Jay-Z is fiercely protective of his wife Beyonce Knowles’ legacy.

During a Twitter debate on Tuesday the 52-year-old rapper championed his partner, 40, as one of the greatest performers of all time, placing her above the late Michael Jackson.

While in a Twitter Spaces conversation with Alicia Keys and music executive Rob Markman, Jay said, ‘Michael Jackson never had a Coachella.’

Controversial: During a Twitter debate on Tuesday Jay-Z championed Beyonce as one of the greatest performers of all time, placing her above Michael Jackson

He prefaced the statement with a caveat as he noted, ‘Bey’s gonna be mad at me for saying this.’

The father-of-three also called his spouse an ‘evolution’ of the former Jackson 5 frontman.

‘She’s an evolution of him because she watched him at 9 [years old]. And [the kids] are the same,’ he said.

Doubling down on his Coachella comment he added, ‘Find me a concert that’s as culturally relevant and thrilling as Coachella.’

Comparison: While in a Twitter Spaces conversation with Alicia Keys and music executive Rob Markman, Jay said, ‘Michael Jackson never had a Coachella’

Flashback: Beyonce presents a humanitarian award to Jackson in 2003 at the Radio Music Awards

The entrepreneur also said about his longtime partner, ‘Beyonce is gonna be one of the best singers we ever heard because she is such a student.’

The Brooklyn native also gushed about Bey earlier this year while talking about her talent and work ethic.

In August he told ET Canada, ‘She’s super detail oriented, obviously, as you can see from her work.’

The proud husband added, ‘She’s an incredibly hard worker, super talented, very inspiring.’

Defending his lady: Jay-Z is fiercely protective of his wife Beyonce Knowles’ legacy

Perspective: Fans who got wind of Mr. Carter’s incendiary comments quickly took to Twitter to voice their takes on the topic

Beyonce dons crystal adorned coat as she gets close to Jay-Z
This isn’t the first time that the comparison between the two legendary music artists has stirred the pot.

Fans who got wind of Mr. Carter’s incendiary comments quickly took to Twitter to voice their takes on the topic.

One user tweeted, ‘I see the annual Michael Jackson and Beyonce debated has surfaced. Ya’ll aren’t tired?!

‘It’s every year with the same rinse and repeat hot takes. Free yourselves! Go wrap some gifts! S***.’

Opinion: This fan brought up the couple’s dirty laundry, referencing the rapper’s infidelity

Stats: Another pop culture enthusiast raised a career accomplishment of the late King of Pop

Has Beyoncé Overtaken Michael Jackson as the Most Important Black Artist of Our Time?

If it takes a living legend to know one, then Dionne Warwick must be one of our greatest experts on what makes an icon. And as the 78-year-old singer sees it, none of today’s biggest superstars – not Adele, not Taylor Swift, not even Beyoncé – would yet qualify for the I-word.

“I love her to death and can appreciate her talent,” she says of Bey the new issue of Essence magazine. “But that iconic status? It’s a long road.”

Warwick’s words offer a clue as to where she might stand on a debate recently waged on the Joe Budden Podcast: Has Beyoncé surpassed Michael Jackson to become the most important black artist of our time?

Queen Bey certainly would qualify as a legitimate successor to the King of Pop. Like Jackson, she’s sold millions of records, racked up an impressive string of hits, and amassed a sizable fan base and fortune. Jackson’s 2009 death left a hole in the hall of hallowed black music stars that Beyoncé was primed to fill.

Is that Mission: Impossible, or Mission: Accomplished … and then some? Has the next Michael Jackson now surpassed him in standing in the black community? “Leaving Neverland” and the stain its sexual abuse allegations tattooed on Jackson’s reputation have left his legacy vulnerable. The scene would seem to be set for a new supreme musical hero – or heroine – to take over.

In some ways, Jackson’s and Beyoncé’s origin stories are eerily similar. Both were raised in red states (Beyoncé in Texas, Jackson in Indiana) by fathers who played a heavy hand in their early careers. Both broke out from successful groups to become even bigger sensations on their own. Both boosted their reps with groundbreaking music videos. Both assumed the title of music royalty.

But where one is celebrating and making black history, the other is black history – five decades of it. Beyoncé has driven some of the pivotal pop culture moments of this millennium – from “Independent Women” to “Single Ladies” to “Lemonade” to her Coachella “Homecoming” performance – but nothing in black entertainment in the last half century can match the impact of Jackson and “Thriller,” the all-time best-selling album by a black musician. That both have been so difficult to mute post-“Leaving Neverland” is a testament to their artistry and enduring importance.

Beyoncé is an undeniable creative force, but she’s first and foremost an entertainer. Her talent as a singer and performer is often jaw-dropping, but it takes a village to make a Beyoncé hit. Jackson was more of a self-contained, independent artist. He worked with accomplished producers but composed many of his greatest hits solo. As he proved with his career-making moonwalk on “Motown 25” in 1984, he didn’t need a battalion to leave a lingering impression.

His perennial success has been against substantial odds. In future centuries, he will serve as an example of how to remain a beloved star despite ever-mounting negative press. “Leaving Neverland” may have damaged his legacy irreversibly, but it’s impossible to erase him from black history.

Perhaps he has the edge over Beyoncé because he came to prominence during a different era, before fragmentation and declining sales compromised artists’ ability to transcend demographics and before social media inflated our perception of popularity. Jackson had broader mass appeal that spanned all races, ages, continents, and languages.

Jackson was a black revolution, and that was its opening shot heard around the world. It still reverberates today, louder than any musical salvo Bey has yet fired.

This isn’t to understate Beyoncé’s musical and cultural significance. In paying homage to black womanhood, she’s brought it into white living rooms in a way no other performer before her has. Though her black consciousness can seem choreographed and calculated at times, especially when compared to earthier forerunners like Nina Simone, Aretha Franklin, and Mary J. Blige, Bey dares to go there in a way Jackson — who became figuratively and literally more colorless as time went by — never did.

At just 37, and 22 years into her career, she’s opening more doors and breaking down more barriers than any living black music star. She can headline Coachella in California and Glastonbury in England (the first black woman to do either) and still bring down the house at the Apollo in Harlem. Critics and fellow artists are as enamored of her as fans, and although her personal life makes headlines, unlike Jackson, her legacy is untarnished by scandal.

Jackson, for all his legendary-ness, was simultaneously a joke. The tabloid media dubbed him “Wacko Jacko,” and he was regarded as something of a mad genius, the wizard of weird. An eternal outsider, he was like the man-child who fell to earth. His oddness perhaps made him more vulnerable to the abuse allegations that have so damaged his legacy. Whether we believe them or not, most of us will never again be able to listen to Jackson’s music in the same way.

But here’s the catch: The music still holds up. It made him the biggest superstar in the world and catapulted him to near-mythic status. While Beyoncé’s Beyhive has taken unconditional fandom to extremes, the cult of Bey revolves more around her starpower than unprecedented creative brilliance. She rides musical trends with deft awareness, but she doesn’t invent them the way Jackson did.

Jackson is a 50-year-old cultural movement that remains perpetually in motion. He created the soundtrack to our lives, and even if it’s no longer blaring from every speaker, it left a mark on the black community, on the world, that’s more indelible than that of any music legend, with the exception of Elvis Presley and The Beatles.

Jackson has been gone for nearly a decade, and in some ways, his impact remains undimmed. With “Thriller,” he paved a way for black artists into the white mainstream and set an example for child stars hoping to successfully transition into adult icons. Without him, there might have been no Whitney Houston, no Janet Jackson, no Beyoncé. No black musician, living or dead, has impacted black and white culture more than Michael Jackson.

In recent news, memories of the IT guy who urged putting women first are resurfacing. The artist in question is Jahiem, an R&B sensation born on May 26th, 1978, in New Brunswick, New Jersey. Jahiem’s early life was marked by tragedy, losing his father at the age of three and his mother to spinal meningitis at 17. Despite a challenging start in the Memorial Parkway public housing project, music ran in his blood, with his granddad being an R&B crooner in the 60s.

Growing up in the tough Project Life environment, Jahiem, with dreams beyond the ghetto, faced street life troubles leading to periodic incarcerations. However, his voice became his solace and paved the way for success. Winning at the Apollo Music Theater’s talent competition at 15, Jahiem’s life took a turn when he lost his mother, but he channeled his heartache into crafting a demo that would change his life.

Jahiem’s demo, accidentally dropped in a Newark clothing store owned by Naughty by Nature, caught the attention of KG, a band member, leading to a call on April 1st, 2000, discussing a potential record deal. A year later, he released his debut album, “Ghetto Love,” selling over 880,000 copies in its first week, propelling him to fame.

Despite his rough exterior not aligning with the typical R&B image, Jahiem’s success continued with albums like “Still Ghetto” in 2002, featuring hit singles like “Put That Woman First” and “Fabulous.” However, legal troubles arose in 2004, with drug-related accusations, resulting in Jahiem facing challenges, though eventually, the charges were invalidated.

Jahiem’s journey in the music industry continued with albums like “Ghetto Classics” in 2006 and “The Makings of a Man” in 2007. His popularity waned slightly, but he rebounded with the 2010 album “Another Round,” featuring the emotional track “Finding My Way Back.” Despite not reaching the same heights, Jahiem garnered Grammy nominations.

In 2011, he earned Grammy and American Music Award nominations, showcasing his enduring impact on the R&B scene. Jahiem, with over 5 million records sold worldwide, experienced both successes and challenges, including legal troubles and rumors of drug abuse. His last album, “Struggle Love,” was released in 2016.

Recent controversies include animal cruelty charges in September 2021, where 15 dogs were found in squalor at his New Jersey residence. Fans, despite the tumultuous headlines, continue to express nostalgia for Jahiem’s soulful tunes, hoping for his return to the music scene. Rumors persist about his battles with drug abuse, but the artist himself remains silent. At 45, fans are eager for a Jahiem comeback, anticipating the return of his soulful voice to the music stage.

Jaheim on the current state of R&B

R&B singer Jaheim may have been out of the limelight for while, but that doesn’t mean he’s stopped keeping tabs on the R&B world.

“I think that the current state of R&B is between a nail and a hard rock because the rock is not as solid as it used to be but the nail is wearing us down,” the singer told Page Six at last week’s seventh annual gala for Soledad O’Brien’s PowHERful Foundation, where he performed.

While he may no longer be at the same level he once was, the 39-year-old is fine with his current position in the industry. The three-time Grammy nominee, who runs the label Julie’s Dream, enjoys having more control over his music.

“I have been in the game for 22 years so I cannot say that I am underrated but I am not with the major industry anymore,” he said. “I am still playing the game. I am the boss now. I am wearing the coat and paying my own bills and dues.”

Jaheim is proud of the career he’s forged, but two-plus decades in the business haven’t been without their drawbacks. Of course, those negatives have also taught him exactly how to not treat people.

“Without everything I have been through I would not be where I am today,” he explained. “I love the business I just don’t like certain people in the business. Certain people just do not know how to treat people and conduct business. We are all equal regardless of who we are. I treat everybody like a star.”