes pair nicely with the witchy-woman bent of the lyrics. Meanwhile, the presence of Jackie Kelso and Jim Horn on woodwinds — the latter having previously provided the sax solo on “Laughter in the Rain” — gives the groove a much-needed touch of lightness, preventing it from getting too stuck in the muck.

The lyric itself is not a particularly special one — “Just a pop song about an evil woman,” Sedaka described it to Billboard later in the year — but its rougher, more spiteful energy, including a use of the word “b–ch” on the chorus, helped toughen up and modernize the image of a performer who would still refer to himself as “Uncle Neil” during performances. (“It got me into another following, not the goodie two shoes crowd,” Sedaka recalled to Billboard at year’s end.) For his part, co-writer Phillip Cody wishes he could’ve gotten a do-over on the lyric, but that Sedaka and John started up in the studio before he got a chance to re-write it. “I didn’t like it, and I thought, ‘Okay, what are we doing next?,’” he recalled to Songfacts in 2011. “And I just moved on. I thought, ‘That’s probably going nowhere.’ And I was absolutely wrong.”

Indeed, “Bad Blood” was a smash right out of the gate, debuting at No. 66 on the Hot 100 in September and topping the chart dated Oct. 11, 1975, a mere four weeks later. It knocked out David Bowie’s “Fame” — another hard-grooving rocker with a legendary backing vocalist — and lasted for three weeks at No. 1, becoming the longest-reigning and also best-selling smash of Sedaka’s entire career. (Sedaka was also proud that unlike his first two hits of 1975, “Bad Blood” didn’t hit No. 1 on what was then Billboard‘s Easy Listening chart, now known as Adult Contemporary.) The song was then deposed by — who else? — Elton John, topping the Hot 100 for the third and final time of 1975 (as a credited artist, anyway) with his Rock of the Westies lead single “Island Girl.”

But while Sir Elton would score another Hot 100 No. 1 the very next year — and then another one in the ’80s, and a couple more in the ’90s — “Bad Blood” would mark Sedaka’s final visit to pole position. He did earn one more top 10 hit off The Hungry Years in 1976, with his ballad re-recording of signature ’60s hit (and first Hot 100-topper) “Breaking Up Is Hard to Do.” But “Love in the Shadows,” lead single from follow-up album Steppin’ Out, only got as high as No. 16, and even bringing John back for another backing vocal on the album’s title track couldn’t get it higher than No. 36. Sedaka left Rocket a year later to sign with Elektra, but as disco and then new wave took over top 40, he was once again left behind by the mainstream — notching only one more top 40 hit in his career, alongside daughter Dara on the No. 19 hit “Should’ve Never Let You Go” in 1980.

Still, “Bad Blood” stands today as the peak of Sedaka’s improbable comeback year, where he shook off an entire decade of stateside obscurity to not only find himself back on the inside of pop music, but bigger than ever, and a close associate and duet partner with the decade-younger superstar who was at its very center. And while the song has not inspired a ton of covers or samples over the decades, it did lend its title to another No. 1 a full 40 years later — this one by Taylor Swift, getting an assist from Kendrick Lamar, and capping an imperial chart year of her own.

Mere days ago, a winter storm turned the Big Apple into an arctic tundra — but on this frigid late-January afternoon, Don Toliver has made the trek anyway to Manhattan’s famed Electric Lady Studios. After all, his album OCTANE arrives in three days, and he’s putting the finishing touches on it.

It’s toasty inside the state-of-the-art Greenwich Village studio, but Toliver is still bundled up in all-black attire, rocking a bonnet over his braids, a ski jacket, Coreshot pants and boots, all courtesy of Chinese designer Dingyun Zhang. “This room, you can smell it — it’s super iconic to me,” he says of the studio where so many classic albums, from Patti Smith’s Horses to D’Angelo’s Voodoo, were recorded. The woodsy scent of a teakwood-and-tobacco candle wafts through the air as an engineer noodles on a synthesizer in the background.

Toliver’s own work for OCTANE is done, but he’s saving room for one last guest spot from Travis Scott, who signed Toliver to his label Cactus Jack, in partnership with Atlantic Records, in 2018. “Dude pop out like Batman, smoke screen,” Toliver jokes. La Flame ultimately beats the buzzer, turning in his vocals at the 11th hour to continue his streak of being on every Toliver album. (His woozy appearance on OCTANE’s “Rosary,” which will soon hit No. 36 on the Billboard Hot 100, has now drawn comparisons to his assist on SZA’s Grammy Award-­nominated “Love Galore.”) “He’s the illest,” Scott later tells Billboard of Toliver.

Don Toliver will headline Billboard’s THE STAGE at SXSW at Moody Amphitheater at Waterloo Park in Austin on March 13. Get your tickets here.

In just a few days, OCTANE will help the 31-year-old born Caleb Zackery Toliver make the quantum leap to rap’s A-list. But today, the Houston native is even-keeled and humble. So far, Toliver’s career has been a steady labor of love: OCTANE is his fifth album in nearly six years — on top of his work on a pair of Cactus Jack Jackboys compilations — and like each of his albums so far, it will end up reaching the top 10 of the Billboard 200. Unlike his previous solo projects, it hits No. 1.

“It’s been great watching someone master their craft and grow at the same time,” says Sickamore, Cactus Jack A&R executive and Toliver’s co-­manager, in the Electric Lady lounge area. “It’s like watching a baby dinosaur turn into a T. rex.” Later, Toliver’s right-hand engineer and producer, 206Derek, echoes the sentiment: “He’s like the Apple stock.”

At its core, OCTANE is fueled by Toliver’s love of cars, but it goes much deeper than that. A couple of weeks before his New York trip, he pulls up to his Billboard photo shoot in a custom all-terrain Porsche Dakar — just one of the vehicles in his exotic collection. “All of my favorite things collide on this album. It’s an extension of me being a motorhead and loving all of that s–t. I love cars, boats, jets, all of it,” he says. “It’s me fleshing out my passions and things I grew up loving and giving it to the world through my eyes.”

OCTANE’s seeds were planted in early 2025 during a trip Toliver made to Miami with 206Derek. As they blended punchy 808s and bionic synths with elements of moody R&B and melodic rap to build out Toliver’s atmospheric sonic canvas, Derek nudged Toliver to get his hands dirty as a producer. “I’ve always told Toliver his instincts are the craziest instincts I’ve ever seen with anyone I’ve worked with,” Derek says. “He’s always down to push the line and just, like, do some risky s–t creatively.”

Toliver’s always been heavily involved in executive-producing his projects and particular about the arrangements on them, but this was his first time producing for himself, and he ended up with production credits on OCTANE tracks including “Rendezvous” with YEAT, “Call Back” and “ATM.” “[Producing] makes me feel like I’m getting closer to being able to compute whatever I’m thinking in my brain and put it directly into the music,” Toliver explains. “It just gives me more freedom to do what I want without having to rely on somebody else.”

Months after the Miami trip and thousands of miles across the country, OCTANE turned another corner when Toliver organized a writing camp a couple of hours south of San Francisco on the Monterey Peninsula in Carmel-by-the-Sea, which, fittingly enough, hosts its own classic car week every August. Collaborators like Jaasu, 206Derek, FnZ and Jahaan Sweet pulled up to the rented Airbnb — a cliffside glass mansion overlooking the Pacific Ocean — that Toliver nicknamed Castle Creek. When they weren’t in the studio, the crew bonded over joyrides along the California coast.

The camp was the first time Toliver’s creative director at Atlantic Records, Raf Porter, had seen him in his element. “Watching him record or produce is like seeing someone pull electricity from the air to power a room with light,” Porter says. “My brain is moving a million miles per hour sometimes, bro,” Toliver tells me. “I think I’m a visual learner and a visual thinker too.”

At Electric Lady, as he walked around the studio, he mused, “One of my biggest questions is: What’s out there?” Enter Mount Wilson Observatory. Over the summer, Toliver found solace in the San Gabriel Mountains outside of Pasadena, Calif. It was atop the range’s Mount Wilson, in 1925, that Edwin Hubble, a pioneer of modern astronomy, discovered that galaxies existed beyond the Milky Way using the observatory’s massive telescopes. For Toliver, the observatory became a creative anchor for the world-building of OCTANE.

“It’s cool these guys sit for hours and hours to see planets. I thought that was a crazy juxtaposition of how the studio is,” Toliver explains. “I record all night long, and I might not get that song that I want, or hear that melody that I want till five in the morning, and then it clicks.”

Like the passion that fuels the astronomers of Mount Wilson as they pursue scientific breakthroughs, Toliver is fueled by his drive to push hip-hop’s sonic envelope, where he’s already blazed trails in psychedelic trap. “I’ve never seen an artist just want to stay in the studio so much,” Sickamore says, “and I think that’s his superpower.”

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OCTANE boasts something for every type of Toliver fan, whether it’s the electronic-trap mashup of the Justin Timberlake-sampling, top 20 Hot 100 hit “Body”; the mosh pit-inducing chaos of “Opposite”; or the soothing, late-night drive energy of album closer “Sweet Home,” which, despite its calm nature, explores his hedonistic escapades.

With features from Rema, YEAT, SahBabii and Teezo Touchdown, the album scored Toliver his first solo Billboard 200 chart-topper (he previously peaked at No. 2 with 2021’s Life of a Don), with 162,000 equivalent album units earned in the United States for the week ending Feb. 5, according to Luminate. The set netted Toliver 139 million on-demand official streams, and all 18 of its tracks landed on the Hot 100, bringing Toliver’s total number of entries on the chart to 54.

“What’s been most impressive is watching him fully step into his creative identity and refine a sound that’s instantly recognizable,” Cactus Jack GM David Stromberg says. “He’s not riding any wave — he created his own.”

Concurrently with his recorded music’s success, Toliver has established himself as one of the premier live performers of his generation in hip-hop. His OCTANE tour kicks off in May with his first headlining set at Rolling Loud 2026 in Orlando, Fla. — and includes his first date headlining New York’s Madison Square Garden, where he’s headed to watch the Knicks after we meet at Electric Lady. “I just want to set the standard and be one of the top performing artists there is in 2026,” he declares. “I just want to be among the top performers in the world, bro.”

Music is in Toliver’s bloodline. Born during the 1994 NBA title run of his hometown Houston Rockets, he was raised in the working-class Alief neighborhood by his mother, Carla, and father, Bongo, who was an aspiring singer and affiliate of Swishahouse, an independent Houston record label that became a cultural force in the 2000s. Bongo grew up with former Swishahouse CEO G-Dash, which meant the chopped-and-screwed essence the label brought to the mainstream was baked into Toliver’s DNA.

Toliver was inspired by Sade, Dom Kennedy, Teddy Pendergrass and, later, fellow Houstonian Travis Scott — but he also wanted to follow in his father’s footsteps. As the Swishahouse boom rocked 2000s hip-hop, Toliver says two of its anthems in particular rewired his brain musically: Paul Wall and Big Pokey’s “Sittin’ Sidewayz” and Mike Jones’ “Back Then.”

The former song “really opened up my love for beats and musicality. That beat was so hard, it made me realize I like cool s–t,” Toliver says while he sings the Salih Williams beat. “That sample was so iconic, and the way it was chopped up, and the way Paul Wall was rapping on that joint made me stand 10 toes on everything the city had going on.”

He then raps “281-330-8004,” the famed phone number from Mike Jones’ 2005 anthem “Back Then.” “That was like peak for real. I ain’t never seen nobody do it again,” Toliver adds, clearing his throat and taking a sip of water. “That was peak artistry. I grew up around it.”

Toliver’s rich musical upbringing, not to mention his versatile vibrato, paved the way for him to fully dive into music. He exhausted every option at his disposal to turn his dreams into reality. Toliver and his close friend and collaborator Young Josh 93 would fly Spirit Airlines from Houston to New York with hopes of getting their music in the right hands. Circa 2017, they’d sleep in cars outside the offices of WWPR (Power 105.1) and Complex to meet The Breakfast Club hosts Charlamagne Tha God and Angela Yee, or Joe Budden and DJ Akademiks, who at the time co-hosted the debate show Everyday Struggle, to give them their CDs, looking for their big break.

“All these people took our CDs and gave us words of encouragement, and that s–t did numbers for me,” Toliver says. “That s–t made me feel like I can sit here and touch it. I can sit here and get right by it. It’s not impossible to do what I want to do. They just go in there and play it if they like it, so at the end of the day, what’s stopping us?

“That’s the energy that [time] gave me,” he continues. “But it was beautiful. Just everything about that whole era, man. It’s iconic to look back at and be like, ‘Damn, this is what we was working with, and we made it work.’ ”

Toliver’s demo eventually got into Travis Scott’s hands, and the Cactus Jack boss changed Toliver’s life when he invited him to the Hawaiian sessions for his 2018 album, Astroworld. He took full advantage of the opportunity, lending his floating vocal melodies to Scott’s “Can’t Say,” which became a top 40 Hot 100 hit, while also crafting songs like the Scott-­assisted “After Party” and “Cardigan,” which would appear on Toliver’s own 2020 album, Heaven or Hell.

“We’d be in the room, like, ‘Do you hear what this guy got going on?!’ He was like the new kid on the block,” recalls Sickamore, who met Scott as a couch-surfing aspiring rapper in the early 2010s. “I said to myself, ‘He’s so talented, he has to be protected.’ I made a decision that I’m going to help this guy get to where he’s got to go.”

Both Scott’s and Toliver’s careers have exploded since then, but their creative relationship hasn’t changed much. “The way I feel like [Scott] received [OCTANE] was the way I feel like when I first used to just send him unreleased music when I was just fresh off of ‘Can’t Say,’ ” he says. “I was just sending him hella music. I would always hear from people, like, ‘Trav’s been playing the s–t,’ and it used to just give me hope. I feel in that same era right now. He really right there with me.

“I’ll pull up [to Scott] with a full buffet, like, ‘What do you think about all of this?’ ” he continues. “Sometimes, he might have input right there at the moment. Sometimes he’s like, ‘Yo, send it to me and I’m going to get back to you.’ He’ll get back to me with a full breakdown of how he feels about it.”

Before blossoming as a superstar in his own right, Toliver became one of his generation’s most in-demand feature artists. As the COVID-19 pandemic shut down the globe, Toliver released his debut, Heaven or Hell, in March 2020, which landed in the top 10 of the Billboard 200 and spawned three Hot 100 entries. Later in 2020, Toliver earned his first top 10 Hot 100 hit when helming the syrupy chorus of Internet Money’s “Lemonade” alongside Gunna and NAV. Collaborations with titans including Ye, Justin Bieber, SZA, Future and Nas followed.

Of all of those guest turns, Eminem recruiting him for “No Regrets,” off 2020’s Music To Be Murdered By, is the one Toliver still can’t wrap his head around. “I really didn’t believe it because it was just so random,” he says. “I mean, I can believe Eminem would want to work with me and everything, but it was just random at the time. It was insane.”

But Toliver still has his sights set on collaborating with two of rap’s goliaths — Jay-Z and André 3000 — and he’d even be interested in laying a hook for a pop star like Sabrina Carpenter or Tate McRae. “What I like about pop these days is it’s mad clever. When we were growing up, it didn’t have to be articulated. It’s great, say something.”

He quickly shifts back to OCTANE while munching on a burger. “That’s another thing with this album: I can say a billion things about the sky, black hole, nebula and the Milky Way and Hubble, but it ain’t about that,” he says. “It’s about the feeling. Whatever you’re saying, you want it to resonate with someone. Sometimes I hear some of them [pop] songs and I get caught in riddles. I think it’s all dope, but sometimes s–t’s like a puzzle.”

But it’s not the plaques or chart accolades that ultimately bring Toliver the most happiness — it’s the financial freedom he now has. “To provide for my family the way I’ve done is the greatest reward,” he says. “My grandma called me the other day and asked me, ‘Yo, my refrigerator is broken. I need a new fridge.’ We brought her a fridge with a touch screen, just because she wanted it. At the end of the day, bro, that s–t warms my heart.

“An award is cool, but I know for a fact I’m going to make that bread,” Toliver continues. “Just like being able to sit here and say, ‘I can chill out and really just focus on my family and work on music whenever I really feel like I’m in a good mood or in a vibe to do so,’ makes me happy.”

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Two years before his death in 1970, rock icon Jimi Hendrix — who Toliver calls one of his “all-time favorite people” — commissioned Electric Lady Studios. But as Toliver hunkers down in Electric Lady’s subterranean lair, being thousands of miles from his son is what’s most on his mind.

He and his partner, the Grammy-winning R&B and Latin artist Kali Uchis, began dating in 2020 and welcomed their first child in early 2024. Toliver is at his most serious when discussing fatherhood — he’s put his dad duties first. “I’m just at a place where I just want to be a present father and spend as much time with my kid, as young as he is,” he says.

Toliver gushes about his son knowing some of his music and how smart he is at 2 years old. “My son is a sponge,” he raves. “He’s talking, running and doing everything. He’s so smart and it blows everybody’s mind. I’m just so proud of him. I just want to amplify that energy. I feel like he got it. I feel like if I was to implement as much time as I possibly could, he might just take off at a young age.”

Uchis is a superstar in her own right, and their hectic schedules make parenting, well, different from the typical situation; last year, they brought their son on the road with them for Uchis’ tour.

And while they shine in different musical lanes, the couple shares feedback with one another, and Toliver often solicits Uchis’ advice. “Sometimes she’ll hear some things and give me input,” he says. “Or sometimes she’ll hear some things and just think about something that I might not even thought about, like a chord. She’s very innovative and very particular about her production. So it really helps when I’m just trying to brainstorm.”

Looking far into the future, Toliver does have one grand ambition, one that would put him in the same orbit as his Electric Lady hero: “I got to go to the Rock & Roll Hall of Fame,” he proclaims with calm conviction.

But at least for the coming year, he’s set goals a bit closer to the center of his own little universe. “I just want to be locked in me and my son just sitting back watching Winnie the Pooh,” he says. “Man, practicing whatever he wants to practice [and I’m] cooking up, sketching designs and setting up something even crazier one day.”

This story appears in the March 7, 2026, issue of Billboard.

Artists, activists, cultural leaders and changemakers gathered on Sunday evening at Chaplin Studios in Los Angeles for the first Sankofa.org Social Justice Awards. Held on what would have been the 99th birthday of legendary entertainer and activist Harry Belafonte, the inaugural fundraiser paid tribute to his enduring legacy while honoring contemporary leaders whose work challenges injustice and ignites change.

The event was held at the site, formerly known as A&M Studios, where Belafonte played a key role in the 1985 recording session that produced USA for Africa’s “We Are the World.”

“This night is about honoring legacy and living courage,” said Gina Belafonte, co-founder and president of Sankofa.org (and Harry Belafonte’s daughter). “It’s about artists and organizers, truth-tellers and bridge-builders who have used their voices not for comfort, but for conscience. We cannot afford to surrender to the chaos designed to exhaust and distract us. We must innovate when they stagnate, activate when they attempt to paralyze us, and come together when they try to divide us. We gathered not just in celebration, but to recommit. To each other. To justice. To imagination. To the future we are building together.”

The event opened with a Sankofa.org film presentation and a choral performance by the Fernando Pullum Choir. Gina Belafonte delivered opening remarks that underscored the organization’s mission. “This inaugural Los Angeles fundraiser is a celebration of legacy and marks an important milestone for Sankofa.org,” she said. “My father believed that artists are the gatekeepers of truth. Our honorees remind us that art doesn’t just reflect the times — it helps change them.”

The program recognized trailblazers across music, visual art, film and grassroots organizing.

Music for a listening session was curated by Gina Belafonte was hosted by Ali Shaheed Muhammad of A Tribe Called Quest and journalist Dominique DiPrima.

The event included performances and conversations featuring Chuck D; poet Monique Mitchell; Iman Jordan, the 2025 Harry Belafonte Best Song for Social Change Grammy recipient for co-writing and performing “Deliver”; and Grammy-nominated artist Aloe Blacc. Blacc closed the event with a rendition of “Not on My Watch” alongside Gina Belafonte (Harry Belafonte’s granddaughter) and the Fernando Pullum Children’s Choir before accepting the inaugural Passing the Baton Award from actor and activist Jesse Williams and performing his signature song, “Wake Me Up.”

Guests included producer and activist Maria Cuomo Cole; entrepreneur and political strategist Mark Skidmore; hip-hop artivist Maya Jupiter; filmmaker Maria Belafonte; and poet, prison activist, and scholar Bryonn Bain. On display was Sankofa.org and collaborating partner Made New Foundation’s Virtual Reality Reentry program for incarcerated and formerly incarcerated families.

Founded in 2013 by Harry Belafonte, Gina Belafonte, and Raoul Roach, Sankofa.org seeks to educate, motivate, and activate artists and allies in service of grassroots movements and equitable change. Proceeds from the event will support Sankofa.org’s mission to dismantle systemic violence, advance restorative justice initiatives, and champion meaningful reforms for immigration policy and a livable minimum wage.

One of country music’s singular figures made his first appearance on a Billboard chart four decades ago when Dwight Yoakam debuted on the Hot Country Songs list dated March 1, 1986, with “Honky Tonk Man.”

Born in Kentucky and raised in Ohio, Yoakam emerged out of the cowpunk scene in Los Angeles, where his unique musical persona was allowed to flourish in the city’s nightclubs. He played an aggressive rhythm guitar, employed stylized dance steps and applied a hard-edged vocal tone with an arresting hiccup in his phrasing. After he broke nationally with his Reprise debut, Yoakam would quickly be paired with Randy Travis as the leading lights among the New Traditionalists, a cadre of acts — including George Strait, Ricky Skaggs and The Judds — who combined classic country influences with modern, CD-era sound quality.

Yoakam wrote much of his material, but “Honky Tonk Man” came from another source: the late Johnny Horton, who was credited as a cowriter with songwriter Howard Hausey and manager Tillman Franks. Horton rose to No. 9 with his version of the song 30 years prior, and it was released again in 1962 — 17 months after Horton’s death in a car accident — rising to No. 11.

Yoakam bested Horton’s chart runs, peaking at No. 3 on June 14, 1986. It was the first of 39 titles to hit the list, including 14 top 10 releases, led by two No. 1 singles: a 1988 collaboration with Buck Owens on “Streets of Bakersfield” and 1989’s “I Sang Dixie.”