Offset has been granted probation for allegedly attacking a security guard at a Los Angeles cannabis dispensary last year.
Last Wednesday (July 15), a judge in California state court entered a so-called diversion order that postpones Offset’s misdemeanor battery prosecution for one year. If the rapper (born Kiari Cephus) complies with all requirements, including completing community service and attending an anger management program, the criminal case will be dismissed and wiped from his record.
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Offset was accused of striking security guard Jim Leobardo Sanchez in the face after being asked to provide an I.D. to enter a MedMen licensed recreational dispensary in March 2025. Sanchez brought a civil assault lawsuit against Offset in November, and prosecutors in the Los Angeles City Attorney’s Office leveled a misdemeanor charge in December.
The former Migos rapper has denied Sanchez’s claims, which remain pending in civil court. He pleaded not guilty to the criminal count, and he has not admitted any wrongdoing as part of last week’s probation order.
In addition to community service and anger management, the diversion program requires Offset to stay away from the MedMen location near Los Angeles International Airport, refrain from any violent behavior or threats, and make financial restitution to Sanchez. His prosecution could be reinstated if he violates any of these provisions within the next year.
Offset is set to appear in court for a progress report this November.
Reps for Offset, Sanchez and the LA City Attorney’s Office did not immediately return requests for comment on Monday (July 20).
Burna Boy granted fans an all-access pass to one of the biggest performances of his career, and Billboard had a front-row seat.
In a new behind-the-scenes video diary for Billboard, the genre-blending artist takes viewers through every single step of his day as he prepared to perform at the inaugural FIFA World Cup Final halftime show on Sunday. From a police escort at the beginning of the day to the adrenaline of stepping on the field at New Jersey’s MetLife Stadium for the halftime show, the video transparently showcases a timeline of all the moments that led up to and followed his high-profile performance.
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Along the way, Burna shares several memorable interactions. He poses for photos with collaborator Shakira, with whom he teamed up for the official 2026 FIFA World Cup anthem “Dai Dai.” The song — which the duo performed during Sunday’s halftime — spends a second week atop the Billboard Global 200 and a fourth week at No. 1 on the Billboard Global Excl. U.S. chart. Burna also meets up with streamer iShowSpeed, embraces Justin Bieber in a hug, and even greets Ted Lasso star Jason Sudeikis, who made an unannounced cameo to introduce Bieber. After making his rounds, Burna squeezes in one final practice session right before taking the stage.
The camera follows Burna stepping onto the field, capturing the celebration. Burna is all smiles as the performance comes to an end, entering the players’ tunnel to return backstage and receiving praise from Chris Martin, who curated the halftime show and co-wrote the song “We Dance” with his Coldplay bandmates for the finale.
Watch Burna Boy’s full day in the life via Billboard below.
J. Cole‘s The Fall-Off World Tour has gotten off to an auspicious start.
Last week during the tour’s second stop in Miami, a couple got engaged as he was performing “Life Sentence,” one of the latest cuts from his most recent album The Fall-Off, which is dedicated to love and marriage despite the song’s title. “What’s up, baby girl? What’s up, my boy? God bless y’all,” the rapper said once he caught wind of their engagement. “That’s f—ing beautiful. Y’all make some noise for them, man.”
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There was also another couple who were getting married the day after the show at Miami’s Kaseya Center and had their seats upgraded by Cole’s team and invited him and his manager Ibrahim Hamad to the wedding. “Aye @KingOfQueenz @JColeNC we just wanna say thank you for tonight’s show in Miami. our original tickets had an ‘obstructed view’ and so y’all upgraded our tickets to the front row,” the fan wrote on X. “Y’all let a bunch of fans since 2010 make a core memory. thank you. my lady and I get married tomorrow at 3pm in Miami if y’all would like to come. shoutout to Cole for showing us love during Life Sentence.”
And now, during the tour’s fourth stop at Atlanta’s State Farm Arena, someone threw their bra onstage as Cole was performing his hit record “Work Out” from his 2011 debut studio album Sideline Story. “N—a ain’t got a bra onstage in a long motherf—in’ time, boy,” he told the crowd as he was laughing in shock. “You gotta cherish that sh–.”
The American leg of Cole’s tour ends in his hometown of Fayetteville, North Carolina, at Crown Coliseum on Sept. 3. He then heads out for the European leg starting Oct. 7 at Uber Arena in Berlin and will end it at Unity Arena in Oslo, Norway, on Nov. 12, so there’s still plenty of time to catch him if you haven’t gotten the chance to already.
Make sure to bring either a bra or an engagement ring — or both.
Taylor Swift attended game 4 of the NBA Finals between the New York Knicks and San Antonio Spurs at Madison Square Garden in June, which saw the Knicks overcome a 29-point deficit for the largest comeback in Finals history. Knicks star Jalen Brunson spoke at Variety’s inaugural Sports & Entertainment Studio last week, during which he showed appreciation for having the pop supernova courtside among the celebrity guests in the crowd.
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Taylor Swift & Haim Sisters Sit Courtside at NBA Finals Game 4 — And You Have to See Their Hilarious Homemade Knicks Shirts
“It’s really cool having her there,” Brunson said, before bringing up Swift also being courtside for the Eastern Conference Finals in Cleveland. “I feel like her being in Cleveland for courtside one game, obviously, I think Travis and the Kelces are from Ohio, so I get that. And she’s been at the Knicks’ games before.”
He continued: “So, I mean, whoever comes, as long as you’re cheering us on, we appreciate it. And I think that was probably a really good game to come to as well.”
Swift cheered on the Knicks during the historic comeback in game 4 while rocking a “Stevie Knicks” T-shirt alongside HAIM’s Este and Alana Haim as well as actress Mariska Hargitay.
JB and the Knicks ended up disposing of the Spurs in five games to capture the franchise’s first championship in 53 years.
Page Six reported that Brunson and the rest of the Knicks starting five were invited to Swift and Travis Kelce’s wedding. JB didn’t confirm whether or not he was invited, but he did relay that he wasn’t at the star-studded affair.
“It’s a great question,” he said. “I found out the same way the rest of the world did. So, I don’t know if it was true or not, but I did not attend.”
Swift and Kelce tied the knot at Madison Square Garden on July 3 in front of more than 1,000 wedding guests, while Adam Sandler served as the ceremony’s officiant.
Hey, sexy ladies! PSY‘s smash hit “Gangnam Style” is now the first K-pop video to reach a major YouTube milestone.
As of Monday (July 20) — almost exactly 14 years after it was posted on the platform — the humorous, dance-heavy visual has amassed more than 6 billion views. No other music video in the genre has reached those numbers to date, underscoring PSY’s legacy of setting the stage for modern K-pop to cross over into the global mainstream in recent years with acts such as BTS, BLACKPINK and more.
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Directed by Cho Soo-Hyun, the video finds the South Korean superstar causing chaos wherever he goes with his signature “Gangnam Style” choreography. A number of now-iconic scenes emerged from the project, including PSY busting a move by himself in a horse stable or singing to the camera while lying between a dancing man’s legs.
Reaching No. 2 on the Billboard Hot 100 in 2012, “Gangnam Style” has long been known as a game-changer. The year it was posted, its music video became the first upload to ever reach a billion views on YouTube, meaning it was the original member of the Billion Views Club that’s now inhabited by Justin Bieber’s “Baby,” Taylor Swift’s “Blank Space,” Ed Sheeran’s “Shape of You” and more pop smashes.
Several other K-pop visuals have also entered the club in the years since PSY kicked it off, including BTS’ “Dynamite” and “Butter” as well as BLACKPINK’s “Pink Venom” and “How You Like That.”
It’s been a few years since PSY dropped an album, releasing PSY 9th in 2022.
Add your view to 6 billion others by checking out the “Gangnam Style” video above.
Sony has initiated a new lawsuit against Udio, doubling down on its aggressive copyright campaign against the AI music company months after the other majors buried the hatchet.
The lawsuit, filed on Monday (July 20) and obtained by Billboard, expands the scope of Sony’s existing legal claims against Udio. The major music company initially teamed up with Universal Music Group (UMG) and Warner Music Group (WMG) in 2024 to sue both Udio and rival AI music company Suno, alleging both companies had committed copyright infringement at an “almost unimaginable scale” by training their models on unlicensed recordings.
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UMG and WMG both exited the Udio litigation in the fall after reaching licensing deals that will require the tech company to build a new model out of pre-cleared training data and keep all AI-generated music inside a “walled garden” on the platform. WMG later settled with Suno as well. UMG and Sony are both continuing to sue Suno, but Sony is the sole remaining holdout of the three majors to still be pursuing Udio in court.
Sony is showing no signs of giving up that fight against Udio. Monday’s new lawsuit increases the number of sound recordings at issue in the case from 333 to more than 30,000, which in turn balloons Udio’s potential damages exposure from $50 million to a whopping $4.5 billion.
According to Sony, the smaller subset of songs in the original lawsuit was merely a “minuscule, illustrative fraction of the recordings Udio had actually copied.” Sony says it wasn’t until it began the legal discovery process and got access to Udio’s training data that it learned just how many Sony-owned recordings had been allegedly ripped from YouTube and fed into the AI model.
Procedurally speaking, Sony had no choice but to bring a new lawsuit if it wanted to increase the amount of music in the case. Sony previously tried to add these new recordings to the original lawsuit, but Udio argued that expanding the dataset two years into the process would amount to “indefinitely derailing the litigation.”
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A federal judge agreed with Udio last month and refused to let Sony amend the first lawsuit, writing that doing so “would substantially prejudice defendants and unduly delay the resolution of this action.” He acknowledged, however, that a second lawsuit was a possibility: “I recognize that plaintiffs have the right to seek to stop infringement of, and recover damages for, all copyrighted works. But there is no requirement that it be done in this lawsuit,” wrote Judge Alvin K. Hellerstein.
Udio has maintained that its training process was fair use, a tenet of copyright law that allows unlicensed works to be used for transformative purposes. Whether AI training does indeed qualify as fair use is an untested legal question currently at the center of dozens of pending copyright lawsuits around the country.
Sony addresses the fair use debate directly in Monday’s new lawsuit, specifically the “market harm” factor, in which a judge must consider whether alleged infringement has harmed an existing licensing market. Sony says the fact that Udio has inked training licenses with UMG and WMG, as well as with Kobalt, Merlin, Believe and the National Music Publishers’ Association (NMPA), shows that such a market does indeed exist.
“A company that pays to license the very inputs at issue cannot credibly maintain that no market exists for those inputs, or that any such market is too speculative to be cognizable,” writes Sony in the new complaint.
Sony also notes in Monday’s lawsuit that it is not outright against the emerging tech, writing “there is room for AI and human creators to forge a sustainable, complementary relationship” as long as that relationship is based on the “well-established mechanism of free-market licensing that ensures proper respect for copyright owners.” Sony has AI partnerships in place with Spotify and Klay.
Udio did not immediately return a request for comment on Monday. A Sony rep declined to comment beyond the court filings.
At the halfway point of 2026, albums from the K-pop scene have rewritten history for new chart records while also delivering projects to expand the scope of Korea’s music scene.
Since the start of the year, it feels like there has not been a month without a major blockbuster release or highly anticipated comebacks where artists stepped up to high stakes put upon them. While BTS‘ ARIRANG spent multiple weeks at No. 1 atop the Billboard 200 (and set several new sales records while at it), the larger context behind the group’s full-length return showed the importance of an artist creatively pushing themselves and not falling back to what worked in past victories. Artists who scored breakout years in 2025, including NMIXX, Yves, WOODZ, idntt, XLOV and XngHan&Xoul, all ensured their next releases would not disappoint as fresh rookies like LNGSHOT and HEART OF WOMAN didn’t hold back with bold projects to earn themselves a place in the K-pop conversation.
Perhaps more than ever in past years’ lists, K-pop showed the different ways it’s expanding, with independent acts like AKMU, can’t be blue, Yves and Balming Tiger as well as K-pop mainstays all making their marks in major ways without sacrificing any artistic integrity. Some acts blending their style into the larger K-pop world (can’t be blue collaborated with XngHan and Stray Kids member HAN this year as PLAVE enlisted singer SOLE for their first release with a feature), looking outward to expand a message (Yves enlisted Lolo Zouaï and Lexie Liu as collaborators her EP) or doing it fully on their own (AKMU, Balming Tiger and Billlie all crafted ambitious, full-length projects without any guest features).
Spanning girl groups and boy bands to rock acts and soloists, these are the albums from the larger K-pop industry that have resonated and stayed with our staff the most in 2026 so far.
Future returns with another major week on Billboard’s charts (dated July 25), thanks to his album The Real Me.
Released July 10 via Sahluna/Freebandz/Epic Records, the set debuts atop the Billboard 200 with 131,000 equivalent album units earned in the United States through July 16, according to Luminate. Future earns his 12th No. 1, lifting him past Eminem, Bruce Springsteen, Barbra Streisand and Ye for the fifth-most in the chart’s history. The Beatles lead with 19, followed by Drake, Taylor Swift (15 each) and Jay-Z (14).
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On the Billboard Hot 100, 17 tracks from The Real Me’s 22-song setlist appear, led by “California Girls” at No. 23. Here’s a breakdown (with all debuts unless otherwise noted):
Rank, Title:
No. 23, “California Girls”
No. 28, “Fukk a Interview”
No. 29, “Konnichiwa”
No. 33, “One Two”
No. 37, “Tank Top Pluto”
No. 38, “Snow In Skyami”
No. 46, “Radio” (re-entry; new high)
No. 48, “Weight Up”
No. 52, “Trench Coat”
No. 54, “No Misery”
No. 58, “Build a Bitch”
No. 64, “Money Over Everything”
No. 76, “Off the Hinge”
No. 83, “2018”
No. 93, “If I Could”
No. 97, “Kick”
No. 98, “Eye to Eye”
Future also ranks at No. 61 as a featured artist on Drake’s “Ran to Atlanta,” also featuring Molly Santana. The track debuted and peaked at No. 2 on the May 30-dated chart, when Drake placed a single-week record 42 songs on the Hot 100 simultaneously.
With 16 debuts this week, Future ups his career total to 245 Hot 100 entries, the third-most in the chart’s history, after only Drake (402) and Swift (277). Of those, 83 have reached the top 40, 16 have hit the top 10 and three have hit No. 1: “Way 2 Sexy,” by Drake featuring Future and Young Thug; “Wait for U,” featuring Drake and Tems; and “Like That,” with Metro Boomin and Kendrick Lamar.
Thanks to his six new top 40 hits this week, Future also increases his career sum to 83 such songs. He passes Elvis Presley and Ye for the fourth-most in Hot 100 history and trails only Drake (241), Swift (178) and Lil Wayne (91).
Notably, Future has charted at least one song on the Hot 100 in 16 consecutive calendar years — every year since his debut in 2011, when he arrived as a featured act on YC’s “Racks,” which peaked at No. 42.
Future also returns to No. 1 on the Billboard Artist 100 chart for a sixth total week on top, and for the first time since May 2022.
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
When searching for new home audio gear, it may be tough to find the best speakers that have amazing sound quality that’s housed inside of a sleek, stylish and minimalist home decor design. However, we found one of the best speakers for your home.
Priced at $299, the Bose Lifestyle Ultra Wireless Speaker delivers crisp and rich premium audio at home. It’s now available for purchase at Best Buy.
Although it might look small, it packs a punch in the audio department with detailed, clear, balanced and robust sound that’s large enough to fill a room.
The Bose Lifestyle Ultra Wireless Speaker syncs to your smartphone, tablet or laptop via USB-C, Wi-Fi or Bluetooth — which means you can connect multiple devices to the speaker at the same time. In fact, it even has AUX inputs to connect turntables and CD players too.
Meanwhile, if you have two of these speakers, then you can sync them together for a stereo sound experience, or you could use them as rear satellite speakers when paired with the Bose Lifestyle Ultra Soundbar and Bose Lifestyle Ultra Subwoofer for a complete home theater setup in your living room. The speaker even supports Dolby Atmos, Dolby Digital, Dolby Digital Plus, Dolby TrueHD and Dolby Surround audio formats.
This is great for gatherings, movie nights and watch parties with family and friends at home.
In addition, you can connect the speaker to the Bose mobile app for deep customization and settings. Just sync to your smartphone via Apple AirPlay 2 or Google Cast to stream your favorite music and podcasts from your go-to apps and services, such as Spotify, Apple Music, Amazon Music, TIDAL, Pandora, Pocket Cast, Apple Podcasts, SoundCloud and many others.
The Bose Lifestyle Ultra Wireless Speaker is available for $299 at Best Buy. It comes in two colors: black and white.
Se nota ya desde la portada de su nuevo álbum, Yendo rápido a ningún lugar. Bestia Bebé es ese grupo de amigos con los que te juntás el fin de semana a comer un asado, el que se esfuerza para llegar a diez y después de los 30 todavía armar un fútbol 5 un jueves a las doce de la noche y con el que sale juntada obligada de cábala para ver a la selección en el Mundial.
Bestia Bebé es ese grupo con el que vas creciendo a la par, que te dice que “siempre dicen que crecer es una trampa y yo crecí amigo y no cambió nada. Estuvo bien, todo bien, todo bien, todo bien” (“El atrevido”) y el que se pregunta “¿cómo llegamos tan rápido acá? Me parecía tan lejos. Planes perfectos que ni imaginé, hoy ya quedaron muy viejos. Pero acá estamos amigo mío, yendo rápido a ningún lugar” (“Planes perfecto”).
Por supuesto, en sus canciones hablan de ellos mismos, una banda de rock independiente que desde hace quince años y a base de riffs, melodías simples y estribillos pegadizos armó un cancionero urgente, con identidad y personalidad. Pero esa identificación amiguera para cualquier oyente desprevenido es instantánea.
En su sexto álbum los chicos están bien. Un poco más experimentados, pero siguen siendo los mismos, buscándole la vuelta a la canción rock, con buenas ideas y con la cabeza puesta en ese vivo que los trajo hasta acá. Las canciones de Yendo rápido… son pequeñas bombas que parecen sencillas de armar, pero si uno supera el encanto de su simpleza pop, se encuentra con que están construídas minuciosamente, con detalles sonoros y contrapuntos certeros.
El álbum arranca con el acusticazo de “Hay algo que siempre te quise decir”, como una suerte de intro con espíritu fogonero, que estalla sobre el final a pura distorsión en un clásico giro Suarezco para darle paso a “El atrevido”, el tema del “estuvo bien, todo bien, todo bien, todo bien”, que dialoga cara a cara con el “Más o menos bien” de sus amigos de Él Mató a un Policía Motorizado.
El tercer track es uno de esos temas que se convierten en el centro de los discos, “Planes perfectos”, sónico y ambiental, hipnótico y bailable, como un viaje desde los años 80 a la actualidad en apenas tres minutos.
“Si querés tirar, tirame. No le tengo miedo a nada. Si querés tirar, tirame. Tengo un chaleco antibalas” (“Chaleco antibalas”, es otro de esos estribillos perfectos que Tom Quintans escribe en mood perdedor enamorado.
La épica de “El tiempo es lo peor” se intercala con el ruidoso homenaje a Gustavo Costas (hasta hace poco más de un mes director técnico y leyenda de Racing de Avellaneda), porque aquí la reflexión madura no impide el sentimiento eternamente juguetón. Al fin de cuentas, Quintans, Chicho Guisolfi, Polaco Ocorso y Marcos Canosa no dejan de ser esos amigos que siguen yendo rápido a ningún lugar, porque crecieron, sí, pero no cambió nada.
The post Crítica: Bestia Bebé – Yendo rápido a ningún lugar appeared first on Rolling Stone en Español.