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President Donald Trump signed an executive order late Thursday aimed at ending federal funding for NPR and PBS, accusing the organizations in a social media post of spreading “radical, woke propaganda.” The official order, found on the White House website, directs the Corporation for Public Broadcasting (CPB) and other agencies to halt both direct and indirect public financing to the public broadcasters.
“Today the media landscape is filled with abundant, diverse, and innovative news options,” the order states. “Government funding of news media in this environment is not only outdated and unnecessary but corrosive to the appearance of journalistic independence.”
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This move follows a pattern of Trump leveraging executive powers to defund or dismantle institutions he deems oppositional, including cultural and educational organizations like the Kennedy Center and National Endowment for the Humanities.
The legality of Trump’s order is in question, however, as CPB is a private nonprofit entity and not a federal agency.
CPB CEO Patricia Harrison emphasized its independence from presidential authority, stating the executive order is not legally binding. “Congress directly authorized and funded CPB to be a private nonprofit corporation wholly independent of the federal government,” she said.
PBS president Paula Kerger condemned the executive order as “blatantly unlawful,” adding that it jeopardizes the broadcaster’s long-standing public service mission. She highlighted PBS’s bipartisan congressional support and its role in delivering educational and cultural programming.
NPR also pushed back at the order, vowing to defend itself through all legal avenues. The organization asserted that Trump’s action is not about fiscal responsibility, as public broadcasting receives less than 0.0001% of the federal budget, but rather an attack on First Amendment rights and press freedom. “We will vigorously defend our right to provide essential news, information and life-saving services to the American public,” the organization said. “We will challenge this Executive Order using all means available.”
Each year, CPB allocates about $535 million in taxpayer funds to public broadcasters and content producers. Although NPR and PBS have anticipated funding threats since Trump’s 2016 election, the administration’s latest action escalates those concerns. The Trump administration has also proposed a $9.1 billion budget cut package that includes rescinding CPB funding, though the proposal has yet to reach Congress.
This action mirrors similar efforts by the administration to suppress institutions that provide independent or critical viewpoints. It also coincides with attempts to dismantle the agency in charge of Voice of America and Radio Free Europe/Radio Liberty. Federal courts have previously intervened in cases where the administration withheld congressionally approved funds from media outlets, raising doubts about the legal sustainability of Trump’s latest move targeting public broadcasters.
Critics argue that cutting funding to NPR and PBS could significantly hinder access to trusted educational and cultural programming, especially in underserved communities. Trump’s executive order may also face strong legal and political resistance, as both public broadcasters have traditionally enjoyed bipartisan support in Congress.
“There’s nothing more American than PBS, and our work is only possible because of the bipartisan support we have always received from Congress,” Kerger said last month. “This public-private partnership allows us to help prepare millions of children for success in school and in life and also supports enriching and inspiring programs of the highest quality.”
The CPB has already sued Trump over his attempt to remove three board members, which would have left the board unable to function due to lack of quorum.
The Associated Press contributed to this report.
At 62, Fito Páez maintains “the curiosity and desire” of the early years and an energy that doesn’t allow him to stop creating. Music above all, but also cinema and literature — passions he has been developing in parallel over the decades. And Novela, his latest album, might finally combine them all.
Created as a rock musical, the 25-song project — which Páez spent nearly 40 years writing and was finally released on March 28 under Sony Music Spain — tells the story of Villa Constitución, a town in the province of Santa Fe, Argentina, where a strange circus arrives to revolutionize the lives of its inhabitants. Through songs such as “Universidad Prix,” “Cuando el Circo Llega al Pueblo,” “Superextraño” and “El Triunfo del Amor,” its unique characters are introduced: the school’s dean, Rectitud Martirius; the witches Maldivina and Turbialuz; the young lovers Loka (daughter of the circus owner) and Jimmy (singer of a rock band) and more.
“We’re already speaking with many producers to film the movie once the tour finishes next year,” Páez tells In Conversation with Billboard Español in New York. “And I’m also beginning an adaptation [to] perform Novela live in full, where the audience can go and see a show that isn’t a musical — it’s the band playing the album and everything happening at once.”
The release comes the same year as the 40th anniversary of Giros, the second studio album in his expansive discography and the one that truly launched his career, with classics such as “11 y 6,” “Cable a Tierra” and “Yo Vengo a Ofrecer Mi Corazón.”
“It’s similar to a beach, Giros. It’s like having arrived, after wandering so much in the river or the sea, and saying, ‘Ah, I’ve made it here,’” he reflects on what the 1985 set meant to him. “There are many elements there that define many things about the place where I was raised, where I learned music, where I was loved, and where I was shaped. It’s an album I care for deeply, and I think it was a strong first step in the direction of searching for a more personal voice.”
In this new installment of En Conversación, the singer of hits such as “El Amor Después del Amor,” “Tumbas de la Gloria” and “Mariposa Tecknicolor” also discusses current events such as the immigration policies that have led fans to avoid attending concerts in the U.S. out of fear of deportation (“It’s horrifying,” he says. “It reminds me of when, back in ’78, we were chased out of Serú Girán concerts during the military dictatorship, and they threw us in jail”); and the ban on narcocorridos in some states in Mexico (“It’s a cultural expression born from lived experiences … and now it’s the singers’ fault! No, guys, it doesn’t work that way”).
Watch the full interview in the video above.
Fito Páez has spent more than three decades crafting his new album, Novela. He opens up about why it took so long to create, the inspiration behind the album, his plans for an upcoming tour, how politics are impacting concert attendance, his views on narcocorridos and the secret to his longevity and success.
What are your thoughts on Fito Páez’s Novela? Let us know in the comments!
Sigal Ratner-Arias:Good morning and welcome! We’re here with the legendary Fito Paez to talk about his new album, Novela, and so many more things. What is your favorite Billboard moment? Past, present or future. This moment. It has to be this moment.
Fito Paez: Obviously it’s this one. Clearly, being here with you. You guys have always treated me well. You guys have always loved me, you’ve listened to me, you’ve given me your attention, so that alone is huge. I really appreciate that. I always feel very grateful when people follow you, they join you, they respect you.
You’re a classic, Fito.
We have a quality bond.
It’s your longest album. Why did it take you so long to finish?
I think there are some works, some pieces that are made over time and that are outside the system of anxiety, outside the system of immediate requirements, outside of the industry and outside of productivity. Because someone can make music, but to start out you need to go back to school first. Here, no. One makes music because you want to express yourself because he needs to share or have that want to get it out from inside, or give it life. Or, to start enjoying the language of music, the language of words. So, behind the scenes of that experience, in my case, my whole life, and that’s how it’s going to be until the day I die.
Keep watching for more!
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Kanye West and his wife, Bianca Censori, joined forces to sue a Beverly Hills dentist for malpractice earlier this week. According to the complaint, Kanye West alleges that the dentist supplied the producer and rapper with high amounts of nitrous oxide, causing him to become addicted.
As reported by E! News, Kanye West and Bianca Censori, previously reported as split apart, are seemingly still an item. In documents obtained by the outlet, West says that Dr. Thomas Connelly allegedly gave West high amounts of nitrous oxide while getting cosmetic dental work done starting last year into 2025, sparking an addiction to the anesthetic.
“You repeatedly administered or supplied nitrous oxide (‘laughing gas’) and/or other sedative substances to Ye in quantities and frequencies that had no legitimate dental or medical justification,” West and Censori’s legal team wrote in a formal notice of an intent to sue sent on the couple’s behalf by Golden Law. “Notably, you went so far as to deliver large ‘surgical-size’ nitrous oxide tanks to Ye’s personal residence (including the residence he shared with Ms. Censori), effectively enabling and encouraging him to inhale nitrous oxide outside of any medical setting.”
In addition to nitrous oxide, the couple is also accusing Connelly of giving him a sedative intravenously, and said that he discharged him before ensuring West’s “medical soundness” was intact. Further, West’s attorneys added that because of the claims of addiction, it has caused a divide in his marriage with Censori.
“Instead of enjoying a healthy married life, she [Censori] was forced to witness Ye’s physical and mental distress and deterioration and to assume the burden of caring for him under extremely distressing circumstances,” the attorneys wrote.
Connelly has not publicly responded to the letter, nor have there been further comments on the matter from Kanye West or Bianca Censori.
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Photo: Jeff Kravitz / Getty
ZOMBIES 4: Dawn of the Vampires — the upcoming fourth film in Disney‘s supernatural series — is all about the battle between light and dark, and we see that back-and-forth come to life with the debut of the new original song “The Place to Be” and its music video, premiering exclusively on Billboard.
The first single from the ZOMBIES 4 original soundtrack showcases Freya Skye as Nova, leader of the Daywalkers, and Malachi Barton as Victor, leader of the Vampires. Skye tries to convince Milo Manheim’s Zed that the “light side” is “The Place to Be,” while Victor lobbies Meg Donnelly’s Addison toward the “night side.”
ZOMBIES 4: DAWN OF THE VAMPIRES
Disney/Matt Klitscher
“The Place to Be” is one of nine new original songs (plus two reprises of earlier songs) on the Walt Disney Records soundtrack, which is now available for pre-order (all pre-orders include an instant download of “Place”). A Music from ZOMBIES green vinyl album will be released on July 11 and is also available for pre-order.
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Below, watch “The Place to Be” music video and find the full track list for the ZOMBIES 4: Dawn of the Vampires original soundtrack.
• “Legends In The Making” – Performed by Milo Manheim, Meg Donnelly, Chandler Kinney, Kylee Russell
• “The Place to Be” – Milo Manheim, Meg Donnelly, Freya Skye, Malachi Barton, Swayam Bhatia, Julian Lerner, Mekonnen Knife
• “Dream Come True (Intro)” – Performed by Freya Skye, Malachi Barton
• “Don’t Mess With Us” – Performed by Milo Manheim, Meg Donnelly, Chandler Kinney, Kylee Russell, Freya Skye, Malachi Barton, Swayam Bhatia, Julian Lerner, Mekonnen Knife
• “Dream Come True” – Performed by Freya Skye, Malachi Barton
• “Kerosene” – Performed by Milo Manheim, Meg Donnelly, Chandler Kinney, Kylee Russell, Freya Skye, Malachi Barton, Swayam Bhatia, Julian Lerner, Mekonnen Knife
• “My Own Way” – Performed by Freya Skye
• “Possible” – Performed by Milo Manheim, Meg Donnelly, Chandler Kinney, Kylee Russell, Freya Skye, Malachi Barton, Swayam Bhatia, Julian Lerner, Mekonnen Knife
• “Someday (Reprise)” – Performed by Milo Manheim, Meg Donnelly
• Show the World – Performed by Milo Manheim, Meg Donnelly, Chandler Kinney, Kylee Russell, Freya Skye, Malachi Barton, Swayam Bhatia, Julian Lerner, Mekonnen Knife
• “Ain’t No Doubt About It (Reprise)” – Performed by Milo Manheim, Meg Donnelly
• “Together as One” – Performed by Meg Donnelly, Freya Skye, Malachi Barton, Swayam Bhatia, Julian Lerner, Mekonnen Knife
• “Score Suite” – Performed by Tom Howe
ZOMBIES 4: DAWN OF THE VAMPIRES
Disney
The soundtracks for the first three ZOMBIES movies all hit the top five on both Billboard‘s Kid Albums and Soundtracks charts, with the original film’s album spending 10 weeks at No. 1 on Kid Albums and the most recent soundtrack spending two weeks atop the chart.
ZOMBIES 4 premieres July 10 on Disney Channel and streams starting July 11 on Disney+.
Beyoncé had the whole family — including the the tens of thousands of Beyhive members at the second show of her Cowboy Carter Tour — congratulate Tina Knowles on her recent accomplishment Thursday night (May 1).
In a sweet moment from the performance at SoFi Stadium in Inglewood, Calif., the “Texas Hold ‘Em” singer is joined on stage by her mom, whose memoir, Matriarch, debuted this week atop the New York Times nonfiction hardcover bestsellers list. Standing with an arm around her mom and joined by her own daughters, 13-year-old Blue Ivy and 7-year-old Rumi, Bey first praises the author for “working so hard on her book.”
“She has the No. 1 book on the New York Times bestsellers,” the 35-time Grammy winner continues proudly as Rumi jumps up and down excitedly, prompting big sister Blue to lovingly shush her. “Everybody, please say, ‘Congratulations, Mama T.’ One, two, three!’”
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As the crowd indulges Bey’s request, Tina blows a kiss before exiting the stage with her granddaughters, holding Rumi’s hand.
The day prior, the Destiny’s Child alum had also personally congratulated her mom with a post on Instagram. “The Mama T was that good??” Bey wrote Wednesday (April 30). “You deserve it, I’m so proud!”
Tina’s achievement comes a little over a week after Matriarch hit shelves, giving fans an intimate look into her life raising one of music’s biggest stars as well as the designer’s battle with breast cancer in 2024. In addition to NYT‘s nonfiction hardcover bestsellers, the book is also No. 1 on the publication’s combined print and E-book nonfiction list.
Thursday’s performance marked the second of five shows slated for SoFi, after which Bey will travel around the United States and Europe through the end of July. The Cowboy Carter Tour kicked off three nights prior on April 28, featuring cameos from both Blue and Rumi during “Protector.”
Watch Bey’s Cowboy Carter Tour crowd join her in congratulating Mama T below.
98 Degrees knows what you want. The long-running boy band has made heart-melting ballads its calling card since signing to Motown Records in the late 1990s.
Now, the quartet featuring brothers Nick and Drew Lachey and bandmates Jeff Timmons and Justin Jeffre are preparing to release their first non-Christmas album in more than a decade, Full Circle (May 9) — and to hear Nick tell it, Taylor Swift kind of had something to do with it.
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“She [Swift] was definitely an inspiration to us, and probably to a lot of musicians out there who felt like they just didn’t have ownership of their own creativity, of their own career to an extent,” says Nick, 51, in a recent group Zoom call with his bandmates about their decision to include six “98°’s Version” updates of their biggest hits on the album. The move follows Swift’s decision in 2021 to begin issuing “Taylor’s Version” remakes of (to date) four of her most iconic albums following the sale of the masters of her first six albums to former Justin Bieber manager Scooter Braun.
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“We were certainly inspired by her to do it, to great success and acclaim [and] we felt it was the right time in our career to make that move and take some ownership back over the songs that have paved the way for our success over the years,” says Lachey of the band, which had a hand in writing a number of the songs on their initial four-album run from 1997-2000. Admittedly, like Swift’s re-records, the fresh 98 takes don’t sound radically different, and Timmons, also 51, says that was the point.
“We decided we wanted to keep them true to their original form that people fell in love with,” he says of the spruced-up recordings of their Billboard Hot 100 top 20 hits “I Do (Cherish You)” (No. 13), “Invisible Man” (No. 12), “Because of You” (No. 3), “The Hardest Thing” (No. 5) and “Give Me Just One Night (Una Noche)” (No. 2).
“Over the past 20-plus years we’ve developed vocally in different ways, but we wanted to keep the songs with the integrity of the originals, because that’s what people fell in love with,” says Timmons, admitting that sometimes fans will give them feedback if the group messes around with the arrangements or melodies of its top hits. “We wanted them to sound almost exactly like the originals.” He also stresses that there was “no dispute” with former label group Universal Records that led to the decision, but rather a desire to have more control over how and where their most cherished songs appear.
“Some of the things that started irritating me was if I wanted to use my own music, our own music on a video post, Universal striking my own post for copyright infringement… it’s our own songs!” Timmons says. Like with the Swift remakes, Nick Lachey says he thinks it would be “great” if these new takes become the standard versions for their fans.
In addition to the revamps, the album features the first new non-holiday songs from the guys since their 2013 2.0 album. Again knowing their lovestruck lane and happy to hang out in it, they say the five ballads are 100% fan service. The album kicks off with the mid-tempo bubbler, and recently released single, “Stranger Things (Have Happened).” The bouncy pop tune was inspired by Netflix blockbuster Stranger Things and, like that show, it employs vintage synths alongside the quartet’s signature interwoven vocal melodies.
The classically keening 98 ballad, “Got U,” was co-written by Nick along with Soulshock & Karlin (Usher, Whitney Houston) with Alex Cantrall (JoJo) and produced By Anders Bagge (Madonna, Jennifer Lopez), while “Same Mistake” and “Tremble” are heartbreaking tales of regret over the one(s) that got away.
One of the most intriguing fresh cuts is “Mona Lisa,” which plumbs the mysteries of Leonardo da Vinci’s smiling painting in a super 98 Degrees way. “A portrait of a fairytale/ So we cover canvas like/ The colors mask the pain/ We only ever let them see/ The picture that we paint,” they sing before the uplifting chorus, “Is Mona Lisa smiling, or is there pain in her eyes/ Is it just an illusion?/ What is she hiding behind?/ Was she trying to put on a show?/ Not let Leonardo know/ That in between the cracks of the brush strokes/ Lies the truth only Mona Lisa knows.”
That song also features additional vocals from Filipino vocalist Janine Teñoso in what Timmons says is a nod the one of two territories where the band first broke nearly 30 years ago; the other one is Canada. “We didn’t break in the U.S. right away… and we wanted to get back into the Philippines because we knew we were going to tour there,” he says of the band’s upcoming first shows in the country that has been a stalwart supporter for decades.
The album also spotlights another team-up with a Filipina singer, Katrina Velarde, on a Taglish version of “I Do (Cherish You),” which should get the crowds on their feet when the guys perform in Manila on May 30 and 31. “They love love songs there [in the Philippines], it’s a very passionate, romantic culture and when we’ve been there we also noticed everyone can sing, really well! Like even the valet at the hotel!” Timmons says.
Listen to some of the new mixes and a preview of “Stranger Things (Have Happened) ” below.
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Maroon 5 and LISA aim for the charts, Ed Sheehan stumbles through memories and Don Toliver and Doja Cat are ready to race. Check out all of this week’s picks below:
Maroon 5 & LISA, “Priceless”
From Christina Aguilera to Cardi B, Maroon 5 have teamed up with A-list solo stars on singles that have reached the top of the Hot 100 over the years; they’ll attempt to do the same with “Priceless,” a lightly funky, easy-listening pop track featuring LISA, hot on the heels of her debut album and Coachella performances, balancing out Adam Levine’s romantic crooning with airy sing-rapping.
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Ed Sheeran, “Old Phone”
After kicking off his new era with the global anthem “Azizam,” Ed Sheeran returns to the wistful, emotionally piercing pop-rock of previous eras with “Old Phone,” on which the singer-songwriter keeps strumming as he stumbles upon a long-dormant phone and gets flooded with the photos, texts and memories stored inside, searching for resolution within the discovery.
Don Toliver feat. Doja Cat, “Lose My Mind”
The upcoming Brad Pitt-starring racing drama F1 will boast one of the most high-profile soundtracks of 2025, and the compilation rollout gets kicked off with “Lose My Mind,” a shimmering, synth-drenched club track (courtesy of producer Ryan Tedder) that showcases Don Toliver’s silky melodic streak and Doja Cat’s chest-thumping rhyming, a few years after the latter scored a top 10 hit with her Elvis theme “Vegas.”
Bailey Zimmerman feat. Luke Combs, “Backup Plan”
“Getting back up — that’s the only backup plan you need,” Bailey Zimmerman declares on “Backup Plan,” the empowering new single that seems tailor-made for end-of-workout playlists to give you that extra bit of motivation. After Zimmerman teamed up with BigXThaPlug on the top 10 hit “All the Way,” Luke Combs serves as his co-pilot here, with the fellow country star’s rumbling voice turning into the perfect foil.
Selena Gomez & Benny Blanco, I Said I Love You First… And You Said It Back
In addition to a few stray tracks and remixes, the real appeal of I Said I Love You First… And You Said It Back, the deluxe edition of Selena Gomez and Benny Blanco’s collaborative full-length from March, is “Talk,” a cheeky new single that reanimates Cake’s beloved 1998 single “Never There” for a new generation of pop fans, complete with halting lyric delivery and slinky alt-rock arrangement.
Quavo feat. Takeoff, “Dope Boy Phone”
The tirelessly prolific recording run of Migos in the 2010s and early 2020s has resulted a slew of unreleased material seeing the light of day following the tragic passing of Takeoff in 2022, and “Dope Boy Phone,” Quavo’s new single featuring a posthumous appearance by his nephew and group mate, sounds as fresh as any of the rap group’s earth-rattling hits, including those on the pair’s underrated joint project Only Built for Infinity Links.
Fuerza Regida, 111XPANTIA
A press release for Fuerza Regida’s 111XPANTIA describes the new project as “pure Fuerza from start to finish”: with 12 songs and zero features, the album does indeed offer an unadulterated version of the Mexican music superstars’ aesthetic, full of carefully constructed arrangements and harmonies that encourage the listener to join in after a few listens.
Editor’s Pick: Key Glock, Glockaveli
Key Glock’s excellent new album may include an update of Three 6 Mafia’s “Stay Fly” on the single “Blue Devil,” but the rapper was already carrying on the tradition of Memphis hip-hop long before Glockaveli: through his recent mixtapes and particularly his critical work with Young Dolph, Key Glock has demonstrated an unflappable delivery and ear for effective production, and his new album feels like the mainstream arrival for an artist who’s already been putting in the work.
Apple approved Spotify’s app update in the U.S. on Friday (May 2), marking “a significant milestone for developers and entrepreneurs everywhere who want to build and compete on a more level playing field,” according to the streamer.
The announcement followed the news that a judge told Apple to stop collecting a commission on some app sales. “After nearly a decade, this will finally allow us to freely show clear pricing information and links to purchase, fostering transparency and choice for U.S. consumers,” Spotify wrote in a blog post. “We can now give consumers lower prices, more control, and easier access to the Spotify experience.”
Epic Games, the company behind the wildly popular game Fortnite, sued Apple over its App Store policies — which ensured that Apple took a 30% cut of any payments — in 2020.
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Epic Games was not the only company that disliked this arrangement: Horacio Gutierrez, Spotify’s chief legal officer, said in 2020 that Apple “acts as the stadium owner, referee and player, and tilts the playing field in favor of its own services.”
The following year, Yvonne Gonzalez Rogers, a judge in the U.S. District Court for the Northern District of California, ruled that Apple had violated the state’s laws prohibiting unfair competition.
Despite that ruling, the same judge said this week that Apple put a new system in place that required apps with external sales to pay a 27% commission. The company “sought to maintain a revenue stream worth billions in direct defiance of this court’s injunction,” the judge wrote.
The judge demanded that Apple stop collecting that commission. “We strongly disagree with the decision,” an Apple spokeswoman told The New York Times. “We will comply with the court’s order, and we will appeal.”
Spotify hailed the development as “a great day” for its U.S. users. “The ruling made it clear that Apple deliberately abused its market power to intentionally harm others and benefit only itself,” the company wrote.
Moving forward, Spotify said U.S. users will now have visibility into “pricing details on subscriptions and information about promotions that will save money,” have the option to pay for subscriptions outside of Apple’s system, and have the ability to easily upgrade from their account or change their subscription plan.
“The fact that we haven’t been able to deliver these basic services, which were permitted by the judge’s order four years ago, is absurd,” Spotify added.
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Cruise vacations offer relaxing fun on the high seas en route to visiting exotic destinations with hopes of creating vivid memories. Until the fights break out.
It’s not like the occasional argument that escalates into fisticuffs is relegated to one particular cruise line—and there are plenty, from Disney Cruise Line to Royal Caribbean International to Norwegian Cruise Line, and so and so forth. But oftentimes, at least according to footage on the Internets, when there is momentary anarchy onboard a ship, it usually goes down during a Carnival cruise. Respectfully.
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Case in point, recently, footage made it online of passengers from a certain cruise line throwing hands and feet. Newsweek reported that “dozens” of particants in a brawl found themselves banned on a “do not sail” list with the Carnival cruise line. Apparently, the universal beatdown occurred at the disembarkation point in Galveston, Texas. A couple of men in white seem to be the main combatants but then others join in. At one point, one man hits the floor and proceeds to get stomped out while security comes in to intervene—but really, it looked like the dudes doing the kicking just got tired.
But that’s right, folk caught the beats after the trip was over and they were on their way home. Talk about a welcome back.
Where they won’t ever be back, is on a Carnival Cruise. “So many of you wrote to me about an incident in the terminal building at the Port of Galveston involving a group of despicable, deplorable people,” said Carnival Cruise Line Brand Ambassador John Heald in a statement online. “The people involved will, like anyone who is involved in any physical altercation with other guests, or our crew, never, ever be allowed to cruise with us again.”
With this in mind, check out more infamous Carnival beatdowns in the gallery.
1. Pizza Fade
A man claims he was minding his business looking for pizza when happened upon a brawl on a Carnival Cruise to Central America. We gotta hear both sides.
2. Wigs & Weaves
This battle on the high seas, reportedly on the Carnival Sunrise, featuring wigs and weaves, was allegedly sparked over a lounge chair. It couldn’t have been that comfortable beloved. Also it looks like a dude was wailing on a woman, which is bitchasness personified.
3. Another angle…
Still all bad.
4. ?
Who reallys knows what happened, but we know the venue. Respectfully.
5. South Pacific Smoke
This classic from 2018 features “security” being way too comfortable with the free kicks.
6. Respectfully.
7. Not A Flex
If we’re keep it a been, being proud of such behavior tracks.
8. Elevator Bank Brutality
We can’t confirm if this is or is not on a Carnival Cruise ship. We can confirm that son got mollywhopped.
9. Club Carnival
If the Coast Guard is involved, you’ve lose the vacation plot.
10. Not The Kids
Man alive. Where are the adults?
