House of Hits Powered by Billboard set the tone for a Grammy weekend honored with legacy and culture. Jermaine Dupri and Bryan-Michael Cox led a powerful conversation honoring the legendary Kenneth “Babyface” Edmonds. Clipse, Pusha T & Malice, sat down with Billboard for an open conversation about their career highs, groundbreaking records, time in the industry, their faith and the cultural influence that continues to define their legacy. @Ralphytoo_fly The two-day gathering fused legacy, hit-making, and storytelling into one intimate, high-impact experience produced by Global Music Touring. day one Day one set the tone with a masterclass on R&B greatness. Jermaine Dupri and Bryan-Michael Cox led a powerful conversation honoring the legendary Kenneth “Babyface” Edmonds. The three hit-makers unpacked decades of timeless records, career-defining moments, and the untold stories behind songs that shaped the sound of generations. Billboard Senior Director Carl Lamarre also tapped in with Fam-Lay, diving into his journey and iconic collaborations with The Neptunes, Clipse, and beyond. Clipse, Pusha T and Malice, sat down with Billboard for an open conversation about their career highs, groundbreaking records, time in the industry, their faith and the cultural influence that continues to define their legacy at House of Hits. @Ralphytoo_fly day two Day 2 shifted the energy to hip-hop history as Clipse, Pusha T and Malice, took center stage. From groundbreaking records and industry highs to faith and growth, the now Grammy-winning duo reflected on their evolution while connecting the past, present, and future. The Thorton brothers reunited for fourth studio album, Let God Sort Em Out back in July, leading to their first Grammy win for the Kendrick Lamar assisted, “Chains & Whips.” House of Hits combined luxury and dialogue, with curated cocktails by Crown Royal Marquis and Lalo Tequila, bites from Marathon Burger, and an elevated caviar experience by Cavi Morii. Attendees included industry veterans Stephen Hill and Steve Rifkind, Devon Franklin, Mayor Phillip Jones, Global Music Touring co-founder Antonio Dowe and more.

Nardo Wick, the Jacksonville rapper who rose to prominence in the early 2020s, is currently being held in a Georgia jail, according to recent reports. No Jumper reported that he was taken into custody earlier this week. Jail records list him as an inmate at the Forsyth County Jail. Officials have not released additional details. The report said Wick is being detained in connection with an outstanding felony warrant and is considered a fugitive from justice. Beyond that designation, little information has been made public. Authorities have not disclosed when the warrant was issued or what charge prompted it. Court records have not yet clarified the circumstances. A booking photo circulated online shows the 24-year-old artist with a neutral expression. The lack of official information has left fans and observers waiting for clarity. Law enforcement agencies involved have not commented publicly. More details are expected to surface as the case proceeds. This is not Wick’s first encounter with the legal system. In 2021, he was arrested on a concealed weapons charge at a time when his music career was rapidly gaining traction. That year marked a breakthrough, fueled by songs like “Who Want Smoke??” and collaborations including “Me or Sum” with Future and Lil Baby. The momentum led to his selection as a 2022 XXL Freshman. In the years since, Wick has remained active but less visible. His most recent album, WICK, was released in February 2025 and featured appearances from 21 Savage, Future, Southside, Lil Baby, and Sexyy Red. He has not released new music since then. It remains unclear how the current legal situation may affect his plans moving forward.

J. Cole has suggested that his forthcoming album, The Fall-Off, may represent a turning point in his career rather than a continuation of it. As the project approaches release, the rapper has indicated that his interests are moving away from releasing solo albums. Instead, he has expressed a growing focus on producing and contributing behind the scenes. The comments have prompted discussion about what the next phase of his work may look like. During a recent “Ask Me Anything” session with fans, Cole addressed his outlook directly. “I appreciate all the support. My love for music is authentic, and what’s truly exciting about this album is the immense inspiration I feel right now,” he said. “While I don’t foresee myself creating more albums under the ‘J. Cole’ name, my enthusiasm lies in music production.” He added, “I will continue to write and record music whenever the inspiration strikes, and I may release new tracks if I feel compelled to do so. However, The Fall-Off stands as a significant work that I won’t seek to surpass.” Cole expanded on that idea by describing a long-standing interest in collaboration. “I aspire to make beats and assist in producing for other artists, even if my input doesn’t entail creating the actual track,” he said. “Shaping someone else’s vision is a passion of mine that I haven’t fully explored, given that my focus for years has predominantly revolved around my own narrative.” He added that he believes his strengths may be better realized in a supporting role. A Pivotal Release The Fall-Off will be Cole’s seventh studio album and is scheduled for release on February 6. The project includes collaborations with Burna Boy, Erykah Badu, Future, Morray, Petey Pablo, PJ, and Tems. Industry projections cited by Talk of the Charts estimate first-week sales between 260,000 and 300,000 album-equivalent units. That performance would make it his strongest debut since KOD in 2018. Following the album’s release, Cole marked the moment with a low-key promotional effort. He traveled to North Carolina A&T University, where he sold copies of The Fall-Off directly from his car. The effort, which he referred to as a “Trunk Sale Tour,” echoed earlier moments in his career. It also reinforced his emphasis on accessibility and direct connection with listeners.

Kelly Rowland is speaking candidly about the lasting impact of losing her mother and how grief continues to shape her life. The singer and actress lost her mother, Doris Rowland Garrison, in 2014 — a devastating moment that came just weeks after Rowland welcomed her first child. Since then, she has been open about the emotional weight of that loss and the way it changed her perspective on family, faith, and motherhood. In recent reflections, Rowland shared that grief doesn’t simply disappear with time. Instead, it comes in waves — moments when the pain resurfaces unexpectedly. She explained that allowing herself to feel those emotions, rather than suppress them, has been a crucial part of her healing journey. View this post on Instagram Rowland has also spoken about the lessons her mother left behind. She credits her mom for instilling values rooted in faith, strength, and resilience — “tools,” as she describes them — that still guide her through life today. Those lessons now influence how she raises her own children and navigates personal challenges. The loss also brought moments of regret. Rowland previously revealed that her last in-person interaction with her mother was tense, something that deeply affected her afterward. That experience taught her the importance of grace, forgiveness, and being present with loved ones, lessons she carries forward intentionally. Despite the heartbreak, Rowland continues to honor her mother’s legacy by living with purpose and gratitude. While the pain of losing her never fully fades, Rowland says the love, wisdom, and faith her mother passed down remain a constant source of strength. Through her vulnerability, Kelly Rowland reminds others experiencing loss that grief is not linear — and that healing often means carrying love forward, even through the hardest moments.

Ja Rule addressed an altercation aboard a commercial flight this week involving fellow rappers Tony Yayo and Uncle Murda, an incident that quickly migrated to social media. The disagreement occurred on a Delta flight traveling from San Francisco to New York. Accounts of what happened varied, but the exchange drew attention once the artists began posting publicly. The situation did not escalate beyond a brief intervention by airline staff. Posting on X, Ja Rule described the encounter in confrontational language. He portrayed the moment as both amusing and defiant, emphasizing that he was alone during the exchange. “I confronted these punks by myself on a plane lmao pssy ass n**s I threw the pillow at Yayo’s head ’cause you soft… [laughing emojis] knocked ya hat all off sht was hilarious…” he wrote. The post was widely circulated. Ja Rule later shared an email from TMZ that offered a different account. According to the report, witnesses said Ja Rule was loud and appeared to initiate the confrontation. The message said he threw a pillow at Yayo and was briefly removed from the aircraft before being allowed to continue his travel. Yayo denied any wrongdoing, noting that behavior on airplanes is closely monitored and that he did not escalate the situation. Via TMZ… Hi Ja — Jamie here from TMZ — reaching out for comment regarding a Delta flight you were on Sunday morning. Witness tells us — From SFO to JFK where Ja Rule got into an argument with Tony Yayo on the flight. Ja was the aggressor and yelled profanities, saying he wanted… — Ja Rule (@jarule) February 10, 2026 50 Cent Weighs In as Plane Dispute Goes Public The exchange continued online when Ja Rule tagged Tony Yayo, Uncle Murda, and longtime rival 50 Cent. He ended the post with the line, “Whole team p*ssy…” The comment expanded the scope of the dispute beyond those on the flight. It also prompted additional responses. 50 Cent soon weighed in by sharing video footage of the incident on Instagram. He added commentary of his own, writing, “He was by himself so he had to make a scene so they could remove him scary ass. LOL Yayo said suck my d!ck, the gay stewardess said it’s going down. LOL” The video spread quickly across platforms. It drew further attention to the episode. In the clip, voices are raised as the plane prepares for departure. Afterward, Tony Yayo jokes about “the pillow Ja Rule threw at me,” while Uncle Murda comments on where Ja Rule was taken. The exchange appears tense but brief. Airline staff intervene before it goes further.

GloRilla finally broke her silence regarding the beef with her sister, ScarFace Woodz. In a recent Facebook Live, the rapper recalls the events that led up to the fallout with her sister and addresses the allegations that she abandoned her family. Over the past few weeks, the pair have been in an intense back-and-forth online. The rapper’s sister—whose real name is Victoria—sent social media into a tailspin after claiming the Memphis native abandoned her family and wasn’t supporting their parents—a claim which Glo vehemently denied. According to the “Yeah, Glo” rapper, her sister has caused her significant grief over the years. GloRilla claims her sister has tried to shoot her and set her up in the past, which is why their relationship deteriorated. She even alleges that she was thrown in jail for a week because of the actions of her sister. GloRilla calls her parents while on Facebook Live to clear the air pic.twitter.com/rjAxNFCQvt — The Female Rap Room (@girlsinrap) February 10, 2026 “Keep My Family Out Of It,” GloRILLA SAYS “I ain’t gone talk about half the stuff you did, just leave it alone,” she said. “You doing you right now, keep doing you, [but] keep my family out of it, [and] keep me out of it…My people [that] I f—k wit, they straight.” Glo then proceeds to call her parents while on live. First, she facetimed her father, who noted that while he disagreed with Victoria’s actions, saying “she needs her a— whooped,” he still loves all his children. He also revealed that Glo has spoiled him with trips, cars, and money, among other things. Similarly, her mother claims she’s well taken care of and only worked at FedEx because she wanted to. However, it’s revealed during their conversation that after her sister went public with their family business, she was forced to resign. Not long after clips of live began to circulate online, ScarFace Woodz hopped on her Instagram Stories to address GloRilla’s remarks. “Aight, so y’all wanna get on this muthaf*cka and lie for Gloria?” She then proceeds to threaten to share a text message from their mother that would prove their relationship isn’t as close as it seems. “Now all the family business finna get out,” she said.

Interest in a collaboration between Drake and Lil Uzi Vert has lingered for years, fueled by brief mentions, live appearances, and circulating snippets. A song commonly known as “At The Gates” has been discussed since at least 2021, but it has never received an official release. As both artists have continued to expand their reach, the absence of the track has only sharpened curiosity. The connection between them, however, has been consistently public. That relationship was on display in 2023, when Drake invited Lil Uzi Vert to join him onstage at J. Cole’s Dreamville Festival and at another performance earlier in the year. Speaking to the crowd, Drake framed the moment as personal. “This is a family show,” he said, before referring to Uzi as his “actual, real-life brother.” He went on to describe regular check-ins between them, adding, “Whenever I find myself feeling low, I receive a message from him simply checking in. No hidden agendas, just a concern for my well-being. If you want to succeed in life, always reach out to your people.” Drake continued by reflecting on Uzi’s impact as an artist. “I love this guy so much. Not only are you one of the greatest artists of this era, but I’m thrilled to coexist with someone so innovative and brilliant.” The remarks reinforced the sense of mutual respect that has fueled expectations of a joint release. For fans, the comments suggested that collaboration was more a matter of timing than willingness. In this context, it is clear that Drake has fostered strong bonds with contemporary talent. The track resurfaced again in conversation in 2023, with some listeners speculating it might appear on Drake’s forthcoming Scary Hours EP. No confirmation followed, and the song remained unreleased. The lack of clarity opened space for speculation. Online frustration soon followed as many fans hoped for new music from Drake. Lil Yachty Pushes Back on Blame, Clears the Air on Delays and Uzi Rumors Some of that frustration was directed at Lil Yachty after a fan claimed he was responsible for the delay, writing, “It’s forever fck lil yachty because the world needed to hear this.” Yachty responded during a livestream, rejecting the claim outright. He said the issue stemmed from unresolved sample clearance tied to Whitney Houston’s “I Will Always Love You.” Addressing the accusation, he said, “Why the fck do you think I’m the reason this didn’t come out? Get off my d**k!” Notably, discussion of Drake’s involvement continued in fan circles. Yachty also addressed suggestions of tension with Lil Uzi Vert. He described a brief, accidental encounter the previous year that ended without conflict. “He was in the car, I opened the door, said my bad, and it turned out to be the wrong car. No issues here!” he said. The story appeared aimed at putting rumors to rest regarding both Uzi and Drake. For now, “At The Gates” remains unheard, its status unchanged. Fans continue to revisit old statements and performances in search of clues. Whether the track will ever be released remains uncertain. With every update, anticipation for something new from Drake persists.

Bad Bunny reached a new benchmark on Sunday night when his Super Bowl halftime show drew the largest audience in the event’s history. Nielsen figures put the viewership at 135.4 million, edging past the record set last year by Kendrick Lamar. Michael Jackson’s 1993 performance, long cited as a high-water mark, drew 133.4 million viewers. The numbers reflected the artist’s broad appeal across audiences. The set featured several of Bad Bunny’s best-known songs, including “Nueva Yol,” “Yo Perreo Sola,” and “Tití Me Preguntó.” The production leaned heavily on Puerto Rican influences, both in sound and staging. Guest appearances were woven throughout the performance rather than treated as headline moments. Lady Gaga joined him for “Die With a Smile,” while Ricky Martin appeared for “Lo Que Pasó a Hawaii.” Other familiar faces, including Cardi B, Alix Earle, Pedro Pascal, and Jessica Alba, appeared during the broadcast. The show emphasized movement and scale, favoring energy over narrative. Reaction online was immediate, with clips circulating widely across platforms. The audience response translated into record viewership. A Halftime Show That Sparked Debate Criticism followed alongside praise. President Donald Trump posted on Truth Social, calling the performance an “affront to the greatness of America.” He described the show as unclear and inappropriate for younger viewers. Around the same time, Turning Point USA promoted an alternative “All-American” halftime event featuring Kid Rock, Brantley Gilbert, Lee Brice, and Gabby Barrett. After the broadcast, Chris Brown added his own commentary online, suggesting the NFL should consider him for a future halftime show. His post implied he could offer a different kind of performance. The comment circulated briefly but drew no response from the league. The NFL has not announced plans for next year’s show. The reaction to Bad Bunny’s halftime appearance reflected how closely the event now intersects with broader cultural conversations. Record viewership suggested sustained interest, even as opinions varied. Halftime shows have become touchstones that extend well beyond football. This year’s performance underscored that role.

Claressa Shields addressed comments made by Jake Paul this week after his remarks about Bad Bunny circulated widely online. Paul, posting ahead of the Super Bowl LX halftime show, said he planned to “purposefully turn off” the performance and referred to the artist as a “fake American citizen.” The post drew swift reactions across social media. Claressa’s Shields response directly rejected both the language and the premise of the statement. Writing on X, Shields urged Paul to reconsider his words. “Please Jake, not today,” she wrote. “Puerto Ricans are not fake citizens. You would think that you of all people would support this as you have so many Puerto Rican women under your umbrella. What’s happening with ICE is terrible, and we shouldn’t want to see harm done to anyone who is part of America & a minority! Do better, Jake. This isn’t right.” Her Shields response was widely shared and drew support from other users. When another commenter attempted to minimize the issue, Shields reiterated her position. “If they are fake citizens like he stated they are. And regardless, too much is going on in the USA today to be spreading hate,” she wrote. She did not continue the exchange beyond that point. By doing so, Shields highlighted her focus on the broader implications of the remarks. Please Jake, not today. Puerto Ricans are not fake citizens. You would think that you of all people would support this as you have so many Puerto Rican women under your umbrella. What’s happening with ICE is terrible and we shouldn’t want to see harm done to anyone who is apart… https://t.co/c38DAYuXpr — Claressa Gwoat Shields (@Claressashields) February 9, 2026 From Halftime Show to Cultural Clash Paul’s comments were part of a longer message urging viewers to boycott the halftime show. In the same post, he framed the issue as a stand against corporate influence. “You are their benefit. Realize you have power. Turn off this halftime. A fake American citizen performing who publicly hates America. I cannot support that,” he wrote. The Shields controversy intensified criticism from several corners. Media figures also weighed in. The Kid Mero challenged Paul’s stance, questioning its sincerity and pointing to his recent boxing loss. He suggested the tone of the comments might have been different under other circumstances, referencing Paul’s defeat to Anthony Joshua. His remarks added to the Shields debate and growing pushback. Bad Bunny has spoken publicly about identity and belonging in recent years. At the Grammy Awards, he addressed the subject directly, saying, “We’re not savages, we’re not animals, we’re not aliens. We are humans, and we are Americans.” This Shields exchange continues to circulate online and highlights how cultural moments can quickly spill into broader debates.

After the final whistle of Super Bowl LX, 50 Cent offered a familiar kind of postgame commentary. The Seattle Seahawks defeated the New England Patriots, earning their second championship. As reactions spread across social media, the rapper and producer weighed in with a short video. His response leaned on humor rather than rivalry. Addressing Patriots fans directly, 50 Cent began with a mock apology. “Hey. Sorry, New England,” he said. “I know it’s tough to lose. Well, actually I don’t. But just because you lost the game doesn’t mean you have to lose the beef.” The line doubled as a promotion tied to his partnership with DoorDash, which rolled out a regional discount after the game. The video followed an announcement earlier in the week that 50 Cent would appear in a DoorDash social media campaign timed around the Super Bowl. In earlier promotional clips, he leaned into his online reputation. In one, he jokingly referred to himself as the “King of Trolls” while making light of fellow entertainer Diddy. The tone was consistent with how he has used social platforms for years. View this post on Instagram The Super Bowl proved it’s bigger than the game The night’s halftime show belonged to Bad Bunny, who delivered a performance watched by millions. His set included appearances from Cardi B and Pedro Pascal, with additional guest spots by Ricky Martin and Lady Gaga. At one point, Bad Bunny paused to honor his late uncle. A message displayed on a custom football read, “Together, we are America.” The evening reflected the way the Super Bowl has become as much a cultural event as a sporting one. Performances, promotions, and postgame commentary unfolded alongside the action on the field. Figures like 50 Cent moved easily between entertainment and advertising. By the end of the night, the game had already given way to conversation.