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Source: Popeyes Chicken Wraps / McDonald’s Snack Wraps
Popeyes and McDonald’s will be going to war over your taste buds this summer, and their weapon of choice will be chicken wraps.
The two fast food chains have sparked a chicken wrap war after announcing they will feature similar items on their popular menus.
Popeyes is no stranger to getting folks excited with their menu items; see the legendary chicken sandwich, which sparked a frenzy in hoods everywhere. The company is hoping to recapture that same magic with the introduction of its new chicken wraps, which come in three flavors: spicy, classic, and honey mustard.
McDonald’s wasn’t going to let Popeye’s get all the glory and decided to drop its bombshell, announcing the return of its popular Snack Wraps, which were a staple on the dollar menu before becoming a limited item that occasionally makes appearances.
The two announcements have sparked a hilarious frenzy on social media with folks adding their juiciest and most delicious commentary, even taking things to a conspiratorial route.
Others are pointing out the historical significance of Popeyes introducing a new chicken product, as the last time this happened, the entire world was locked down due to the COVID-19 pandemic. It seems like time is a flat circle, and history is repeating itself.
Other people on X, formerly Twitter, are commenting on the wrap war taking place before our eyes. “They having a wrap battle,” one user wrote on X.
Lol, very clever.
So, which chicken wrap will you choose? Will you be team Popeyes or team McDonald’s? There isn’t a wrong answer here, as both options are likely good.
You can see more reactions in the gallery below.
2. The accuracy
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50 Cent promised to let Donald Trump know what Diddy has said about him in the past, and he followed up on exactly that when posting a pair of clips on Monday (June 2) featuring Combs condemning the president.
“See Trump don’t like s–t like this buddy, you run your mouth to much,” 50 wrote in one caption.
The first video finds Sean Combs in conversation with Charlamagne Tha God, talking about a potential race war if the now twice-impeached president were in office. “If Trump gets elected, I really do believe in my heart there’ll be a race war,” Diddy said in the clip.
Another video shows Diddy condemning Trump on REVOLT, saying: “White men like Trump need to be banished.”
Fans hopped into the comments, chiming in about 50 looking to kill any chance of a pardon for Diddy by Trump, who recently pardoned YoungBoy Never Broke Again.
“We will have BREAKING NEWS….from the White House to address by noon tomorrow…I am sure you just took that man’s last hope for sure,” one fan wrote.
The G-Unit mogul has been relentless in his trolling of Combs, as 50 even posted an edited image of himself rocking a “Free Diddy” shirt on social media.
Combs remains on trial in New York for federal sex trafficking and racketeering charges. During Tuesday’s 15th day of testimony, a hotel worker alleged Diddy paid them $100,000 to make sure the video of Combs assaulting Cassie never got out, per ABC News.
Last week, Trump was asked about a potential Diddy pardon during an Oval Office briefing and said he’d consider it, but would have to take a look at the case.
“I haven’t spoken to him in years,” Trump said. “He used to really like me a lot. I think when I ran for politics, that relationship busted up. … I would certainly look at the facts. If I think somebody was mistreated, whether they like me or don’t like me, it wouldn’t have any impact on me.”
“When we first started taking the train in from Long Island, me and Biz [Markie] and the other Sixth Borough artists had to sneak into events like this and steal a mic to get onstage,” Rakim says. “Now we got the red carpet.”
The Wyandanch, N.Y.-born rapper, who inspired everyone from Jay-Z to Eminem with his culture-shifting rhymes as part of the duo Eric B. & Rakim, is talking about The Sixth Borough, a documentary about Long Island hip-hop that will premiere at Tribeca Festival on June 11, followed by a set from Rakim and De La Soul. It’s one of many music-centric movies playing at the event, which begins June 4 with the world premiere of Billy Joel: And So It Goes, a documentary that will screen weeks after Joel revealed that health issues were forcing him to scuttle all upcoming appearances.
Tribeca Festival director/senior vp of programming Cara Cusumano has watched its music-related programming steadily increase since joining in 2007 after attending the inaugural festival as a student in 2002 (“I always wanted to be involved in some way,” she recalls). This year’s lineup includes documentaries from Becky G (Rebecca), Eddie Vedder (Matter of Time), Billy Idol (Billy Idol Should Be Dead) and more. “At its core, our new film M is about the deep connection between music, culture, and people,” says Depeche Mode singer Dave Gahan of the concert doc Depeche Mode: M, which debuts at Tribeca on June 5. “Fernando Frías, who directed and conceived the film, did a beautiful job telling that story through the lens of Mexican culture and our shows in Mexico City. To now bring it to Tribeca and share it with a wider audience here is something we’re truly proud of.”
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“Our local audience is New York – it’s the biggest, most diverse moviegoing audience in the world,” says Cusumano of the festival’s appetite for eclectic stories. And as new media continues to redefine film, that diversity extends to the cinematic perimeters of projects on this year’s lineup, which includes visual albums from Miley Cyrus (Something Beautiful), Slick Rick (Victory) and Turnstile (Never Enough).
“The labels are giving more and more budget toward these visual albums,” says music programmer Vincent Cassous, who worked as a booking agent before joining the Tribeca Festival in 2022. “It’s a big swing for promo.”
Working with each film’s director and producer, Cassous helps execute what happens after the film wraps: A Q&A with Cyrus? A performance by Vedder? A house music party? “Obviously, production and budgets come into play,” he says, adding that the festival is committed to keeping ticket prices low even as production costs rise.
Those post-screening events often carry an emotional weight that even affects seasoned veterans. “I was backstage with Santana a couple years ago at the Beacon … his hand was shaking when he was introducing the [2023 Carlos documentary],” Cassous says. “This person has performed for millions of people, but I think for him, he was so vulnerable in the film and his whole family was there.”
“These people are often seeing films for the first time that are their own lives and careers calculated, and then getting up onstage immediately,” Cusumano adds. “It is such a unique moment in their lives that audiences get to be invited into.”
A version of this story appears in the June 7, 2025, issue of Billboard.
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Just weeks after surviving a shooting on May 22, 2025, Detroit rapper Skilla Baby is turning tragedy into triumph by giving back to his community in a powerful way.
Despite still recovering, he was recently seen performing at a 42 Dugg concert with his arm in a sling, Skilla hasn’t slowed down. This week, he organized a major charitable event where he blessed local youth with shoes, clothes, cleats, backpacks, jerseys, and food.
Known not just for his music but for his heart, Skilla Baby has a consistent history of community involvement. Earlier this year, he stepped up during a tragic moment, covering the full cost of a community memorial for Na’Ziyah Harris, a teenager who had been missing since January 2024. While announcing the gesture on Instagram, Skilla shared a photo of Harris and made it clear that, despite the family’s alleged shortcomings, he felt a responsibility to honor her life on behalf of the entire community.
Now, in the face of his own adversity, he’s once again leading by example. “They tried to take me out, but I’m still here—and I’m giving back even harder,” he reportedly told a group of kids at the event. For many, these donations aren’t just material gifts—they’re symbols of hope, resilience, and someone from their own streets who truly cares. Skilla Baby is proving that even in pain, there’s power in purpose.
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Olivia Rodrigo will be headlining the 2025 Governors Ball in New York on June 7th and Lancôme is in the mood to celebrate.
While the Guts singer and Lancôme brand ambassador takes the stage, the cosmetic brand is hosting Idole House from June 6th through the 8th in New York, an activation to promote their Juicy Tubes, Idole Flutter and Idole Power products. Rodrigo-approved for lips and eyes, the trio is a certified classic, made to transform any look into a statement maker fit for festival season.
Attending guests at the pop-up will have the opportunity to get glam, try out their runway walk on stage and test out their vocals in the recording studio. After all the fun is done, they’ll be taking home some of Rodrigo’s favorite Lancôme products, along with cute Juicy Tube keychains and an exclusive Olivia Rodrigo x Lancôme makeup bag.
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Juicy Tubes Lip Gloss
An ultra-juicy glossy in a multitude of shades.
Retailing for $25.00, Lancome’s iconic 2000s Juicy Tubes are back and better than ever. The new and improved gloss is positively jam-packed with hydration and shine that makes the lips look fuller without an overly sticky residue. Juicy Tubes boasts 10 shades and 4 hours of lasting hydration, enough to get you through Rodrigo’s sets. The secret is all in the petal-shaped applicator, built to deliver ultra-glossy shine in a variety of finishes from sparkly to cream and jelly. For best results, we recommend opting for a lip liner to create shape before piling on the gloss.
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Lash Idôle Flutter Extension Lengthening Mascara
A lash-lengthening mascara with a thin and precise wand.
Looking for instant lash lengthening for an affordable price? Lancôme’s Idole Flutter Extension mascara gets the job done no problem. Retailing for $30.00, the mascara delivers a whopping 75% of length in just a few coats. It’s that simple. The secret lies in Lancôme’s special wax-in-water emulsion formula, which acts to elongate each lash, keeping them up and fluttering for over 24 hours. The elastomer brush is also not too shabby. With over 480+ nano-bristles, the brush works to separate each lash, creating volume and length without looking clumpy and crusty.
Idôle Power Eau De Parfum Intense
A woodsy and fruity perfume in a unique pink package.
Finally, the Idole Power rounds out the trio. True to its name, this perfume packs a punch with fragrance intensity that will last all day long. Retailing for $155.00, this perfume features a woody and fruity scent reminiscent of caramelized, unctuous, candied apples, backed with the vibrant and slightly sweet scent of sandalwood. The Idole Power eau de parfum’s face is Rodrigo, of course, a girl who embodies the youthful, rule-breaking personality of the scent.
Rodrigo is headlining The 2025 Governors Ball alongside top acts like Tyler The Creator, Hozier, Glass Animals and Benson Boone.
Travis Kelce is interested in joining the DJ scene — and he knows exactly who he’d open for if he does. On the latest episode of New Heights posted Wednesday (June 4), he conversed with this week’s guest, Shaquille O’Neal, about wanting to get behind the turntables, with both athletes agreeing that the tight end would be the perfect “hype man” at Taylor Swift‘s concerts.
The topic first came up shortly after Travis and his brother/cohost, retired Philadelphia Eagles center Jason Kelce, introduced the basketball icon. Praising Shaq for his DJing skills, the Grotesquerie star asked him to “teach me your ways.”
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“Bro, I got you,” replied O’Neal, who performs under the moniker DJ Diesel. “You know what [would be] crazy? You opening up with your girlfriend. Bro, you’d be a f–king star. Ten minutes hyping up the crowd, oh my God.”
Travis then laughed with excitement at the prospect. “Come on, you know I’m a hype man,” he said as Jason cackled. “You know I’m a hype man. Get it rocking in there. Have the Swifties bouncing off the walls before T gets out there.”
With the “Fortnight” singer’s global Eras Tour ending last December, the Kansas City Chiefs star will have to wait until the next time she hits the road to put his own DJ skills to the test. He did, however, get a taste of what it’s like to perform alongside Swift before her last tour wrapped, making a surprise onstage cameo during one of her Wembley Stadium shows in June last year.
As far as being Swift’s “hype man” goes, Travis has plenty of experience in that department. The NFL star often publicly praises his famous girlfriend, from celebrating the release of her Billboard 200-topping The Tortured Poets Department album in April 2024 to commending her athleticism on the Eras Tour.
The latest episode of New Heights was also no exception. Following their chat about his DJ ambitions with O’Neal, Travis later celebrated the 14-time Grammy winner’s recent headline-making purchase of the master recordings to her first six albums, finally securing ownership of her back catalog after years of fighting to do so. After Shaq played Swift’s “I Knew You Were Trouble” on his phone, the football player cheered, “Shout-out to Tay Tay!”
“Just got that song back, too,” he added with a big smile. “Just bought all her music back. So it’s finally hers.”
Watch Travis and Shaq’s conversation on New Heights above.
Damian Lazarus is bringing his longstanding Day Zero party to Brazil in 2026. The event will happen Jan. 3 in São Miguel dos Milagres, Brazil, located on the country’s northern coast in the state of Alagoas. Details regarding the lineup will be announced in the coming months. Bookings will presumably fuse the rich musical heritage […]
In the animated realm of Toca Boca World, anything is possible — from changing your hair color at the drop of a hat to becoming the next member of KATSEYE.
As announced Wednesday (June 4), the six-piece girl group is joining the digital universe of the Swedish children’s game, where the band’s signature diversity will go hand-in-hand with Toca Boca‘s mission to encourage play through imagination, creativity and self-expression. With members Manon, Sophia, Daniela, Lara, Megan and Yoonchae each getting their own avatars within the game, EYECONS who play along will be able to unlock a KATSEYE style pack, download the band’s music, and win free digital gifts once the partnership launches on Tuesday (June 10).
In an exclusive interview with Billboard‘s Delisa Shannon celebrating the collaboration, Sophia said her favorite part is how fans will be able to combine their favorite traits of each KATSEYE member to become an honorary member of the squad. “When you’re creating your character, you get to take different parts of us and also parts of you — you can literally make it look exactly like you — and I think it’s so beautiful,” she gushed over Zoom as her bandmates nodded.
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“Just like how we always say with KATSEYE, the beautiful part of it is the diversity and the global-ness of it, and the ability to see yourself in us,” Sophia continued. “Whether it be, ‘Oh, I love Dani’s style, but I look like Sophia’ — you can fully become that in this world. It’s kind of like becoming a seventh member of KATSEYE.”
“I think it’s very cool that within this game, we’ve been able to express our diversity and the difference and uniqueness between all six of us,” added Lara. “But then also being in this one world together, being friends, being sisters, I think that’s so beautifully reflected in the game.”
The ways in which each KATSEYE member is unique will be represented down to small details in their avatars, from Lara’s bindi to the birthmark above Daniela’s eyebrow. Serving as Toca Boca World‘s first-ever “guest characters,” the ladies will also contribute music to the game; a custom player will let fans listen to tracks “Touch,” “Debut” and “I’m Pretty,” as well as new single “Gameboy” after it drops later this summer.
Plus, the animated KATSEYE avatars will also take part in an in-game Voxella Festival Stage Takeover, descending one-by-one on the virtual venue and unlocking a song after they’re united. For Yoonchae and Daniela, however, the most exciting parts of the game are its opportunities for self-expression and customization.
“I would change my face every day,” the former gushed when asked how she’d spend her time in Toca Boca World if it were a real place, while the latter said, “I would just go shopping and buy the whole mall, and just customize different outfits.”
KATSEYE’s partnership with Toca Boca comes as the group is bigger than ever before. In the months since dropping debut EP SIS (Soft Is Strong) in August, the sextet has amassed millions of listeners and scored its first-ever Billboard Hot 100 hit with the viral single “Gnarly,” which debuted at No. 92 in May.
As hype around the track continues to heat up in tandem with the temperatures outside, the members of KATSEYE — who also have a new EP, Beautiful Chaos, coming June 27 — think it’s pretty clear what this year’s song of the summer is going to be. “It’s a ‘Gnarly’ Summer,” said Megan, as her bandmates smiled in agreement.
But after Brat Summer and Hot Girl Summer, what does a “Gnarly” Summer entail? “Not being afraid of being cringe … letting your intrusive thoughts win,” Megan elaborated, while Lara said it’s all about “being very wild — and a little bit messy.”
In a studio hangar just outside Cairo, weeks before the release of his new album The Man Who Lost His Heart, Marwan Moussa sits with a resolve that only grief teaches. The kind shaped by someone who’s been to the depths of loss and carried back not just a song, but 23. The album wasn’t built overnight, Marwan Moussa explains to Billboard Arabia in his exclusive May cover interview. It was carved out of grief and shaped with intention. Each track, he says, was sculpted from the turbulent, shifting emotions he experienced during the long and winding journey of healing after the heartbreak of losing his mother two years ago.
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The album, he says, was “a kind of therapy.” Like writing a journal, sleeping on it, then reading it with fresh eyes to look at his life from a different perspective.
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The Man Who Lost His Heart doesn’t open with a bang; it opens like a dream taking shape. “Try to remember” is the first line we hear, fighting its way through an ethereal sound design. Structured in five parts, the album mirrors the five stages of grief – denial, anger, bargaining, depression and acceptance – but more than that, it charts the long, slow work of survival. Moussa doesn’t just document his pain; he invites you into it, offering a guide and companionship with each track.
“It isn’t a linear journey, of course,” he explains. “You could be angry, then suddenly find yourself depressed, and then all the way back in the denial stage.”
But the album isn’t merely a chronicle of grief. It’s a sonic deconstruction of Moussa’s process. Blending trap-shaabi (a genre he helped popularize that combines trap beats with various textures found within Egypt’s popular folk music), heavy synths, tender melodies and deeply personal sound bites – including audio lifted from childhood VHS tapes of him and his family – he crafts a layered, emotional landscape.
The Man Who Lost His Heart isn’t just a collection of songs. It’s a reckoning.
Take his track “BOSAKBER,” which spirals through memory and misfire. His flow isn’t clean; it’s distorted and fractured like a freshly broken heart. In the accompanying video, directed by Youssef Haridy, Moussa appears alone beneath a wide, empty sky. He fights his own reflection. The imagery is both surreal and stark, but not hopeless. It’s not the portrait of someone broken – it’s the portrait of an artist in the whirlwind of putting themselves back together, even if the pieces no longer fit the way they once did.
“We wanted to create a surreal imagery that feels deeply rooted in oriental aesthetics; something distinct,” Moussa says.
Moussa is not new to transformation. Over the last several years, he’s become one of the most influential voices in Arabic hip-hop – not only as a rapper, but as the producer behind dozens of hits, including “Brazil,” and more recently “Kebda” for longtime collaborator Afroto. He’s also been a constant on Billboard Arabia’s Artist 100 chart for over 55 consecutive weeks.
Moussa first set foot on Egypt’s hip-hop scene in 2016, releasing his early tracks on SoundCloud. The following year, his collaborations with Abyusif on “La2 Mafeesh” (No, There Isn’t) and “Zaghzaghto” (Tickling) brought him into the spotlight, and his skills as both rapper and producer began to further solidify.
In 2018, he released his first music video for “Kiki,” which marked his production breakthrough. Then came “Fr3on” (Pharaoh) in 2019, with its unpredictable rhymes and sharp wordplay over a solid beat and advanced production techniques.
Marwan Moussa
Amina Zaher/Billboard Arabia
Marwan Moussa
Amina Zaher/Billboard Arabia
After experimenting with several genres, Moussa’s 2019 track “El Bosla Da3et” (The Compass Is Lost) marked a turning point not only for his career, but for Egyptian trap as a whole. It was one of the first tracks to experiment with fusing shaabi and trap, paving the way for the rise of trap-shaabi, as it became known subsequently.
His 2021 album Florida cemented his reputation as an innovator, blending regional rhythms with experimental production in a way few dared to. From songs like “Tesla” and “Sheraton” to shaping his own catalog to producing for Egypt and North Africa’s most respected MCs, Moussa has always known how to bend sound to feeling.
But The Man Who Lost His Heart, released in full on May 5, is different. If Florida was Moussa pushing his craft’s limits, this album is what remains when all else falls away – just music, message and the strength found in the breaking.
That strength is amplified by a slate of carefully chosen collaborators. The album features standout moments with producer El Waili on “Yamma” and Afroto, as well as verses from Lege-Cy on “Klameny Belel.” But it’s Donia Wael’s contribution that Moussa calls essential to the record’s emotional core. “I want Donia Wael’s voice on the album to be interpreted by each listener in his or her own way—as a girlfriend, friend or therapist,” he says.
“The reason the album came out this way,” says Moussa, “is that I thought if I give through the five stages of grief, maybe it helps you get through what you’re dealing with or get past a tough time in your life or your current period of depression.”
In that way, The Man Who Lost His Heart is more than an act of expression. It’s an offering. A hand on your shoulder there to remind you that no stage of sadness lasts forever, even when it feels like it might.
For Moussa, producing an album this emotional, meant risking everything: the cool detachment of a hardened rapper. What he’s delivered instead is something harder, and far more lasting. A document of heartbreak. And perhaps, in doing so, he has found his heart again, and his voice.
Marwan Moussa
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“Many Nashville publishers sold their firms, then cried swampfulls of crocodile tears all the way to the bank when they suddenly became multimillionaires.” That’s a 1988 hot take on country’s corporate makeover from Gerry Wood, a former Billboard Nashville bureau chief and editor in chief who passed away on May 3 at the age of 87.
Wood had worked in radio and PR before Billboard, and he was a character and the staff knew it. A 1988 retail convention photo identifies him as “Gerry Wood (back to camera — for a change).” From 1975 to 1991 — minus 1983 to 1986, when he worked elsewhere — Wood burned up the pages of Billboard with comprehensive reporting and crisp writing about country’s mainstream moment and how it changed Nashville.
Taking Root
“Country music has been spreading like kudzu,” Wood wrote in the Oct. 16, 1977, Billboard. “That’s the Southern vine that grows so fast it is rumored to be the cause of missing cows and pigs on Southern farms. Spawned in this fertile, blood-red soil of the South, this music has vined into the cities and countries where today’s frenetic, polluted environment grasps for something fresh, yet traditional. Often, that something turns out to be country music.”
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Head Games
This “was the year the music business stopped believing its own hype that it was a recession-proof industry,” Wood wrote in the Oct. 13, 1979, issue. Country seemed to fare better than other genres, though. “When CBS Records corporately cut some 300 heads, only one of those heads dropped in Nashville.” Some of that safety came from commercial crossover potential. “Lord knows,” Wood wrote, “if it keeps up, we’ll be seeing Gene Watson wearing KISS makeup with a flaming guitar.”
The Year Country Broke
“We’ve got to find some new words,” Wood wrote in the Oct. 18, 1980, issue, as Kenny Rogers and Urban Cowboy spurred a stampede toward Nashville. “All of the adjectives and adverbs have been used in past years. Best year. Exploding. Record-setting.” Not only had country “gone California and Texas and Tennessee,” Wood wrote, “it has gone Ohio and Canada and New York.”
Alphabet Soup
“Once upon a time Nashville was as easy as ABC. Now it’s as complex as SBK, BMG, TNN, CMT, WCI, and PolySomething.” So wrote Wood in the Oct. 15, 1988, issue. “The sleepy Southern village that gave America music from its soul in the ’50s and ’60s became the darling of corporate overtures in the ’70s and succumbed to the almighty dollar in the ’80s.” Even as Music City changed, Wood’s wit didn’t. “Too old to play musical chairs, Nashville has lately taken to playing musical managers,” he wrote in the same issue. “Artists have been dropping managers at the drop of a chart bullet.”
Next Big Thing
In the June 30, 1990, issue, Wood wrote a column “predicting the Roy Rogers of the ’90s.” His bets were prescient: Clint Black, Garth Brooks and Alan Jackson. One prediction, “country rap,” was decades ahead of the curve. But his crystal ball had one crack: “Willie Nelson’s Cowboy Channel will get off to a slow start, just like Willie did, but end up a winner, just like Willie did,” he wrote of Nelson’s planned cable network. It never even launched.
This story appears in the May 31, 2025, issue of Billboard.