GloRilla finally broke her silence regarding the beef with her sister, ScarFace Woodz. In a recent Facebook Live, the rapper recalls the events that led up to the fallout with her sister and addresses the allegations that she abandoned her family. Over the past few weeks, the pair have been in an intense back-and-forth online. The rapper’s sister—whose real name is Victoria—sent social media into a tailspin after claiming the Memphis native abandoned her family and wasn’t supporting their parents—a claim which Glo vehemently denied. According to the “Yeah, Glo” rapper, her sister has caused her significant grief over the years. GloRilla claims her sister has tried to shoot her and set her up in the past, which is why their relationship deteriorated. She even alleges that she was thrown in jail for a week because of the actions of her sister. GloRilla calls her parents while on Facebook Live to clear the air pic.twitter.com/rjAxNFCQvt — The Female Rap Room (@girlsinrap) February 10, 2026 “Keep My Family Out Of It,” GloRILLA SAYS “I ain’t gone talk about half the stuff you did, just leave it alone,” she said. “You doing you right now, keep doing you, [but] keep my family out of it, [and] keep me out of it…My people [that] I f—k wit, they straight.” Glo then proceeds to call her parents while on live. First, she facetimed her father, who noted that while he disagreed with Victoria’s actions, saying “she needs her a— whooped,” he still loves all his children. He also revealed that Glo has spoiled him with trips, cars, and money, among other things. Similarly, her mother claims she’s well taken care of and only worked at FedEx because she wanted to. However, it’s revealed during their conversation that after her sister went public with their family business, she was forced to resign. Not long after clips of live began to circulate online, ScarFace Woodz hopped on her Instagram Stories to address GloRilla’s remarks. “Aight, so y’all wanna get on this muthaf*cka and lie for Gloria?” She then proceeds to threaten to share a text message from their mother that would prove their relationship isn’t as close as it seems. “Now all the family business finna get out,” she said.

Interest in a collaboration between Drake and Lil Uzi Vert has lingered for years, fueled by brief mentions, live appearances, and circulating snippets. A song commonly known as “At The Gates” has been discussed since at least 2021, but it has never received an official release. As both artists have continued to expand their reach, the absence of the track has only sharpened curiosity. The connection between them, however, has been consistently public. That relationship was on display in 2023, when Drake invited Lil Uzi Vert to join him onstage at J. Cole’s Dreamville Festival and at another performance earlier in the year. Speaking to the crowd, Drake framed the moment as personal. “This is a family show,” he said, before referring to Uzi as his “actual, real-life brother.” He went on to describe regular check-ins between them, adding, “Whenever I find myself feeling low, I receive a message from him simply checking in. No hidden agendas, just a concern for my well-being. If you want to succeed in life, always reach out to your people.” Drake continued by reflecting on Uzi’s impact as an artist. “I love this guy so much. Not only are you one of the greatest artists of this era, but I’m thrilled to coexist with someone so innovative and brilliant.” The remarks reinforced the sense of mutual respect that has fueled expectations of a joint release. For fans, the comments suggested that collaboration was more a matter of timing than willingness. In this context, it is clear that Drake has fostered strong bonds with contemporary talent. The track resurfaced again in conversation in 2023, with some listeners speculating it might appear on Drake’s forthcoming Scary Hours EP. No confirmation followed, and the song remained unreleased. The lack of clarity opened space for speculation. Online frustration soon followed as many fans hoped for new music from Drake. Lil Yachty Pushes Back on Blame, Clears the Air on Delays and Uzi Rumors Some of that frustration was directed at Lil Yachty after a fan claimed he was responsible for the delay, writing, “It’s forever fck lil yachty because the world needed to hear this.” Yachty responded during a livestream, rejecting the claim outright. He said the issue stemmed from unresolved sample clearance tied to Whitney Houston’s “I Will Always Love You.” Addressing the accusation, he said, “Why the fck do you think I’m the reason this didn’t come out? Get off my d**k!” Notably, discussion of Drake’s involvement continued in fan circles. Yachty also addressed suggestions of tension with Lil Uzi Vert. He described a brief, accidental encounter the previous year that ended without conflict. “He was in the car, I opened the door, said my bad, and it turned out to be the wrong car. No issues here!” he said. The story appeared aimed at putting rumors to rest regarding both Uzi and Drake. For now, “At The Gates” remains unheard, its status unchanged. Fans continue to revisit old statements and performances in search of clues. Whether the track will ever be released remains uncertain. With every update, anticipation for something new from Drake persists.

Bad Bunny reached a new benchmark on Sunday night when his Super Bowl halftime show drew the largest audience in the event’s history. Nielsen figures put the viewership at 135.4 million, edging past the record set last year by Kendrick Lamar. Michael Jackson’s 1993 performance, long cited as a high-water mark, drew 133.4 million viewers. The numbers reflected the artist’s broad appeal across audiences. The set featured several of Bad Bunny’s best-known songs, including “Nueva Yol,” “Yo Perreo Sola,” and “Tití Me Preguntó.” The production leaned heavily on Puerto Rican influences, both in sound and staging. Guest appearances were woven throughout the performance rather than treated as headline moments. Lady Gaga joined him for “Die With a Smile,” while Ricky Martin appeared for “Lo Que Pasó a Hawaii.” Other familiar faces, including Cardi B, Alix Earle, Pedro Pascal, and Jessica Alba, appeared during the broadcast. The show emphasized movement and scale, favoring energy over narrative. Reaction online was immediate, with clips circulating widely across platforms. The audience response translated into record viewership. A Halftime Show That Sparked Debate Criticism followed alongside praise. President Donald Trump posted on Truth Social, calling the performance an “affront to the greatness of America.” He described the show as unclear and inappropriate for younger viewers. Around the same time, Turning Point USA promoted an alternative “All-American” halftime event featuring Kid Rock, Brantley Gilbert, Lee Brice, and Gabby Barrett. After the broadcast, Chris Brown added his own commentary online, suggesting the NFL should consider him for a future halftime show. His post implied he could offer a different kind of performance. The comment circulated briefly but drew no response from the league. The NFL has not announced plans for next year’s show. The reaction to Bad Bunny’s halftime appearance reflected how closely the event now intersects with broader cultural conversations. Record viewership suggested sustained interest, even as opinions varied. Halftime shows have become touchstones that extend well beyond football. This year’s performance underscored that role.

Claressa Shields addressed comments made by Jake Paul this week after his remarks about Bad Bunny circulated widely online. Paul, posting ahead of the Super Bowl LX halftime show, said he planned to “purposefully turn off” the performance and referred to the artist as a “fake American citizen.” The post drew swift reactions across social media. Claressa’s Shields response directly rejected both the language and the premise of the statement. Writing on X, Shields urged Paul to reconsider his words. “Please Jake, not today,” she wrote. “Puerto Ricans are not fake citizens. You would think that you of all people would support this as you have so many Puerto Rican women under your umbrella. What’s happening with ICE is terrible, and we shouldn’t want to see harm done to anyone who is part of America & a minority! Do better, Jake. This isn’t right.” Her Shields response was widely shared and drew support from other users. When another commenter attempted to minimize the issue, Shields reiterated her position. “If they are fake citizens like he stated they are. And regardless, too much is going on in the USA today to be spreading hate,” she wrote. She did not continue the exchange beyond that point. By doing so, Shields highlighted her focus on the broader implications of the remarks. Please Jake, not today. Puerto Ricans are not fake citizens. You would think that you of all people would support this as you have so many Puerto Rican women under your umbrella. What’s happening with ICE is terrible and we shouldn’t want to see harm done to anyone who is apart… https://t.co/c38DAYuXpr — Claressa Gwoat Shields (@Claressashields) February 9, 2026 From Halftime Show to Cultural Clash Paul’s comments were part of a longer message urging viewers to boycott the halftime show. In the same post, he framed the issue as a stand against corporate influence. “You are their benefit. Realize you have power. Turn off this halftime. A fake American citizen performing who publicly hates America. I cannot support that,” he wrote. The Shields controversy intensified criticism from several corners. Media figures also weighed in. The Kid Mero challenged Paul’s stance, questioning its sincerity and pointing to his recent boxing loss. He suggested the tone of the comments might have been different under other circumstances, referencing Paul’s defeat to Anthony Joshua. His remarks added to the Shields debate and growing pushback. Bad Bunny has spoken publicly about identity and belonging in recent years. At the Grammy Awards, he addressed the subject directly, saying, “We’re not savages, we’re not animals, we’re not aliens. We are humans, and we are Americans.” This Shields exchange continues to circulate online and highlights how cultural moments can quickly spill into broader debates.

Recently, The Sun reported that Drake turned down an offer to perform with Bad Bunny during the Super Bowl LIX Halftime Show. However, according to recent reports, that information was apparently false. Drake was not extended an invitation to perform this year. In their report, The Sun claimed that Drake had missed an opportunity to get “revenge” on Kendrick Lamar, who had just headlined the Halftime show in 2025. The rapper allegedly didn’t want to take away from Bad Bunny’s moment. “He said no because he wants everyone to focus on his brother Benito,” an insider told the outlet. The source added: ” He wants Bad Bunny to enjoy the moment, to do his thing and to not have his moment surrounded by noise about any kind of revenge on Kendrick.” drake reportedly turned down performing at the super bowl halftime show with bad bunny, saying he didn’t want to take away the spotlight “he [drake] said no because he wants everyone to focus on is brother benito. he wants bad bunny to enjoy the moment, to do his thing, and… pic.twitter.com/ptEBZQDwBi — Genius (@Genius) February 8, 2026 Drake Loses $1M Super Bowl Bet On New England Patriots, Social Media Jokes In other news, it appears that the rapper Drake’s long-running, so-called “Drake Curse” occurred during the NFL’s Super Bowl LX, and social media had a field day. Ahead of Sunday’s kickoff, Drizzy took to Instagram and revealed a $1 million bet on the New England Patriots. From past experiences, Fans immediately recognized that if the 6 God puts money on a team, chaos usually follows.Sure enough, history stayed consistent. The Seattle Seahawks handled the Patriots 29–13, shutting down New England’s title run and burning Drake’s ticket. As soon as the game ended, jokes flooded social media. “Bet against me if you dare,” Drake wrote on Saturday, Feb. 7, sharing proof of the wager. The post listed a potential payout close to $2.95 million. By the final whistle, that number meant nothing.

After the final whistle of Super Bowl LX, 50 Cent offered a familiar kind of postgame commentary. The Seattle Seahawks defeated the New England Patriots, earning their second championship. As reactions spread across social media, the rapper and producer weighed in with a short video. His response leaned on humor rather than rivalry. Addressing Patriots fans directly, 50 Cent began with a mock apology. “Hey. Sorry, New England,” he said. “I know it’s tough to lose. Well, actually I don’t. But just because you lost the game doesn’t mean you have to lose the beef.” The line doubled as a promotion tied to his partnership with DoorDash, which rolled out a regional discount after the game. The video followed an announcement earlier in the week that 50 Cent would appear in a DoorDash social media campaign timed around the Super Bowl. In earlier promotional clips, he leaned into his online reputation. In one, he jokingly referred to himself as the “King of Trolls” while making light of fellow entertainer Diddy. The tone was consistent with how he has used social platforms for years. View this post on Instagram The Super Bowl proved it’s bigger than the game The night’s halftime show belonged to Bad Bunny, who delivered a performance watched by millions. His set included appearances from Cardi B and Pedro Pascal, with additional guest spots by Ricky Martin and Lady Gaga. At one point, Bad Bunny paused to honor his late uncle. A message displayed on a custom football read, “Together, we are America.” The evening reflected the way the Super Bowl has become as much a cultural event as a sporting one. Performances, promotions, and postgame commentary unfolded alongside the action on the field. Figures like 50 Cent moved easily between entertainment and advertising. By the end of the night, the game had already given way to conversation.

It looks like there could be trouble in paradise with Cardi B and Stefon Diggs. The two have reportedly unfollowed each other on Instagram, fueling rumors they might’ve split. So far, neither one has confirmed that the rumors are true. That said, with the two being very active on social media, the move could be seen as a crack in the foundation. There have been whispers that the split could be due to the Patriots’ wide receiver inviting a female friend, Pree, to Super Bowl LIX. The two have apparently dated in the past, but are now friends. The woman also happens to be the alleged ex-mistress of Cardi’s estranged husband, Offset. A while back, rumors swirled that Pree had become pregnant at some point in their relationship, and Cardi B allegedly paid for her abortion. Cardi B and Stefon Diggs unfollowed each other after his Super Bowl loss. pic.twitter.com/eQcphag2QH — FearBuck (@FearedBuck) February 9, 2026 Cardi B and Stefon Diggs Began Dating In Late 2024 Cardi and Stefon were first romantically linked in late 2024, around the time the rapper officially filed for divorce from Offset. The two had been spotted at several events in early 2025, and by May of that year, the pair went public with their relationship. The couple also welcomed a son in November 2025. In other news, cameras recently caught Cardi B having quite an interesting interaction with a humanoid robot. On Saturday (Feb.7), the rapper was spotted by paparazzi outside the Intercontinental Hotel San Francisco. In front of the building stood a robot, which Cardi immediately ran over to. While making a few raunchy poses for the cameras, she appeared to lose her footing. Not long after, she and the machine went tumbling down. A group of people ran over to help the rapper regain her footing. Cardi B was a good sport about the incident, laughing it right off.

J. Cole is taking The Fall Off back to the roots, turning his album rollout into a personal grind rather than a celebration of success with the Trunk Sale Tour 26. On Feb. 7, the Dreamville rapper used X to share a glimpse of the journey behind the music, framing the release as both an endpoint and a reflection of where he started. He posted a photo of his old Honda Civic, trunk stacked with boxes of The Fall Off CDs. “Mannnnn. Thank yall for the love. For real!!!” Cole wrote, centering gratitude over chart numbers. Mannnnn. Thank yall for the love. For real!!! Yesterday I had daddy duties that came before album release celebrations. Today I got my old civic (with the brand new engine) a tour bus and some sprinters. In the trunk of my car is boxes of The Fall-Off CD’s. As a teenager I had… pic.twitter.com/DGbzs0DVfK — J. Cole (@JColeNC) February 7, 2026 He explained that family commitments briefly paused the rollout. “Yesterday I had daddy duties that came before album release celebrations,” he said. The next day, he returned to the road. “Today I got my old civic (with the brand new engine) a tour bus and some sprinters.” The image blended growth with nostalgia, a nod to his early hustle. Cole revisited his Fayetteville beginnings, recalling hand-to-hand CD sales. “As a teenager I had copies of the Fayettenam Bommuh’s album that Nervous gave me to sell,” he wrote. He remembered pitching strangers at gas stations: “Yo you like hip hop??” That early grind shaped how he values connection and community in his music. J. Cole Back On Road With The Trunk Sale Tour 26 For The Fall Off, DJ Akademiks Salutes That energy fueled what he calls the “Trunk Sale Tour 26!!” Cole invited fans spontaneously. “I don’t know where we bout to drive to, but catch me outside! Cop a CD from me or just show love,” he said, making the experience as much about interaction as distribution. DJ Akademiks responded the next day, sharing a video of Cole selling a CD. “S/o to J Cole… going city to city to sell his album himself,” he wrote. S/o to j Cole.. going city to city to sell his album himself.. performative yes.. but if u remember his come up “$1 and a dream” tours.. that was his philosophy. His album is is a conclusion of a journey for his true fans I respect it pic.twitter.com/8IEWyoJweJ — DJ Akademiks (@Akademiks) February 8, 2026 He acknowledged the optics. “Performative yes,” Akademiks added, before recalling Cole’s early tours. “If u remember his come up ‘$1 and a dream’ tours… that was his philosophy.” For Akademiks, the rollout carries significance. “His album is a conclusion of a journey for his true fans. I respect it.” Together, the posts highlight The Fall Off as a return to grind, intentionality, and earned fan connection, not just spectacle.

Latto appears to join the jokes during the NFL’s Super Bowl LX game as she shares an IG Story that fans instantly assume is directed at 21 Savage, who as seen at the game, arriving with Kendall Jenner. On Feb. 8, the Atlanta rapper posted an Instagram Story soundtracked by Lil Jon and the East Side Boyz’s crunk classic “Get Low.” The screen stayed black as the lyrics flashed: “To the windows / To the wall.” No caption followed. No explanation arrived. The timing did the work. View this post on Instagram The post landed hours after viral footage circulated of 21 Savage arriving at Super Bowl LX events while walking unusually close to a wall. The rapper appeared alongside Kendall Jenner, and the clip quickly took on a life of its own. Social media turned the moment into comedy, with users exaggerating his body language and speculating about intent. Latto’s Story read as a knowing response. The song choice carried weight. “Get Low” remains a cultural shorthand, loaded with imagery tied to proximity, movement, and playful innuendo. By isolating those specific lyrics, Latto reframed the viral clip without naming names. Latto Drops “Get Low” IG Story After 21 Savage Spotted At Super Bowl LX Walking With Kendall Jenner Fans connected the dots immediately. Rather than addressing her long-rumored relationship with 21 Savage directly, Latto leaned into humor. The Story felt less like a rebuttal and more like a wink to those already in on the joke. The approach aligned with Latto’s digital presence. She often communicates through timing and tone instead of direct commentary. Music becomes language. Silence becomes punctuation. In this case, a Southern rap anthem carried the message. Notably, the post avoided confrontation. Latto made no reference to Kendall Jenner. She offered no clarification and issued no denial. The Story acknowledged the moment without escalating it. Within hip-hop culture, restraint often speaks louder than explanation. Latto’s move followed that code. She engaged the conversation without feeding speculation. She redirected attention using shared cultural memory instead of commentary. As Super Bowl LX continued, the Story became part of the weekend’s broader social media narrative. A single lyric, paired with precise timing, shifted the tone from gossip to humor. In an era of instant reactions, Latto chose control. One song. Two lines. Message received.

At Super Bowl LX on Feb. 8, Bad Bunny used the NFL’s halftime stage to foreground Puerto Rican history, anchoring his performance in community memory rather than spectacle alone. Among the most resonant moments was his tribute to Toñita, the longtime owner of a Brooklyn social club that has served as a cultural home for Puerto Rican New Yorkers for decades. Toñita would share in the moment alongside some of the most iconic figures in the culture’s history. View this post on Instagram Toñita’s club, located in Brooklyn’s Little Caribbean neighborhood, has long functioned as a gathering space for music, conversation, and political organizing. For many in the Puerto Rican diaspora, it represents continuity amid displacement, gentrification, and cultural erasure. By centering that legacy during one of the most-watched broadcasts in the world, Bad Bunny reframed the halftime show as an act of recognition. Bad Bunny Celebrates Brooklyn’s Own Toñita At NFL’s Super Bowl LX Halftime Show His set blended reggaeton, salsa, and hip-hop influences, drawing from Puerto Rico’s musical lineage while reflecting the lived experience of its diaspora. The production leaned into texture and symbolism rather than excess. Visual cues and staging referenced neighborhood spaces, everyday rituals, and the people who sustain culture outside commercial arenas. Toñita’s presence crystallized that intent. The moment was brief but deliberate. Bad Bunny did not explain the reference. He did not narrate its meaning. Instead, he allowed the image to speak, trusting viewers familiar with New York’s Puerto Rican history to recognize its significance. For others, the tribute offered an invitation to learn. In recent years, the Super Bowl halftime show has increasingly become a site for cultural storytelling. Bad Bunny’s performance extended that shift, asserting that Latin music’s global success remains rooted in local spaces and community labor. His homage to Toñita underscored the idea that cultural influence does not begin on stadium stages. By elevating a neighborhood institution alongside his own superstardom, Bad Bunny redirected attention to the infrastructures of culture that often go unseen. The gesture linked Puerto Rico, Brooklyn, and the global stage, reminding viewers that identity is carried not only through sound, but through place, memory, and people who hold the doors open.