Tommy Lee has released Tommyland Rides Again via BMG — a reimagined version of his 2005 solo album Tommyland: The Ride — marking the first time the record has been available on digital streaming platforms.

The refreshed edition was remixed by Lee and collaborator Smiley Sean at Lee’s own Dolby Atmos-certified studio in Los Angeles, with the project also available in an immersive Dolby Atmos mix.

“A couple years ago, my kids were tripping out and like, ‘Dad, you gotta re-release this,’ ’cause it was 20 years since it came out,” Lee recently explained to Billboard of the new project. “I didn’t really think much of it, but then the studio got done being built and I was like, ‘I wanna remix some of my stuff’ — one being Tommyland: The Ride, for its anniversary.

“So I learned the process, and once you hear Dolby Atmos, it’s insane. I’ll never listen to regular stereo again. And now we’re going down the rabbit hole and I’m remixing anything.” The release includes a new bonus track, “Stupid World,” featuring alt-rock artist and former professional skateboarder Chad Tepper, alongside an accompanying music video.

Physical formats — including CD and, for the first time, vinyl — follow on Sept. 18.

“Whenever I do something solo, without Motley Crue, I’m like a little kid in a sandbox,” Lee said. “It’s just you, and you sort of have the freedom to do whatever it is that’s blowing your skirt up.

“The cover art kind of says it all; it’s basically a, like, roller coaster (track) going into my ear, into my f***in’ crazy, eclectic musical styles mind, and that’s what it’s always been.”

The original Tommyland: The Ride, released independently in August 2005, peaked at No. 62 on the Billboard 200 and produced lead single “Good Times” featuring Butch Walker, which reached No. 95 on the Billboard Hot 100 and served as the theme song for Lee’s NBC reality series Tommy Lee Goes to College.

The album was part of an ambitious multimedia rollout that also included Lee’s autobiography of the same name. Despite its modest chart performance, the record featured a heavyweight cast of collaborators spanning rock, pop and punk — among them Nickelback’s Chad Kroeger, Good Charlotte’s Joel Madden, Backstreet Boys’ Nick Carter, Sum 41’s Deryck Whibley, Dave Navarro of Jane’s Addiction, Andrew McMahon and Butch Walker.

Two decades on, Lee says the Dolby Atmos technology available at his studio made revisiting the album irresistible. “The cover art invites you to take a ride inside my twisted musical world and experience its new life after 20 years,” he said. “And in Dolby Atmos.”

The release arrives as Lee heads back on the road with Mötley Crüe for The Return of the Carnival of Sins tour this summer, celebrating both the 20th anniversary of that original 2005 concert run and the band’s 45th anniversary. Mötley Crüe have sold more than 100 million records worldwide and hold a star on the Hollywood Walk of Fame.

Post Malone is heading to stadiums in Australia and New Zealand this October, with Live Nation announcing a four-date run that marks the global superstar’s largest headline shows in the region to date.

The Big Ass World Tour touches down at Melbourne’s Marvel Stadium on Oct. 9, Brisbane’s Suncorp Stadium on Oct. 12, Sydney’s ENGIE Stadium on Oct. 15, and closes at Auckland’s Go Media Stadium on Oct. 21. Post Malone will also headline three Strummingbird Festival appearances in Ballarat (Oct. 10), Newcastle (Oct. 17) and Sunshine Coast (Oct. 18). Don Toliver joins as special guest across all stadium dates.

Artist presale begins Tuesday, May 26, with general on sale opening Thursday, May 28. Mastercard cardholders in Australia and Westpac Mastercard holders in New Zealand have access to exclusive presale tickets from May 26. VIP packages are available via vipnation.com.

The Australian and New Zealand run follows a landmark stretch for Post Malone in both markets, including sold-out arena dates in 2023 and headline sets at Spilt Milk Festival. His latest album, F-1 Trillion — his debut country record — debuted at No. 1 on the Billboard 200 and earned eight Grammy nominations at the 2025 ceremony, including collaborations with Beyoncé and Taylor Swift.

Its lead single “I Had Some Help” with Morgan Wallen topped the Billboard Hot 100 for six consecutive weeks, posting the highest weekly sales and streams of any song since 2020. His catalogue includes nine diamond-certified singles, among them “Sunflower (Spider-Man: Into the Spider-Verse),” which became the first song in RIAA history to achieve double diamond certification — the highest-certified single in RIAA history.

Toliver brings serious chart credentials of his own to the tour. The Houston-bred rapper and singer has landed all five of his studio albums in the top 10 of the Billboard 200. His most recent release, OCTANE (2026), debuted at No. 1 with 162,000 equivalent album units in its first week, generating 423 million first-week global streams. He is currently on his 31-city North American OCTANE Tour before joining Post Malone for the Australian and New Zealand leg.

Japan’s ASIAN KUNG-FU GENERATION dropped Fujieda EP and new single “Skins” in back-to-back months. Recorded entirely at MUSIC inn Fujieda, a residential recording studio built inside a 130-year-old renovated storehouse, the four-track EP shifts texture from song to song while serving as a showcase for the quality of the Shizuoka facility. 

“Skins” is the opening theme for the TV anime Dr. STONE: SCIENCE FUTURE Season 3. The song reworks the feeling of an age of wavering values into a common sensibility that can be shared across conflict and division. Billboard Japan spoke with all four members about the making of Fujieda EP, the perspective behind “Skins,” and their enthusiasm heading into their 30th anniversary overseas shows and Ariake Arena concert.

Fujieda EP was recorded entirely at MUSIC inn Fujieda. How did this studio come to exist in the first place?

Masafumi Gotoh (frontman, guitar): When young musicians are based in Tokyo, especially in the urban center, studio costs can be prohibitively high. Some places are expensive and cramped at the same time, which is a tough situation. I wanted to create a more accessible space where people could really take their time making music, and that’s how MUSIC inn Fujieda came about. We used crowdfunding and a lot of people’s support to get it finished, but once you’re ready to actually run a studio, you need to do some test recordings. So I asked the other members of ASIAN KUNG-FU GENERATION to take on that role this time.

What was it like to actually use the studio?

Kensuke Kita (guitar, vocals): I’d seen photos of it before, but when I saw the real thing, the first thing that struck me was how thoroughly it had come together as a proper studio, beyond anything I’d imagined. It’s not enormous, but the high ceilings make it feel bigger than it is. Since we did our pre-production at our own studio beforehand, we were able to record the same songs under the same conditions and compare, which was great. The drum sound in particular was fantastic. I was impressed because it was clear they built the space with that sound in mind. The care that went into it really does come through in the audio.

Kiyoshi Ijichi (drums): It’s also impressive that a storehouse like this still exists in Fujieda. Renovation must cost more than clearing the land and building from scratch. We once went to RAK Studios in London to record. It’s a place that’s been around for decades, and Europe has that culture of looking after old buildings. In some places, renovation rather than demolition is actually required by law. That’s a wonderful thing, and it gives neighborhoods a cohesive beauty. I’d always envied that. Japan has its share of earthquakes, which sometimes makes rebuilding unavoidable. So something like this is all the more remarkable and it moved me.

Takahiro Yamada (bass, vocals): The materials used were wonderful as well — reclaimed wood from disaster sites, and the original storehouse floorboards repurposed as wall paneling. (The floor uses Noto hiba cypress, and the walls incorporate salvaged timber rescued from areas affected by the Noto earthquake.) The staff were warm and full of character, and the whole environment was so comfortable. Honestly, the feeling I’m left with is, thank you for letting us be the first ones to use it.

Your new single “Skins” was released in April as the opening theme for Dr. STONE: SCIENCE FUTURE Season 3. How did you go about reflecting the world of the series in the song?

Gotoh: This is actually a song I wrote quite a while ago. I believe it was after we put out “Life is Beautiful,” and I was in a headspace of feeling like the only thing worth writing was anti-war songs. I was asking myself how to write something that could push back against the way things were going. But simply shouting opposition to war doesn’t accomplish much. As I kept thinking it through, I arrived at the idea that maybe we all have no choice but to shed the things we’re carrying. What’s left once each of us has stripped everything away is our naked bodies, bare skin — just “skin.” That’s where the title “Skins” came from.

And Dr. STONE is a story about humanity starting over after being petrified. It’s an epic tale, but also carries something like a critique of the modern world. That’s where I felt the two could resonate with each other. Rather than writing something from scratch, this was more about finding where an existing song and a work of fiction overlapped.

I get a sense that your recent lyrics convey strong messages about connecting through music across conflict and division. After the recent lower house election, you mentioned the studio and said something along the lines of “it doesn’t matter what party anyone supports.” What are your thoughts on that now?

Gotoh: It’s pretty clear that the world is full of people with different positions. Even when they speak the same language, people have divided over nothing more than believing in different gods. It’s been like that throughout human history.

That’s true.

Gotoh: I don’t think music exists to highlight those differences. What I’ve come to believe is that music’s potential lies in showing us that even people who have nothing in common can end up in the same place, moving to the same sound or beat, and share a feeling of, “This is good.” That there’s something like a common feeling, not just difference. Music shouldn’t be a source of division.

One of the reasons music saved me is that it never told me I wasn’t allowed to listen. There might be communities where you feel out of place, but I have no real memory of being turned away. That’s what expression is at its core, I think — open to anyone.

Absolutely.

Gotoh: I want to keep making things like that, and keep writing down things we need to think about within them. But at the root of it is a feeling that music should be there so that everyone can confirm together that it’s OK to be here.

I also wanted to ask about opening for Oasis. What was that experience like?

Gotoh: Tokyo Dome is massive. It was our first time playing a dome as ASIAN KUNG-FU GENERATION. Honestly, the last time I was there was 30 years ago when I went to watch a Nippon-Ham versus Orix game because I wanted to see Ichiro. So the idea of performing at Tokyo Dome wasn’t something I’d ever pictured. I went in half-expecting the sound to be bad, [Laughs] but it was actually good. I noticed it again at the Oasis show — things have improved a lot lately. The speaker systems have really caught up with the venues.

I was genuinely nervous being on that stage. It all came together pretty quickly, too. But after 30 years as a band, I also felt like we couldn’t afford not to play well. It would have been tough if we’d been told to play for 50 minutes, but 30 minutes? We could handle that. Still, when it was over, my mouth was completely dry. Whether that was the air pressure, the nerves, the adrenaline — I’d have to do it again to know. [Laughs]

Yamada: I was nervous, of course, but the crowd was warm, and I think we were able to get through it feeling good rather than stiff. The feedback was positive too, so hopefully some of the people who saw us there also came to the Ariake Arena show in April (the 30th Anniversary Special Concert “Thirty Revolutions”). That would really mean a lot.

Gotoh: The best beer I had all last year was the one I drank right after we came off, standing in front of the first-base dugout.

Kita: You had such a great look on your face.

Ijichi: Before we went out, Gotch (Gotoh) hugged all of us for the first time ever. I was a little moved by that. We’d actually opened for Oasis once before, in Nagoya (SUMMER SONIC EVE in 2005 at the Nagoya Port Open-Air Park). That was a pretty rough crowd. [Laughs] We could feel the energy of “just bring out Oasis already” while we were playing, so I figured this one would be similarly unwelcoming and stepped onto the stage with that expectation.

Then the moment I hit the first beat of the drum intro, I thought, “Huh?” There was this huge cheer. And from there, people were singing along. I was like, “They actually know our songs!” I don’t know whether Oasis fans had come to know us over the years since Nagoya, or whether people who already knew us were just big Oasis fans too, but feeling like we were genuinely sharing a bill as equals made me really happy.

This year, you’ll be celebrating your 30th anniversary in Indonesia, Mexico, Chile, and Peru, along with the upcoming arena concert in Japan. To close, could each of you share a thought about what’s ahead and a message for readers?

Gotoh: The fans who listen to ASIAN KUNG-FU GENERATION in Japan are incredibly important to us, but there are also so many people listening to us all around the world. It’s one of the things driving this band right now. If people are calling us there, I want to go everywhere we can while we still can. And I want to make music and put on shows that are worthy of that feeling.

Kita: The fact that we’ve been able to keep this band going for 30 years is because there are people who keep showing up, and I’m truly grateful for that. I want to give them a show they’ll be glad they came to.

Ijichi: I want to play a range of songs, old and new, and really do them right. There will be people coming who are new to us, and people who have been with us for years, and I’d love for both groups to leave happy. When you’ve been at it for 30 years, you have an enormous number of songs, and narrowing it down to around 20-something is its own challenge. But I want to pick and play the ones that feel right for who we are now.

Yamada: I’m always aware that there are people out there waiting for us. Whether it’s the overseas shows or anything else, I want to live up to that expectation, and I’m going to think carefully about how to do that and play with everything I have.

—This interview by Takanori Kuroda first appeared on Billboard Japan

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The 125th annual French Open (Roland-Garros) features the best tennis players from around the world, including Jannik Sinner, Aryna Sabalenka, Coco Gauff and others, competing on red clay courts for Grand Slam trophies. The tennis tournament takes place at Roland Garros Stadium in Paris, France.

Meanwhile, throughout the event, French DJ Martin Solveig, singer M. Pokora and rapper Franglish perform at the start of the tournament, while world beatbox champions Berywam is set to perform during warmup night.

How to Watch French Open 2026, at a Glance:

When Is the French Open 2026?

The French Open airs live starting on Sunday (May 24), with a start time of 5 a.m. ET/2 a.m. PT (11 a.m. CEST). It end with the men’s singles final on Sunday, June 7. Check out a complete tennis tournament schedule here.

How to Watch the French Open 2026 Online for Free

For the French Open tennis tournament, the three-week sports event broadcasts on TNT and truTV, as well as livestreams on DirecTV and HBO Max.

If you have access to live channels, through cable, streaming or satellite, check your local listings for channel information. Fans who don’t have cable can livestream TNT and truTV and other live channel on streaming platforms, such as Sling TV, Hulu + Live TV and others.

You can livestream the French Open with DirecTV, which includes TNT and truTV. The streaming service offers “Choice” in their signature streaming package with more than 125 live channels. For a limited time, new subscribers can join DirecTV for just $84.99 per month for the first 24 months of service (reg. $94.99 per month). Sign up for a five-day free trial to start watching now.

DirecTV is the best of all of the streaming service because it offers the most channels at a very competitive monthly price. It also comes with free trial to HBO Max.

A subscription to Sling Blue, which comes with TNT and truTV for French Open, gets you access to live TV, local and cable channels. You can watch local networks such as ABC, NBC and FOX (in select markets), while you can watch many cable networks too. Please note: Prices and channel availability depends on your local TV market. You can learn more about Sling TV here.

Sling TV is best for cord-cutters on a budget. It has a wide selection of channels you’ll actually watch, like TNT, truTV and others, at a low price.

If you don’t have a Hulu + Live TV subscription, the streamer offers a free trial that’ll get you your first three days free to access TNT and truTV for French Open. Once the free trial is over, you’ll be charged the regular subscription fee starting at $89.99 per month.

Hulu + Live TV is fantastic, thanks to its variety of live channels and streaming bundling — including access to Hulu, Disney+ and ESPN Unlimited.

A subscription to HBO Max is one of the best ways to watch the French Open online. The streaming service starts at $10.99 per month for the ad-supported plan, but you can get HBO Max bundled with Hulu and Disney+ starting at $19.99 per month for all three services.

HBO Max is the home of hit originals such as Heated Rivalry and Hacks; all things HBO, including Succession, Euphoria and House of the Dragon; popular movies, including Sinners, One Battle After Another, Weapons and Marty Supreme; live sports from the NHL, NCAA football and basketball, MLB and other leagues and live news from CNN.

The streaming service is also the home to exclusive Music Box documentaries, such as Yacht Rock: A DOCKumentary, Woodstock ’99: Peace, Love and Rage, Juice WLRD: Into The Abyss, DMX: Don’t Try to Understand and others. Unfortunately, HBO Max doesn’t offer a free trial, but there’s a clever workaround here.

More Ways to Watch

Viewers who want to livestream internationally can use ExpressVPN, NordVPN and PureVPN to access several streaming platforms.

Starting on Sunday (May 24), the 2026 French Open tennis tournament broadcasts on TNT and truTV, as well as livestreams on HBO Max.

Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

The Beaches are having another viral moment.

In Episode 2 of Prime Video’s Off Campus — a series based on the book series by Toronto author Elle Kennedy — the group’s 2023 hit “Edge of the Earth” soundtracks a key moment.

The show chronicles the love story between Hannah Wells (Ella Bright) and the university hockey player Garrett Graham (Belmont Cameli). It’s another hockey romance hit, quickly hitting No. 1 globally on Prime Video after its May 13 release.

The Beaches’ 2025 Coachella set plays a pivotal role on the show, connecting the two main characters. It’s more than a passive sync, with the band’s name being by the characters.

Hannah asks, “Have you heard of the Beaches?” Channeling Garden State, she gushes that “their Coachella set will change your life,” before playing through the band’s performance of “Edge of the Earth.”

in one week, “Edge of the Earth” has reached new heights of its own, becoming The Beaches’ most popular song on streaming platforms. There’s an 888% increase in week-over-week growth in streams since the show’s premiere, The Beaches’ management shares with Billboard Canada. That’s over two times more than the previous peak set by “Blame Brett” during its viral moment on TikTok in 2024.

The group’s entire discography is surging, experiencing a 48% week-over-week growth on streaming platforms, confirming the “Edge of the Earth” moment is driving broader catalogue discovery — not just one song.

“We are incredibly grateful to be included in the world of Off Campus,” the group tells Billboard Canada. “This song has such a special place in our hearts, and it’s humbling to see how it’s resonated with the rest of the world.”

For the band’s manager, Laurie Lee Boutet, it’s the result of many years of effort and hard work.

“It’s been a wild week. ‘Edge of the Earth’ [has] been around since 2023, and Off Campus put it in front of millions overnight,” she shares with Billboard Canada. “A week in, and it’s the biggest streaming moment of their career. These four have been doing the work for over a decade; they’ve earned this. We’re just trying to keep up.”

The group’s recent success coincides with their major win at this year’s Billboard Women in Music ceremony in Los Angeles. After first being named the Women of the Year at Billboard Canada Women in Music in 2025, the band repped Canada while accepting the Global Force Award, presented by FACTOR.

“To be representing Canada on a global stage like this is not only an honour, but a dream come true,” frontwoman Jordan Miller said in the group’s acceptance speech.

While Off Campus is set in a fictional Massachusetts town, it was shot at the University of British Columbia in Vancouver — so it’s fitting that a Canadian group is reaping the rewards.

Read more here. — Heather Taylor-Singh

ArtsHouse Media Group Launches New Toronto Live Venue, SOUNDSTAGE

A state-of-the-art new home for events and performances has arrived in Toronto.

ArtsHouse Media Group (AMG) has unveiled the all-new SOUNDSTAGE venue. Located on the sixth floor of the W Toronto hotel near Yorkville, the new performance and music venue will bring concerts, entertainment, culture and industry events all under the same roof.

The new venue was officially unveiled this week (May 19) with a special ribbon cutting by Toronto Mayor Olivia Chow, AMG president Mo Ghoneim and CCO Elizabeth Crisante, W Toronto general manager Elie Sassine, NXNE founder Michael Hollett and members of the AMG and Billboard Canada team.

“SOUNDSTAGE was built to be more than a venue. We wanted to create a home for artists, culture, and live experiences that brings together music and media in a meaningful way,” says Mo Ghoneim, president of AMG. “As one of the country’s leading music media companies, we felt a commitment to creating a space that not only elevates performance, but helps artists and culture connect with audiences on a larger scale.”

The new hub for music, media and culture will host several major events in June including a number of Billboard Canada LIVE events during NXNE, including Q&A and performances by Frank Walker and Sickick. It will also host Billboard Canada x Music Manager Forum Canada’s Managers to Watch x Honour Roll 2026 celebration, which will honour the most impressive music managers making moves in Canada.

“W Toronto has always been committed to creating luxury spaces where culture, creativity and community come together,” says Elie Sassine, general manager of W Toronto. “SOUNDSTAGE is an exciting evolution of that vision, bringing a fresh energy to Toronto’s cultural and event landscape. By blending music, technology and hospitality, the venue creates a unique platform for artists, brands and industry leaders to connect in a way that feels distinctly Toronto.”

Read more here. — Billboard Canada

Acclaimed Cellist & Composer Cris Derksen Mourned by Canadian Musicians and Industry

Cris Derksen, a renowned Indigenous cellist and composer, died in a car accident on May 15, at age 45. They were returning from their father’s funeral near Slave Lake, Alberta.

An obituary in the Edmonton Journal reports that “Derksen was a beloved fixture on Canada’s classical and stringed music scene. Their style sometimes fused modern electronic sounds and Indigenous rhythms.”

As a soloist-composer, Derksen performed with 15 different symphonies and chamber orchestras across Canada. They have been commissioned by prestigious ensembles such as the Calgary Philharmonic Orchestra, the Toronto Symphony Orchestra, the Thunder Bay Symphony and Orchestre Métropolitain.

In 2022, Derksen was the composer for the Canadian Pavilion at the World Expo in Dubai, as well as in 2025 the World Expo in Osaka. Work on the podcast Stolen: Surviving St. Michael’s by Connie Walker and Gimlet Media earned both a Pulitzer Prize and a Peabody Award. In 2024 Derksen had their Carnegie Hall Debut performing with Orchestre Metropolitan and Yannick Nézet-Séguin with their piece Controlled Burn commissioned by Nézet-Séguin.

Derksen has worked with the Royal Winnipeg Ballet and in 2026 wrote a 75 minute ballet Cikilaxwm: Controlled Burn for Ballet Kelowna with Indigenous choreographer Cameron Fraser-Monroe.

Derksen was also a dedicated advocate for diversity in classical music. They founded the Indigenous Classical Gathering at the Banff Centre for the Arts, served as the Artistic Advisor for the Calgary Philharmonic Orchestra and chaired the Equity Committee for Orchestras Canada. Through these roles, they strived to make classical music more reflective of Canada’s diverse population, opening doors for BIPOC composers and performers.

Derksen released four acclaimed albums: The Cusp (2010), The Collapse (2013), Orchestral Powwow Project (2015) and The Visit (2025)

They also performed as the Cris Derksen Trio with drummer Jesse Baird and dancer Nimkii Osawamick, and her composition Maada’ookii Songlines was a choral piece incorporating 200 singers.

Over their career, Derksen received multiple awards nominations, including the Indigenous Music Awards, Juno Awards for instrumental album of the year, (for Orchestral Powwow Project), the Aboriginal Peoples Choice Music Awards, the Canadian Aboriginal Music Awards and Western Canadian Music Awards.

A performance by Derksen was scheduled for Sled Island festival in Calgary in June.

As news of Derksen’s tragic passing spread, there was an outpouring of tributes from musical colleagues and noted industry members including Tanya Tagaq, the Canadian Music Centre and more.

Read more here. — Kerry Doole

Rob Base died on Friday (May 22) just days after turning 59 years old. The “It Takes Two” rapper’s family announced on his Instagram account that the Harlem native, who made up one-half of the duo Rob Base & DJ E-Z Rock, died following a private battle with cancer.

“Today, we share the heartbreaking news that hip hop legend Rob Base passed away peacefully on May 22, 2026, surrounded by family after a private battle with cancer,” the statement began.

The rapper’s family continued: “Rob’s music, energy, and legacy helped shape a generation and brought joy to millions around the world. Beyond the stage, he was a loving father, family man, friend, and creative force whose impact will never be forgotten. Thank you for the music, the memories, and the moments that became the soundtrack to our lives. Rest in Paradise, Rob Base. May 18, 1967 – May 22, 2026.”

Childhood friends Rob Base (born Robert Ginyard) and DJ E-Z Rock rose to prominence in the late 1980s, and the duo’s breakout came in 1988 with “It Takes Two” via Profile Records, which hit the top 40 of the Billboard Hot 100, peaking at No. 36 and spending 16 weeks on the chart. The crossover hit is certified platinum by the RIAA.

Black Eyed Peas sampled “It Takes Two” for their top 10 Billboard Hot 100 hit “Rock That Boy,” and the single was also played in plenty of movies like Love & Basketball, The Proposal, Iron Man 2, The Disaster Artist, Hey Arnold! The Movie and was part of a radio station in 2004 video game Grand Theft Auto: San Andreas.

“It Takes Two” was followed up by The Jacksons-sampling “Get on the Dance Floor,” which topped Billboard‘s Dance Club Songs chart. Rob and E-Z Rock returned to the Hot 100 for a second and final time with “Joy and Pain,” which peaked at No. 58 in July 1989.

The Harlem duo released a pair of albums together with 1988’s It Takes Two (No. 31 Billboard 200 peak, No. 4 Top R&B/Hip-Hop Albums peak), and Break of Dawn in 1994. Base dropped one solo album in his career, which came in 1989 with The Incredible Base (No. 50 Billboard 200 peak, No. 20 Top R&B/Hip-Hop Albums peak).

DJ E-Z Rock (born Rodney Bryce) died in 2014 due to complications related to diabetes, while Base continued their musical legacy in the years since, as he performed as part of the I Love the 90’s Tour with Vanilla Ice and other acts.

Base even extended his reach into Hollywood, where he executive produced the horror movie Urban Flesh Eaters in 2025.

Rob Base’s final public statement came earlier this week when celebrating his 59th birthday with a post to Instagram on May 18. “Happy 59th Birthday to me. God thank you for allowing me to see another year,” he wrote.