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She did it! After generating Grammy buzz for months with smash hit single “APT.” featuring Bruno Mars, ROSÉ has now secured nods for both song and record of the year, as well as best pop duo/group performance.
In a video posted by one of the BLACKPINK star’s friends, which ROSÉ reposted on her Instagram Story, we get to see how she reacted to the news — as well as the tense few moments that led up to it. In the clip, she and her pals watch the Friday (Nov. 7) nominations ceremony while on a group FaceTime call. As the names are listed off for record of the year recognition, ROSÉ says nervously, “Are we not going to get it?”
“Aw, maybe we’re not going to get it,” she adds, hiding behind her fists clenched with anticipation.
When ROSÉ and Mars’ names come on screen, the K-pop star and her friends absolutely lose it. Letting out loud, wordless cheers, she says in disbelief, “Oh my god!”
The reaction clip comes shortly after the full list of 2026 Grammy nominations was unveiled Friday morning, revealing Kendrick Lamar as the frontrunner with nine nods and Lady Gaga, Jack Antonoff and Cirkut as having the second-most with seven apiece. ROSÉ’s song and record of the year honors are particularly special, however, as they mean she’s made history as the first K-pop musician to ever score one, much less two, Big Four nominations as a lead artist.
“It’s still a dream for me,” the New Zealand native recently told The Hollywood Reporter of winning a Grammy someday. “It’s still a fantasy — a moment that proves to myself so many things.”
Grammy-wise, this year was huge for K-pop in general. In addition to ROSÉ’s triumphs, KPop Demon Hunters earned nominations for song of the year, best song written for visual media and best pop group performance for Billboard Hot 100 topper “Golden,” as well as best compilation soundtrack for visual media.
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Drake is back in his acting bag. The 6 God teased a clip from his cameo in an episode of season 2’s The Office Movers, which landed on the Crave streaming service on Friday (Nov. 7).
Drake posted a hilarious interaction from his scene on Instagram, which finds him in a misunderstanding with one of the show’s creators, Jermaine “Jae” Richards, as they have different contexts when using the word “guy.”
“Like, you guys have movers, but do you guys have guys, you know, like real guys,” Drake repeatedly asks. He thinks it’s a joke at first and continues to hammer away until realizing they’re just not on the same page.
Drake added in some comic relief, which felt like he was having his Justin Bieber “It’s not clocking to you” moment. “It’s not making sense to you? Maybe I’m not even speaking English. I don’t know,” he continued. “Maybe I’m speaking Guyanese. Everything we use to live is made in Guywan. I’m losing it, bro.”
Plenty of Drake’s rap peers had a laugh in his Instagram comment section, with Boi-1da, Oz, Reese LaFlare, Chinese Kitty and Niko Brim chiming in.
Season 2 of The Office Movers arrived in full on Canadian streaming service Crave on Friday. Created by brothers Jae and Trey Richards, the comedy series follows the Richards brothers’ journey working for an office moving company in Toronto.
“The Office Movers is a hilarious slapstick comedy that also has some heart,” said Justin Stockman, who serves as the vice president, content development and programming at Bell Media said in a statement. “Jae and Trey’s sharp, culture-savvy comedy keeps the show perfectly tuned to the pulse of the moment, and we’re ecstatic they’ve landed a special appearance by one of Canada’s most iconic cultural ambassadors.”
Drake has teamed up with the Richards brothers in the past, as he sampled their work on his 2017 More Life project. Obviously, the OVO boss is no stranger to the acting world, as he previously got his start starring in Degrassi. More recently, he’s made cameos in shows like Lil Dicky’s Dave series.
Watch Drake’s scene below.
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It’s a dog-eat-dog world, and Leon Thomas leads the pack.
On Friday, the singer woke up to a whopping six 2026 Grammy nominations, including album of the year, for his breakthrough sophomore album Mutt.
“Thank you God, my team, every collaborator, every producer, family, friends and most especially my fans, I couldn’t have done it without you,” he wrote in an Instagram caption for a graphic listing his nominations. “I got a show tonight and I’m gonna continue working harder on this next album.”
In addition to album of the year, Thomas — who won his first Grammy in 2023 thanks to his production contributions to SZA’s “Snooze” — also earned a nomination for best new artist. Poetically, his two general field nominations come 15 years after Victorious, the television series that established him as a Gen Z child star, premiered on Nickelodeon. Thomas earned his first Grammy nod back in 2020 in the best rap song category for his work on Rick Ross and Drake’s “Gold Roses.”
Mutt also earned a nomination for best R&B album, while several tracks were individually recognized, including “Yes It Is” (best R&B song), “Vibes Don’t Lie” (best traditional R&B performance), and the NPR Tiny Desk live version of “Mutt” (best R&B performance).
Six Grammy nominations cap a whirlwind breakthrough year for Thomas. Outside of earning his first Hot 100 top 10 hit as a performer with “Mutt” (No. 10), the multi-hyphenate also won best new artist at the BET Awards, made his late night TV debut on The Late Show With Stephen Colbert, and shared a new funk-forward EP titled PHOLKS. Last week, he played Austin City Limits and kicked off his headlining Mutts Don’t Heel Tour at Dallas’ House of Blues. The R&B star’s new trek will visit venues across the U.S., Europe and Australia, before concluding on April 19 at Perth’s Metro City.
In Thomas’ Billboard cover story, his manager, Jonathan Azu, remarked, “I hope he’s the guy with the Lauryn Hill photo [holding multiple trophies]. Every year, there’s somebody and I hope it’s him. He is a man of his peers, and I think over the past year he has proven to them that he’s here to stay.”
Looks like Leon Thomas is one step closer to re-creating that iconic photograph. Check out the “Mutt” singer’s reaction to his 2026 Grammy nominations below.
Do you get deja vu? Donald Trump‘s administration has once again been slammed by an artist for using their music without permission, this time receiving a comment from an unhappy Olivia Rodrigo after the White House and Department of Homeland Security shared a video set to one of her songs.
The controversial clip in question was shared in a joint Instagram post on Tuesday. Soundtracked by “All-American Bitch,” the opening track on the pop star’s Billboard 200-topping sophomore album, Guts, the video shows United States Immigration and Customs Enforcement officers forcibly tackling, detaining and deporting people.
It then cuts to a montage of supposed immigrants voluntarily boarding flights organized by the DHS, smiling and giving thumbs up as they go. “LEAVE NOW and self-deport using the CBP Home app,” the caption reads. “If you don’t, you will face the consequences.”
In the comments, Rodrigo wrote, “don’t ever use my songs to promote your racist, hateful propaganda.”
Billboard has reached out to the White House and ICE for comment.
It’s unclear why the government would want to use a song by the three-time Grammy winner. Not only has Rodrigo been vocal in her opposition to Trump, endorsing his opponent Kamala Harris in the 2024 election, but she’s also specifically called out his harsh crackdown on immigration by way of ICE raids this past year.
“I’ve lived in LA my whole life and I’m deeply upset about these violent deportations of my neighbors under the current administration,” she wrote on her Instagram Story in June. “LA simply wouldn’t exist without immigrants. Treating hardworking community members with such little respect, empathy, and due process is awful. I stand with the beautiful, diverse community of Los Angeles and with immigrants all across America. I stand for our right to freedom of speech and freedom to protest.”
That said, Trump’s administration is famous for using music without artist permission at this point. In the past few weeks alone, Kenny Loggins slammed the twice-impeached POTUS for pairing “Danger Zone” with an AI-generated video of himself dumping feces on “No Kings” protestors, and Swifties called out the White House for making a TikTok set to Taylor Swift’s “The Fate of Ophelia.” (The pop star herself didn’t comment on the issue, but given her long history of clashing with Trump, it’s probably safe to say she didn’t give him the green light.)
The Washington Post / Elon Musk
Elon Musk’s heada** behaivor, which has sunk Tesla’s sales, didn’t stop shareholders from making him the world’s first trillionaire.
Tesla shareholders approved Phony Stark’s ridiculous pay package that will retain his leadership, fearing they might lose him.
Tesla shareholders approved the payout despite his poor job of leading the company since his foray into MAGA politics and his leadership of DOGE, which saw the slashing of government jobs while not saving the country anywhere near the ridiculous amount of money he claimed the temporary agency would.
The Verge reports that over 75% of shareholders voted in favor of the proposal.
Per The Verge:
The vote gives Musk enormous sway over his electric vehicle company, as well as awards him with the largest corporate payout in history. The final tally is expected to be disclosed in a Securities and Exchange Commission filing in a few days.
Musk took the stage at the shareholder meeting in Austin to chants of “Elon! Elon!” and flanked by dancing Optimus robots. “What we’re about to embark upon is not merely a new chapter of the future of Tesla, but a whole new book,” he said.
According to the website, the board first pitched the pay package in September, giving him 423 million additional shares, pushing his stake to about 25 percent, up from 15 percent.
Musk Must Meet A Series of Milestones To Get The Full Payout
But for Musk to receive full compensation, he would have to meet a series of milestones, which include raising Tesla’s market capitalization from its current $1.5 trillion to $8.5 trillion in 10 years.
He must also get 1 million robotaxis put into service and sell 12 million more cars, 10 million Full Self-Driving subscriptions, and 1 million humanoid robots.
Not all of the shareholders were on board with the idea; Norges Bank Investment Management, one of Tesla’s largest shareholders, voted no.
Major proxy advisory firms Institutional Shareholder Services and Glass Lewis also said nah to the pay proposal.
We shall see if Musk will be able to hit those achievements because he continues to nosedive in popularity, which only hurts Tesla’s standings as a company.
There is also the fact that the Trump administration has done away with the EV credits, another blow to his once budding electric car business.
Social media has also been ripping the decision to make Phony Stark a trillionaire; you can see those reactions below.
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AI was an omnipresent topic at the Music Tectonics conference in Santa Monica, Calif., earlier this week, creeping into seemingly every panel discussion and casual poolside conversation. Everybody can see that AI will transform the music business. That’s a 30,000-foot view. Zoom in, however, and there’s far less certainty about how, exactly, AI will disrupt the status quo.
“Not everybody wants to be a creator” was a frequently heard sentiment. Lucas Cantor Santiago of Mindset Ventures has a particular point of view as a composer. The setup he currently uses to write music would have cost $200,000 15 years ago. Now, somebody can get “basically the same tools” from a trip to the Apple Store. But Cantor Santiago doesn’t believe access to tools has led to more creators. “It’s just caused people like me to start writing music faster, and maybe people who didn’t have classical training to be able to start writing music,” he said on a panel.
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AI’s ability to help human creators, not replace them, was a common theme at Music Tectonics. Granted, the conference was heavy on consumer technology brands such as Yamaha, Roland and Fender. Had AI anarchists been invited to speak, there would have been more diversity of thought. But the opinions of people who actually make music for a living carry a lot of weight, as they’re on the front lines of making music that eventually finds an audience. To this crowd, AI slop has little redeeming value and won’t find a meaningful audience.
The historical record doesn’t fully support the idea that AI won’t increase the ranks of creators, though. Greater access to inexpensive production and distribution tools has already transformed the music business. Artists who were previously locked out of nationwide distribution — it was impossible for a DIY artist to get Tower Records to stock their CDs — now have access to tens of millions of consumers through digital distributors and digital service providers (DSPs) such as iTunes and Spotify. “When I owned a record label and house label in Chicago in the ‘80s, there were 100 new records a week,” said Matt Adell, co-founder and COO of Musical AI, on a panel. “When I left [EDM download store] Beatport, there were 27,000 new records a day. There are now over 150,000 new songs a day hitting the DSPs.”
Given easier tools, people are already creating more music. Many of the 150,000 songs a day cited by Adell — or whatever the number is currently — were created by AI. French music streamer Deezer said in September that 28% of tracks uploaded are created wholly by generative AI, underscoring the fact that AI tools could lead to more music being created. Unpopular, long tail music may not attract much attention, but it creates markets where none previously existed. DIY distributors such as DistroKid, CD Baby and TuneCore can operate because production tools are inexpensive — sometimes free — and artists can afford the modest fees to distribute their songs globally.
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AI’s biggest impact could be to turn everybody into a small-scale creator. Kristen Bender, senior vp of digital innovation strategy and business development at Universal Music Group (UMG), noted during a panel that 30% to 40% of all music content on social media platforms has been manipulated by AI in some way, suggesting there are more creators than people might think. “We think that AI is going to enable so [much] hyper-personalization and interesting ways to interact with content,” she said.
Along those lines, Liz Moody, a partner at law firm Granderson Des Rochers, described how AI tools will allow fans to interact with artists in new ways. Moody, who worked on Udio’s recent licensing deal with UMG, told the audience Udio could create “a fan-focused experience where fans can work with their favorite artists to make personalized music, maybe with the artist’s voice, or maybe create some mashups between two songs that they love.”
When AI tools first appeared, the initial conversation focused on AI-generated music’s potential to supplant the popularity of human-created songs. But Bender and Moody — who have visibility into where these business models are headed — encouraged people to think smaller. It’s easy to imagine a licensed, industry-sanctioned generative AI platform partnering with well-known artists to create personalized renditions of “Happy Birthday” for their subscribers. But it’s a lot harder to imagine anyone other than the creator wanting to hear their personalized version.
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The Beatles are about as iconic as bands get.
Pair the quartet with another icon, Lucky Brand, and you get a collection of vintage-inspired silhouettes that should be on every Beatles fan’s wishlist this holiday season. The full collection features apparel and accessories for both men and women, including tees, baseball caps, hoodies and a bomber jacket, all with a vintage-inspired look.
Each piece recalls some of the band’s most iconic moments, from Abbey Road to their unforgettable 1965 Shea Stadium performance. The collection is available to shop right now on Lucky Brand’s website with prices ranging from $39.50 to $299. To sweeten the deal further, right now, Lucky Brand is running a 25% off sale on $150 or more using the code LUCKY25 to save you a little extra cash.
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This offers fans a great opportunity to stock up on quality merchandise with a stylish touch. ShopBillboard is breaking down our five favorites from the collection for die-hard Beatles lovers.
The Beatles Portrait Short Sleeved T-Shirt
$29.62
$39.50
25% off
A Beatles t-shirt.
First up, we have The Beatles Portrait Short Sleeved T-Shirt for $29.62. The tee comes in sizes ranging from XS to 2XL and features a relaxed, boxy fit. The shirt features a distressed wash, making the tee look well-loved and vintage.
The color scheme is dark grays mixed with an off-white hue. The center of the shirt features the band’s name, along with a motif of all the members from Ringo to John and Paul. Band tees are a staple, especially for us at ShopBillboard. They’re easy to style and go with just about everything from denim to maxi skirts.
Beatles Apple Baseball Hat
$29.70
$49.50
40% off
A Beatles hat.
You can’t really go wrong with a baseball cap, especially when they’re from Lucky Brand. This Beatles Apple Baseball Hat retails for $29.70 and features a sturdy six-panel construction with a khaki colored base and a black brim. The center of the hat is adorned with an embroidered logo apple patch with The Beatles logo in the center. The cap is also equipped with an adjustable slide-tab closure, giving wearers the ability to control the sizing for the perfect fit.
Beatles Jacket
$224.25
$299
25% off
A Beatles bomber jacket.
The Beatles Jacket is one of our faves from this collection. The outerwear currently retails for $224.25, standing out as one of the most expensive pieces from the Beatles-themed collection. The varsity style comes in a deep blue with bronzy accents. It’s made from a warm wool-knit blend and accented with embroidered patches throughout, paying homage to The Beatles’ 1965 Shea Stadium performance. Sizing ranges from small to 2XL.
The Beatles Floral Logo Classic Crew
$37.12
$49.50
25% off
A Beatles crew-neck t-shirt.
The Beatles Floral Logo Classic Crew is another t-shirt for women that we couldn’t pass up. Retailing for $37.12, this piece comes in sizes XS to 2XL. The 70s-esque lettering on the front is giving us “flower child” vibes. The color, a deep brick red, is also a stand-out, making the orange psychedelic lettering and floral motifs pop.
The Beatles Logo Hoodie
$74.62
$99.50
25% off
A Beatles logo hoodie.
Finally, we’ve got The Beatles Logo Hoodie for $74.62, a classic hoodie silhouette with tons of personality. Sizing currently ranges from small to 2XL. The hoodie comes in a mossy green hue with a black The Beatles logo embroidered on the chest, accompanied by an iconic print of the band members on the back. The style is made of 100% cotton, making it extremely breathable and easy to clean.
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The 2026 Grammy nominations were announced Friday (Nov. 7), with Bad Bunny, Sabrina Carpenter, Kendrick Lamar and Lady Gaga highlighting some of the biggest categories. Within the traditional Big Four categories — record of the year, song of the year, album of the year and best new artist — Interscope led all record labels with eight nominees among the 32 slots, giving parent company Universal Music Group (UMG) a commanding 21 of those 32 nods. What’s more, Interscope’s leadership structure means its total is even higher: Interscope Capitol includes Capitol (two nominations), Motown (two nominations) and the joint HYBE/Geffen partnership that signed KATSEYE (one nomination), meaning that Interscope Capitol led the way with 13 total nominations in those four categories.
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That marks the fifth time in the past eight years Interscope has led among labels. Interscope artists that received those nominations were Billie Eilish (record, song), Kendrick Lamar (record, song, album) and Lady Gaga (record, song, album). Capitol’s nominations were for Doechii (record, song), Motown’s came for Leon Thomas (album, best new artist) and KATSEYE’s nomination was for best new artist.
In second among labels with six nominations is Island Records, which achieved a few feats of its own. For the second year in a row, the label had two nominees for best new artist. This year, those two honorees are Olivia Dean and Lola Young, while last year, Carpenter and Chappell Roan were both nominated (Roan ultimately took home the award). Island — which led all labels last year, when Carpenter and Roan were both nominated in all of the Big Four categories — also saw additional nominations for Carpenter (record, song and album) and Roan (record), each of whom has received nominations in those categories for the second year in a row. Carpenter now joins Taylor Swift (who has done it twice) as the only artists to receive album of the year nominations in back-to-back years since the categories were expanded from five to eight nominees for the 2019 ceremony.
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Island is also part of a larger structure in REPUBLIC Collective, which encompasses Republic Records, Def Jam and more. REPUBLIC Collective, overall, received eight nominations, as “Golden” from the Kpop Demon Hunters soundtrack was nominated for song of the year for Republic Records and Justin Bieber’s SWAG album, released by Def Jam, was recognized for album of the year.
In third among labels is Atlantic, which got song and record nominations for ROSÉ and Bruno Mars’ “APT.,” as well as best new artist nominations for Alex Warren and The Marías. In fourth is Rimas, home to Bad Bunny, who saw his DeBÍ TiRAR MáS FOToS album nominated for album of the year, while its title track “DtMF” got song and record nominations. Columbia also grabbed two nominations — album of the year for Tyler, The Creator’s CHROMAKOPIA and best new artist for Addison Rae — while Roc Nation Distribution got a nod for releasing Clipse’s album of the year-nominated Let God Sort Em Out and Warner Records kept its best new artist success alive with a nod for Sombr, marking the seventh best new artist nod the label has racked up in the past six years.
Among label groups, the aforementioned UMG dominated with 21 nominations, while Warner Music Group accounted for five, the indies collectively garnered four and Sony Music had two.
Trending on Billboard Big Sean has responded to rumors that he split with Jhené Aiko for another woman seen in a recent video. Sean Don hopped on X to respond to a fan’s inquiry, who asked: “You broke up with the queen over a powdered donut, my n—a?” The question was in response to a […]
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The Grammys have a country problem.
This is not new news, of course, but in another banner year for country music it was reinforced when the nominations for the 68th annual Grammy Awards were announced on Friday morning (Nov. 7).
Nowhere is the omission more obvious than in the best new artist category. To be sure, it was an extremely competitive race across several genres — but in a year when nascent country acts like Megan Moroney, Ella Langley and Zach Top were legitimate contenders with commercially and critically acclaimed breakthroughs, their names were nowhere to be found. No country artists made the cut.
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Looking further in the six general field categories, which, in addition to best new artist, include record, album, song, producer (non-classical) and songwriter ((non-classical) of the year only two country creators made the cut and both for songwriter of the year: Jessie Jo Dillon, who co-wrote songs for artists including Moroney, Jelly Roll, Russell Dickerson and Morgan Wallen that were released during the eligibility period and Laura Veltz, who had songs cut by BigXthaPlug, Jessie Murph, Josh Ross and Maren Morris, among others. (It must be noted that country’s biggest artist, Wallen, took himself out of contention this year and did not enter, but given his past lack of nominations other than for his duet with Post Malone, the voters would likely have continued to ignore him).
This has been an ongoing issue. For the last 10 years, including today’s nominations, only five country projects have received album of the year nominations among 74 contenders (and that’s generously including efforts by Americana-leaning artists, like Sturgill Simpson and Brandi Carlile, and artists who have temporarily dipped into the genre, like Beyoncé). There have only been two winners: Kacey Musgraves for Golden Hour in 2018 and Beyoncé for Cowboy Carter earlier this year.
In song of the year, over the last 10 years the only country nominations have gone to the writers of Tanya Tucker’s “Bring My Flowers Now” and Beyonce’s “Texas Hold ‘Em.”
For record of the year, the outlook is even similarly bleaker: the only country nominations have gone to Lil Nas X and Billy Ray Cyrus’s “Old Town Road” and Shaboozey’s “A Bar Song (Tipsy).”
Despite today’s goose egg, as country music has boomed over the last several years, country artists have fared best in the new artist category with eight artists receiving nominations over the last decade. However, there has been no country winner in 15 years since Zac Brown Band in 2010. And we know there won’t be one at the 2026 ceremony.
To state the obvious, the fans who have propelled country’s popularity aren’t voters. Grammy voting is a numbers game and until there are enough voters among country creators, it’s hard to see things changing. It’s clear among the winners and nominees that many of them, such as Beyoncé and Shaboozey, had projects with crossover appeal, which likely garnered them votes from beyond the country community.
That brings up a broader point, unlike other genres, such as rap and alternative, country often still remains its own island and doesn’t always cross over with other genres. That is changing, with artists like BigXthaPlug and Tate McRae collaborating with country artists and bringing new fans in, but there still seems to be a bigger divide: country listeners (including voters) likely listen to other genres of music, while fans of other genres don’t necessarily listen to country.
The Recording Academy is well aware of the country lag, and even added a new country category this year, Best Traditional Country Album, which was the only new music category added for the 68th annual Grammy Awards.
“The community of people that are making country music in all different subgenres came to us with a proposal and said we would like to have more variety in how our music is honored,” Recording Academy CEO Harvey Mason jr. told Billboard in June when the category was announced “They said, we think we need more space for our music to be celebrated and honored.”
That’s a great move and puts the country categories in line with a number of the other genres that have both contemporary and traditional categories, but until the number of country creators who vote rises, there is very likely to be no change in the general field because the numbers just aren’t there to cross a country artist or project over the mainstream finish line.
The Recording Academy has been on a massive drive over the last several years to diversify its ranks especially among women, younger voters and people of color, adding 2,900 new voting members this year alone. Total voting membership is now approaching 15,000, with 73% joining since the Academy introduced a new membership model in 2019. Tellingly, only 1% of this year’s new voting members identified as being most aligned with the country genre.
