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Cardi B Shares ‘Terrible’ Moment She & Offset Found Out About Takeoff’s Death

It’s been two months since Migos member Takeoff was tragically killed on Nov. 1, and Cardi B is opening up about the heartbreaking moment she and her husband Offset learned the news.

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The “I Like It” rapper is the latest guest on The Jason Lee Podcast this week, where she revealed that she and Offset were planning on going to a Halloween party on the night of Takeoff’s death, but stayed home after their four-year-old Kulture threw up on Cardi’s costume.

“We just fell asleep and out of nowhere, Offset’s phone kept ringing, my phone kept ringing,” she recalled. “Offset picked up the phone and he [was] just like, ‘Noooo,’ and he [was] screaming and screaming. I’m like, ‘What’s going on?’ and he’s like, ‘Takeoff is dead.’”

“I smacked him and I said, ‘Don’t say that. Like, don’t say that!’ And then he [was] just screaming and just throwing things, throwing up, running all over and I was so scared,” she continued. “I was just crying so much. It was terrible.”

Cardi added that despite the tragedy, she’s grateful for the time she spent with Migos, consisting of Takeoff, his uncle Quavo and cousin Offset. “I feel like I’m so happy that I experienced all those great moments when they were all together and everything,” she said. “It’s a great memory. Sometimes I cannot even listen to Culture because I get emotional. I love them forever.”

Takeoff was just 28 years old when he was fatally shot following a private party at a downtown Houston bowling alley. Takeoff’s primary cause of death was listed as “penetrating gunshot wounds of head and torso into arm,” according to an autopsy.

Drake & Friends Hit the Rolex Store in Flossy ‘Jumbotron S–t Poppin’ Music Video: Watch

Drake lives a life that only few can imagine, but in the video for “Jumbotron Shit Poppin” — released on Tuesday (Jan. 17) — the rapper gives his fans and admirers a look into what three days of his life is really like, proclaiming at the beginning of the video, “This is 72 hours for us.”

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The rapper fluctuates between a few locations, much like any megastar would: He spends time at a mansion in California complete with an exotic red car parked in its driveway; hits up the Rolex store with friends to shop for expensive, jewel encrusted watches; dines solo at a dimly lit restaurant; and entertains girls. Lil Baby makes a blink-and-you’ll miss it cameo at the 1:06 mark, as Drake meets up with a few more friends for some after-dark endeavors.

“We ain’t even out in Turks, she finna take sand/ Ridin’ ’round with F&N, we like to hold hands (Oogie Mane he killed it)/ Boat was too sipped out, he ain’t leave the bed/ D–n, they dipped a pint of Tech in a Code Red,” Drake raps on the chorus.

“Jumbotron Shit Poppin” was released as a track from Her Loss, Drake’s studio album made in collaboration with 21 Savage. The set arrived in November, and peaked at No. 1 on the Billboard 200. The LP additionally spent a total of nine weeks on Top R&B/Hip-Hop Albums chart and occupied its top spot for four weeks.

Watch the video for “Jumbotron Shit Poppin” above.

Kelsea Ballerini Addresses Rumors She’s Dating ‘Outer Banks’ Star Chase Stokes … Sort Of

Are Kelsea Ballerini and Outer Banks‘ Chase Stokes dating? Wouldn’t you like to know. The 29-year-old country pop star has addressed the romance rumors for the very first time in a recent TikTok, but don’t get too excited. Instead of confirming or denying, she simply expressed her dismay over her love life being the subject of attention on popular gossip page DeuxMoi.

In the Monday (Jan. 16) video, Ballerini speaks to her followers while showing them a screenshot of a discussion that took place on DeuxMoi’s Instagram account that same day. The person who anonymously runs DeuxMoi had posted on Instagram Stories a screenshot of a direct message they received from a follower, who mentioned both Ballerini and Stokes by name, and speculated on the likelihood of their relationship.

The sender of the message alleged that Ballerini is “too busy” repeatedly asking out a Soho House Nashville employee to actually be in a relationship with Stokes, calling their recent appearance at the college football national championship game in Inglewood, Calif., a few days prior a “PR play.”

“I know, I know. Stop reading, stop looking,” Ballerini says in her TikTok, gesturing to the screenshotted conversation. “But what is happening, guys? What?”

“Let’s not do this, you know?” she added, before blowing a defeated raspberry.

The “Peter Pan” singer then captioned the video, “i’m about to break up with the internet 5 sure.”

Fans have been curious about Ballerini and Stokes’ possible romantic link since the two were included in a group photo from the championship that Raising Canes founder Todd Graves shared on social media. Later, Stokes shared a carousel of photos that included a snap of him getting cozy with a blonde woman, whom he tagged as Ballerini, sitting next to him at the game.

See Kelsea Ballerini sort of address the Chase Stokes dating rumors in her new TikTok below:

Bad Bunny’s History-Making Accomplishments: A Timeline

After releasing his first-album X 100Pre in 2018, Bad Bunny quickly went from emerging artist to superstar status. The set scored him his first entry on the Billboard 200 albums chart, where it peaked at No. 11 in January 2019.

Since he’s released Oasis, his 2019 joint album with J Balvin, as well as further solo sets YHLQMDLG, Las Que No Iban a Salir, El Último Tour del Mundo and Un Verano Sin Ti. The latter two of those debuted at No. 1 on the Billboard 200, making him the only artist to top the tally with a Spanish-language album — not once, but twice.

Accomplishing that was just the beginning for Bunny. His Un Verano Sin Ti is vying to become the first Spanish-language album ever to win album of the year at the Grammys this February. In 2022, Bad Bunny also became the first Latin act (and the first act who doesn’t perform primarily in English) to finish atop Billboard’s Year-End Top Tours chart thanks to his top-grossing El Ultimo Tour Del Mundo and World’s Hottest Tour.

“I feel in control. I’ve been doing this five, six years, and I’ve been acquiring experience,” Bad Bunny told Billboard in December. “We’re living in a digital era, where everybody can upload their music and if you explode, you explode, and suddenly, you’re huge with a single hit and you have no experience. You haven’t crashed against anything. I’d say I’ve acquired that experience little by little. I’ve been able to overcome and heal many things in my life, and now I feel that security. I’ve never felt as centered in both my life and my career. I’m clear on what I am and who I am in terms of the music industry.”

With a history-making Coachella headlining set on the horizon, in 2023, Bad Bunny continues to set a precedent for Latin and Spanish-language music. Read on to see what the superstar has managed to accomplish so far.

Watch Madonna Play a Star-Studded, NSFW Round of Truth or Dare to Tease Her Upcoming Tour

Your move, Your Madgesty. Madonna played a star-studded game of truth or dare on Tuesday (Jan. 17) to tease her upcoming Celebration Tour.

In the video, the superstar faces off against Amy Schumer at a table surrounded by the likes of Lil Wayne, Jack Black, Meg Statler, Kate Berlant, Diplo and Eric André. “I just want to make sure you all know why you’re here. Amy Schumer, truth or dare?” Madonna asks to kick off the festivities, to which the comedian gamely responds, “Dare, b—h.”

Let’s just say the dare the pop star cooks up for Schumer is rather, ahem, not safe for work. But when it’s the Inside Amy Schumer star’s turn to come up with a dare, she speaks for generations of Madonna fans by saying, “Madonna. I dare you to do a world tour and play your greatest mothaf—in’ hits.”

“Four decades? As in 40 years? We’re talking ‘Like a Virgin’?” the icon clarifies before breaking into “La Isla Bonita” with a giddy Schumer as the rest of the table sings along.

“Wait, hold up. That’s a lot of songs. You think people would come to that show?” Madonna asks. And when the assembled stars all agree, she concludes, “OK, so the answer is … f–k yeah.”

Once “Vogue” starts playing on top of the celebratory scene, Her Madgesty talks directly to the camera, promising, “’80s. ’90s. 2000s. Four decades of music, avec moi. MLVC. Welcome to the party, b—-es.”

According to a release, the tour will begin July 15 at Vancouver’s Rogers Arena and play 35 cities across North America before moving to Europe in October.

Watch Madonna and Schumer’s game of truth or dare above.

Why Are We So Obsessed With Shakira’s ‘Bzrp Session’?

Shakira: Bzrp Music Sessions, Vol. 53,” by Colombian star Shakira with Argentine DJ Bizarrap, was released Jan. 11 with little notice, save for two collaborative social media posts:  One announcing the track was coming out, and the other saying “Available now.”

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Within 24 hours, the session had accumulated over 15 million streams on Spotify –topping the service’s Top 50 global playlist– and the video got over 55 million views on YouTube, a record for a Spanish-language song. That single day count also allowed it to debut at No.12 on the Billboard Global 200 and at No. 8 on the Billboard Global Excl. U.S. this week.

The knee-jerk explanation for the success could be: This is Shakira, global superstar, doing a post break-up diss track based on very public events.

 But that alone doesn’t begin to account for the extraordinary numbers “Vol. 53” pulled.

Salty post-break up tracks, after all, are the stuff big hits are made of, and historically, there’s been plenty. Witness last year’s “Mamii” by Karol G and Becky G, where Karol G  ostensibly talks about ex Anuel AA (“I see you on social media, can’t believe it, feel so sorry for you; I was such a good girl, and you piece of gonorrhea, this is how you pay me back”), but never names him.

Shakira, on the other hand, is anything but ambiguous in “Vol. 53,”, taking no prisoners and naming names.

While this may be par for the course in the rap world, in pop it’s practically unheard of, and in Spanish pop, it had never happened before. With her session, Shakira took the notion of the pop diss track into a whole new territory, where kiss and tell comes with names, details and punishment all bundled into one delicious package that can be –and has been—dissected, reproduced and parodied in thousands of ways on social media.

If you had never heard of Shakira’s very public break-up with longtime partner and soccer star Gerard Piqué, who left the 45-year-old star for a 22-year-old, you can hear all about it in “Vol. 53,” which not only drops Piqué’s name, but also that of his paramour, Clara Chía, and on top of that, goes into minute details.

“I’m worth two 22-year olds,” sings the 45-year-old Shakira, alluding to her age and that of 22-year-old Chía’s.  She also bluntly acknowledges her problems today –”You left me your mother as my neighbor, Media outlets at my door and in debt with the government” –effectively owning the personal drama that’s played out to endless speculation in the press and social media.

The salaciousness has literally and figuratively drawn gasps from fans, artists and media pundits worldwide, who are used to Shakira’s songs being extremely personal (after all, her 2017 “Me Enamoré” is all about falling in love with Piqué), but also polite and more reliant on figures of speech than actual narrative.

“Vol. 53” turns the notion of “above it all” on its head, and that alone has fueled endless debate on airing dirty laundry and on whether women in general, and Latin women in particular, are held to a double standard in terms of taking a public stance against those who’ve done them wrong.

They’re not, by the way; let’s stop feeling like victims. Women, and men, have long used their songs as cathartic vehicles to expunge their feelings following public breakups.

“You’re so vain; you probably think this song is about you,” sang Carly Simon back in 1972, and although the song was ostensibly about ex Warren Beatty, Simon didn’t admit as much until 40 years later.

Then there’s Paquita La Del Barrio with her legendary, “Two-footed rat” and her rallying cry: “Are you listening useless one?”  And what about Ivy Queen’s epic “La Vida Es Así,” where she not only confronts the woman her man is cheating on her with, but also lets her know he’s not a good lay.

But nothing matches Shakira’s very direct finger, which, tied to her very famous name and and her very famous soccer star ex, has proven combustible.

 Ironically, the last time a song in Spanish got this explicit in terms of naming names was last year, in another Bizarrap session.  “Vol. 49,” featuring Puerto Rican rapper Residente, is a diss track against the current state of Latin urban music, with pointed and personal references to Colombian star J Balvin that also caused a social media uproar.

For 24-year-old Bizarrap, whose sessions have now racked up billions of views in less than three years, the whole point is granting musical and lyrical liberty for what he initially conceived as freestyle sessions.

“Music is a space of liberty, and my sessions are no exception,” Bizarrap told Billboard during a Q&A at Latin Music Week in September. “Artists can say what they really feel and take charge of their feelings. They can express themselves in the way they need in the moment they need. I will never tell an artist he or she can’t say something.”

That, ultimately, may be the key to Shakira’s biggest single in over a decade: She is finally free.

Band v. Brand: How Did Indie Rockers OK Go End Up in a Legal Battle Over a New Line of Cereal?

If you saw a portable snack package of Fruity Pebbles or Honey Bunches of Oats under the brand name “OK Go!” on a supermarket shelf, would you think that the rock band OK Go was somehow involved?

That bizarre question is at the center of a new lawsuit filed by cereal giant Post Foods against the power pop band, which is best known for its viral music videos, including a Grammy-winning video for the song “Here It Goes Again.”

In a complaint filed Friday (Jan. 13) in Minnesota federal court, Post said OK Go had been quietly threatening to sue for months, claiming that the company had infringed the trademark rights to the band’s name by launching the new on-the-go packages earlier this month.

“Without resolution by this court, Post will be unfairly forced to continue investing in its new OK GO! brand while under the constant threat of unfounded future litigation by defendants,” the cereal company wrote in its lawsuit.

Post is seeking what’s known as a “declaratory judgment,” meaning a ruling by a judge that says the company did nothing wrong. Post says the trademark rights of a rock band like OK Go don’t extend to an unrelated product like cereal, and that the new cups of Fruity Pebbles and other cereals are clearly marked with Post’s own branding to avoid any confusion.

In a statement to Billboard, the members of OK Go said they’d been surprised to learn of Post’s lawsuit.

“A big corporation chose to steal the name of our band to market disposable plastic cups of sugar to children. That was an unwelcome surprise, to say the least,” the band wrote. “But then they sue US about it? Presumably, the idea is that they can just bully us out of our own name, since they have so much more money to spend on lawyers? I guess that’s often how it works, but hopefully, we’ll be the exception.”

According to Post’s lawsuit, the dispute with OK Go goes back many months — and court records reveal the kind of legal back-and-forth that often precedes such litigation.

Back in September, an attorney for the band sent a cease-and-desist letter to Post, saying that OK Go had been “surprised and alarmed” to see Post’s use of its name on the new products. He claimed the new brand name would “suggest to consumers that OK Go is endorsing Post’s products,” or falsely imply that the cereal company had received permission to use the band’s name on its products.

Citing advertising collaborations with brands like Sony, Mercedes Benz, Google and Chevrolet, the band’s attorney argued that consumers had come to associate the “OK Go” name with consumer products across an array of industries. And he made particular mention that the band had even previously worked with Post itself, releasing a series of promotional videos for Honey Bunches of Oats back in 2011.

“Our client regards this matter with the utmost seriousness and has authorized us to take all steps necessary in any venue to protect its rights,” OK Go’s attorney wrote in the September letter. “If we do not hear from you within 10 days of the date of this letter, we will assume that Post does not wish to resolve this matter amicably.”

A week later, an attorney representing Post responded, saying that the company must “respectfully disagree” with the band’s accusations. The attorney argued that rock music and breakfast cereal were “clearly unrelated” products and that the phrase “OK Go” was merely a common term that had previously been used by many other companies on their products. He also flatly rejected the band’s arguments about its previous work promoting Honey Bunches of Oats.

“Given the length of time that has passed since that limited collaboration over a decade ago, the very small number of views indicated on the YouTube videos you referenced, and the general consuming public’s rather short attention span, it will also have absolutely no bearing on consumer perception of Post’s mark OK GO! used with cereal or cereal-based snacks, and will not lead to any mistaken association with OK Go,” Post’s attorney wrote in the response.

According to Post’s complaint on Friday, the company offered to pay the band as part of a “good faith effort” to resolve the dispute without resorting to litigation, despite its belief that the accusations lacked legal merit. The total figure that Post offered for such a “branding collaboration/co-marketing arrangement” was not disclosed in court documents.

But the food company says OK Go rejected that offer last week and made no counter-proposal, leaving Post with no choice but to file a lawsuit. Citing a “clear threat of potential litigation,” Post wrote that the judge must rule that the company is “free to use the OK GO! Mark.”

The case was filed in federal court in Minnesota, where Post is headquartered. An attorney for Post did not immediately return a request for comment on the lawsuit.

Read the entire lawsuit here:

Cris Lacy & Ben Kline Add Co-Chair Titles at Warner Music Nashville

Warner Music Nashville (WMN) leaders Cris Lacy and Ben Kline have been elevated to co-chair/co-president titles, following their promotion to co-presidents of the label in June 2022. Kline and Lacy launched the new year with a company-wide, off-site day of culture building and programming last week.

“I’m honored to lead WMN with Cris in what is an exciting time of change and opportunity for this business,” Kline said in a statement. “We are committed to continuing our leadership position within that change by being laser focused on our incredible artists, their powerful music and their creative visions.”

Lacy added, “Let’s be honest, this is a time of great change in the world at large too. When culture shifts, music ignites, it bridges, it covers, it uncovers. We are here for all of that, and proud to be the Nashville contingent that amplifies those stories to all parts of the globe.”

Lacy and Kline were promoted following the announcement of John Esposito‘s transition to chairman emeritus at the beginning of the year. Billboard broke the news of the pending leadership transition in April 2022. Lacy has been with WMN since 2005, while Kline joined in 2014.

During an interview with Billboard back in 2019, Esposito noted that Kline and Lacy were already being prepped to take over greater leadership roles: “I’m putting all sorts of weight on their shoulders. And the great news is since we did that promotion, they both have risen to an even higher level,” he said. “I’m happy knowing I can give them so much to do so they can become as much the face of the label as me. And that has taken a weight off of me. If I walk in the room, [people] assume I can make the final decision. Now they know that either of them can make a decision [too].”

227: Westside Gunn Celebrates Recovery Of Boldy James After Accident

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Boldy James, a talented and prolific rapper out of Detroit, was involved in a car accident last week according to a statement posted over the weekend by his record label. The latest development is that Boldy Bricks is on the road to recovery, which is good news for his legion of fans and peers, most especially Westside Gunn.

According to a post from Griselda Records, Boldy James was involved in a serious two-car wreck in the greater Detroit metropolitan region on Jan. 9.  In an official statement dated Jan. 14, the news James is making great progress.

From the statement:

“On Monday, January 9th, Boldy James was involved in a serious two-car accident in the Detroit metropolitan area. I can confirm that Boldy arrived at the hospital in critical condition, suffering from broken vertebrae in his neck and orthopedic injuries. After undergoing extensive surgery on his neck, Boldy has been removed from the intensive care unit and is now in stable condition.

Boldy and his family would like to express their gratitude to the incredible doctors and nurses that are taking care of him, and also to the communities’ emergency medical personnel and first responders.”

Griselda honcho Westside Gunn added to the statement with a tweet, writing, “I was waiting until the official statement to be released please keep my brother in y’all prayers he’s a strong soul and fighter he’s still talking bout GXFR x 227 forever!!! Just hearing them words broke me down but GOD IS THE GREATEST and BO gonna be better than ever.”

Frequent collaborator and good friend Alchemist also shared his excitement about the recovery of James via an Instagram post vowing that his audio partner will be back better than ever.

The Hip-Hop Wired team shares in Gunn’s joy that Boldy James is on the way to getting back to that top-level audio grind. Last year alone, James dropped four very strong full-length projects and we had to pick one for our best of 2022 list in his collaboration with Nicholas Craven, Fair Exchange No Robbery.

Where we at? Let’s get it.

Photo: Tim Mosenfelder / Getty