Cardi B is already thinking about life after the spotlight dims on her current tour. During a recent performance in Los Angeles, the Bronx-born rapper told the audience she intends to reduce her Brazilian butt lift once the Little Miss Drama Tour wraps. The remark, made casually between songs, felt less like a headline-grabbing declaration and more like an offhand admission shared with thousands of fans. Within hours, clips of the exchange were circulating widely online. The comment came after fellow artist Kehlani praised her figure, saying, “You have so much ass. That was the most ass I ever seen.” Cardi responded with characteristic bluntness: “After this tour, I’m taking some out. After this tour, I don’t want to hear nobody for three months. I’m going to Colombia, nobody hit me up, nobody nothing. I’m taking this ass out.” The crowd laughed, but her tone suggested a measure of sincerity beneath the humor. Cardi has spoken openly in the past about cosmetic procedures, often framing them as personal choices rather than industry pressures. View this post on Instagram On Tour, Still Unfiltered The Little Miss Drama Tour began on Feb. 11 in Palm Desert, Calif., and continues through April, with scheduled stops in San Francisco, Houston, Chicago, New York, and Washington. The run will close with two nights in Atlanta on April 17 and 18. At a Las Vegas show earlier this month, she briefly tumbled from a chair while performing her verse on the “Thotiana” remix, then quickly recovered. “That was the government!” she joked, prompting laughter from the crowd. The aside appeared to nod to earlier comments she made about immigration enforcement, which drew a response from federal officials. Since then, she has largely kept the focus on the music. Onstage, her candor often blurs the line between performance and personal reflection, a quality that has long defined her public persona. Whether she ultimately follows through on her plans, the moment offered a glimpse of an artist who remains disarmingly direct about her own evolution.

There was a time when a Rick Ross setlist reliably included Drake without raising eyebrows. Before their highly publicized split in 2024, the two artists collaborated frequently, shaping some of the early 2010s’ most recognizable rap records. Now, even playing one of those songs can feel loaded. That undercurrent surfaced again during a recent club appearance by Ross. While performing “Aston Martin Music,” Ross was joined unexpectedly by French Montana, according to footage shared by 2Cool2Blog on Instagram. The 2010 track, released on Teflon Don, originally featured Drake and Chrisette Michele. Onstage, Ross and French greeted one another as the song played, a routine moment on its face. In the current context, however, it carried added resonance and further connected Ross to the history of the track. Drake’s imprint on the song runs deeper than a single verse. His reimagined take, “Paris Morton Music,” later evolved into an expanded version on Nothing Was The Same and was eventually included on Care Package. His original verse remains embedded in the song’s identity, both in the single and its video. Hearing it now inevitably recalls a partnership that once seemed seamless, frequently featuring Ross in the mix. French Montana shrugs off the Drake–Ross rift French Montana, who has maintained relationships with both artists, recently addressed the divide. Speaking with Bootleg Kev, he expressed confidence that time could ease tensions. “It’ll happen,” he said. “Brothers always fight and make up, man. It’ll happen. Nobody got shot, nobody died, you know?” His tone suggested familiarity rather than alarm, especially when mentioning Ross. Montana’s name has surfaced in discussions about how the rift began. Reports have pointed to a cease-and-desist issued by Drake over a verse intended for “Splash Brothers,” which was ultimately released without him but included Ross and Lil Wayne. The episode appeared to strain alliances. Since then, Ross has signaled some openness to reconciliation, while Drake has remained more reserved publicly.

Sexyy Red is once again at the center of online debate after a video surfaced of her performing an explicit version of Michael Jackson’s “Beat It.” The clip, shared by Lil Yachty and circulated widely by social media accounts, spread quickly across platforms. Viewers responded almost immediately. Many objected to the reinterpretation of one of Jackson’s most enduring songs. Some reactions were blunt. “MJ rolling in his grave,” one user wrote. Another added, “I know damn well the Jackson’s is not signing off on this trash.” A third commenter widened the lens, posting, “I hate this generation of rappers.” The criticism reflected a mix of generational frustration and protectiveness over Jackson’s legacy. Sexyy Red has not commented publicly on the latest backlash. In the past, however, she has been quick to respond to rumors and criticism online. In December, she addressed a viral claim from a parody account suggesting she had proposed a throuple involving GloRilla and NBA player Brandon Ingram. She dismissed the rumor directly. Lil Yachty shares a video of Sexyy Red rapping over the beat of “Beat It” by Michael Jackson “sneak peek scene of the new michael biopic” pic.twitter.com/g1cBsWRDXD — Kurrco (@Kurrco) February 11, 2026 Where clout and chaos collide “I wasn’t even gone say nun but dis is wierd and fake asf,” she wrote. “I don’t even play des kinda games df… & whoever sat there and thought to do dis is hella lame !!” GloRilla also rejected the claim, posting, “Dats fake stop playing wit me.” The episode underscored how quickly false stories can circulate and gain traction. Moments of provocation have become part of Sexyy Red’s public identity. Last September, she generated conversation by posting an AI-created image that appeared to show her pregnant alongside NBA YoungBoy. The image sparked debate over the line between humor, publicity, and misinformation. As with much of her online presence, reactions were divided.

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.

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.

A federal courtroom has become the unlikely setting for a debate that has long followed hip-hop culture: where creative expression ends and criminal evidence begins. Lawyers for Lil Durk are challenging prosecutors who want to use his music against him in an ongoing murder-for-hire trial. At the center of the dispute is whether lyrics and videos can be presented as proof of intent. The case raises broader questions about how art is interpreted within the justice system. According to Complex, prosecutors intend to introduce nine music videos and three audio recordings associated with Durk and people in his orbit. The material is tied to a violent feud involving fellow rapper Quando Rondo. That conflict escalated after the 2020 killing of King Von, a close associate of Durk, during a confrontation with Rondo’s group. Prosecutors allege that Durk later ordered retaliation, which they say led to a Los Angeles shooting that killed Rondo’s cousin, Saviay’a Robinson. The government has pointed to specific lyrics it argues reflect a retaliatory mindset. In “All My Life,” his collaboration with J. Cole, Durk raps, “They be on my page like ‘Slide for Von’, I know they trollin me… Got it back in blood, y’all just don’t know, that’s how it ‘posed to be.” Prosecutors say the line captures an emotional response to Von’s death. They argue it aligns with the actions described in their case. Additional scrutiny has been placed on lyrics that prosecutors claim suggest financial backing for violence. Among them are lines from an unreleased song, “Scoom His Ass,” which authorities say was found on a co-defendant’s phone. The track references Beverly Hills, an area prosecutors note is close to where Robinson was killed. They argue the geographic detail strengthens the connection between the music and the alleged crime. Whether rap lyrics can be used as evidence In earlier filings, prosecutors described a “striking similarity” between the lyrics and the facts surrounding Robinson’s death. They have cited past rulings allowing artistic works to be admitted in conspiracy and gang-related trials. Excluding the material, they contend, would prevent jurors from weighing statements they believe reflect real-world behavior. The government maintains the music meets the standard for admissible evidence. Durk’s defense team has filed motions seeking to keep the lyrics out of the trial. They argue the material would unfairly prejudice a jury by inviting assumptions about the artist’s character rather than focusing on evidence. The defense also questions when the songs were written and who authored the lyrics. Without that context, they say, the court cannot reliably link performance to alleged conduct. To support their argument, the defense has turned to Erik Nielson, a scholar and co-author of Rap on Trial: Race, Lyrics, and Guilt in America. Nielson has argued that the language cited by prosecutors reflects genre conventions rather than literal admissions. His analysis challenges the idea that Durk’s music should be treated differently from other fictional or stylized art forms. The court must now decide how much weight, if any, creative expression should carry in a criminal trial.

Pharrell Williams is facing a new lawsuit from his former Neptunes bandmate, Chad Hugo, who is accusing the famed producer of financial misconduct. In a federal California courtroom on Friday (Jan. 23), per court documents obtained by Complex, Hugo claims Williams is guilty of withholding money and mishandling their company’s account records. The pair, who’ve created dozens of hits together as both members of N.E.R.D and the production group, The Neptunes, founded their company N.E.R.D. Music, LLC, back in 2014. According to the terms of their company, Williams receives 50% company’s funds, which come from “touring and other income,” whereas Hugo and the third N.E.R.D. member, Sheldon “Shay” Haley, each receive 25%. All “merchandising and trademark income” is equally distributed among the three members. NEW YORK, NEW YORK – JUNE 16: Inductees Pharrell Williams and Chad Hugo of The Neptunes pose backstage at the Songwriters Hall of Fame 51st Annual Induction and Awards Gala at Marriott Marquis on June 16, 2022 in New York City. (Photo by Gary Gershoff/Getty Images for Songwriters Hall of Fame ) Hugo Claims A ‘significant number’ of songs are missing from his catalogue Hugo, who refers to his role in their partnership as the “principal composer, arranger, multi-instrumentalist, and producer responsible for programming, instrumentation, and overall sound design,” claims Williams is required to provide documentation about “income, expenses, royalties, and other financial issues,” but has failed to do so. However, Hugo claims that since 2021, he has been blocked by Williams from reviewing the company’s financial records. He also claims that he’s yet to receive “[an] appropriate share of royalties in connection with The Neptunes and N.E.R.D.’s album sales and released music, as well as distributions from touring income, and various merchandising deals.” Additionally, Hugo noted that “a significant number of songs are missing from [Hugo’s] label portals and SoundExchange portals, indicating that Plaintiff has not received the royalties he is entitled to.” For example, just off their 2017 project, No One Ever Really Dies, Hugo claims he’s owed over $1,000,000 alone. Hugo’s attorney, Brent J. Lehman, has yet to make a public statement. Similarly, neither Williams nor his team has yet to offer a comment on the situation.

Ski Mask The Slump God promises always to remember his late best friend and fellow Members Only rapper XXXTentacion’s legacy, whether fans like it or not. On Jan. 17, 2026, the Florida rapper took to his Instagram Story to address criticism from fans who claim he leans too heavily on XXXTentacion’s music during his live shows. The comments struck a nerve, prompting Ski to clarify his setlists, defend his performance record, and explain why honoring his late friend remains central to his shows. “N***as talking about I only play X at my shows,” Ski wrote, opening with a blunt rebuttal. Ski Mask the Slump God goes off on fans complaining that he only plays XXXTENTACION’s music at his shows “N****s talking about I only play X at my shows n***a if you was informed you would know I play 100 of my songs before that, my bad my best friend who I made the most music… pic.twitter.com/V9dBkghSA3 — Wost (@mosthiphop) January 19, 2026 He quickly challenged that perception. “If you was informed you would known I play 100 of my songs before that,” he added, suggesting critics were speaking without firsthand knowledge. According to Ski, the narrative ignores the breadth of his catalog and the structure of his performances. Ski Mask The Slump God has released two full-length studio albums. The most emotional moment came when he addressed XXXTentacion’s death. “My bad my best friend who I made the most music with passed and I want to keep his name alive,” Ski wrote. Ski Mask The Slump God Rips Fans Complaining About His Members Only Friend XXXTentacion Tribute Before His Shows The statement underscored the bond between the two artists, who rose together as core members of the Members Only collective. For Ski, performing X’s music functions as tribute, not dependence, and reflects a shared history that shaped both careers. Ski also responded to claims questioning his live show credibility. “I also seen someone say someone saved me from performing at Rolling Loud,” he wrote, before firing back, “show me one Rolling Loud set that I don’t have the whole crowd jumping.” He framed crowd reaction as the real metric, not online chatter. XXXTentacion and Ski Mask The Slump God frequently toured together early in their career. He further rejected claims that his popularity has declined. “I sell out all my solo tours 3 to 4k people buddy,” Ski said, dismissing talk of smaller venues. “They said I probably do 500 people venues,” he added, calling the idea disconnected from reality. Ski closed with a wider point about taste and respect. “Music is subjective,” he wrote, comparing fan bias to dismissing artists like Taylor Swift despite clear success. His final line, “When I drop all year. I don’t want to hear you cop pleas either,” signaled confidence going forward. The message blended frustration with loyalty, showing Ski Mask defending his present while preserving XXXTentacion’s legacy.

A$AP Rocky is headlining Amazon Music’s live docu-performance series, Songline, to pay tribute to A$AP Yams and perform songs from Don’t Be Dumb. The livestream is expected to kick off at 9 p.m. EST and 6 p.m. PT. It will be available to view on Amazon Music, Prime Video, and Twitch.”A$AP Rocky returns to the stage to perform his new album Don’t Be Dumb in a special tribute to A$AP Yams, marking eleven years since his passing,” says Amazon Music’s website. The surprise news came Saturday (Jan.17) after A$AP Rocky shared a teaser of the event on his Instagram Story. The reel was also shared on Amazon Music’s official Instagram page. “The city’s watching. A$AP Rocky livestream, 9pm ET | 6pm PT,” the post’s caption reads. View this post on Instagram A$AP Rocky Clarifies Reported Drake Diss In other news, A$AP Rocky responds to claims that he’s dissing Drake on his new project. Following the release of his long-awaited album Don’t Be Dumb, fans quickly zeroed in on a track titled “Stole Ya Flow,” with many interpreting certain lyrics as a possible shot at the Toronto rapper. However, Rocky has now made it clear that the song was not intended as a diss. In a recent interview, the Harlem rapper explained that “Stole Ya Flow” isn’t about Drake specifically. On the track Rocky raps, ““First you stole my flow, so I stole yo’ btch,” and “N***s getting BBLs, lucky we don’t body shame / Throwing dirt on Rocky name, turn around and copy game.” When asked if it can be confirmed he was dissing Drake, Rocky explained, “It’s for whoever feels like it’s about them.”