Cardi B and Offset‘s relationship issues spilled over publicly onto social media on Wednesday night (Sept. 25).

The Migos rapper set things off during Cardi’s Instagram Live when he accused her of cheating on him while pregnant with their third child. (She gave birth earlier in September.) “U f–ked with a baby inside tell the truth!!” he wrote in a comment on her Live session.

She tweeted, “AND DID !!!!!!,” which left some fans on X wondering if she was confirming her estranged husband’s accusation. (Billboard has reached out to Cardi and Offset’s reps for comment.)

Cardi — who is in Paris for Fashion Week — then carved out some time to blast her estranged husband on Instagram Live. “All weekend you was blowing up my phone, I blocked you … You tryna get me mad, ‘Let me show you the b—-s I’m f–king,’” she said. “I don’t care. … You’re f–king lame.”

Cardi continued to explode on Offset, from whom she filed for divorce over the summer. “I’m too much woman for you. I’m too much of a boss b—h for you. And I always been too good for you … I don’t make you feel like you’re that n—a in this home,” she said. “I make you look good.”

While she’s thankful for her three kids with Set and credited him as a father, Cardi admitted she regrets her relationship with the Atlanta native. “All three of them — I don’t regret none of them, but I regret you,” she claimed. “I don’t regret my kids. You a good daddy. You aight. I don’t regret none of them. … But f–k you. I regret you. I’m too good for you. I’ve always been too good for you, n—a.”

Offset fired back in the comment section of her live, as captured by DJ Akademiks. “Insecure,” he wrote. Another captured by Akademiks saw the Migos rapper write: “The fact u keep going shows you hurt leave along don’t you got a n—a ain’t we divorced.”

Cardi and Offset married in 2017. She filed for divorce the first time in September 2020, but quickly called it off. The former couple share three kids — Kulture, 6, Wave, 3, and welcomed their third on Sept. 7.

Watch Cardi’s explosive IG Live session below.

Herb Alpert laughs when he says that his sister Mimi — who at 98 is nine years his senior — often asks him, “Why are you doing these concerts? Why are you traveling? Why do you want to do that?” But the 89-year-old trumpet-playing music legend has a ready answer.

“I have to explain to her that it gives me energy to do it,” Alpert — who just released his 50th studio album, appropriately titled 50 — tells Billboard via Zoom. “I’m not on a victory tour here. It’s not about that. It’s that I love doing it. I love to play the horn. I love to play the horn. I love playing with great musicians. I love doing it. I’m a right-brain guy; I play, I’m painting for over 50 years, sculpting for over 40. It just gives me reason to be.”

He’s quick to add however, that “this is landmark year for me. I can’t believe I’ve recorded 50 albums out there. I’ve been married (to singer Lani Hall) 50 years this year. A lot of things have happened in my life that are so startling. I never dreamed of having a career like I’ve had. I’m certainly grateful for it.”

It’s hard to come up with a superlative that definitively captures Alpert’s career. Born in Los Angeles into a family where everybody played an instrument, Alpert started on trumpet when he was eight, studied at the University of Southern California and played in the Trojan Marching Band and the U.S. 6th Army Band.

He began writing songs during the late ‘50s and putting out records of his own, first billed as Dore (his given name) Alpert, in 1960. Since then, he’s sold more than 74 million records worldwide with his Tijuana Brass band and on his own; placed 39 songs on the Billboard Hot 100 (including two No. 1s); won eight Grammy Awards; received a Grammy Lifetime Achievement Award; won a Tony; got inducted into the Rock and Roll Hall of Fame in 2006; and received National Medal of the Arts in 2013.

Alpert was also the “A” in the famed A&M Records label, which he started in 1962 with Jerry Moss. Moss passed away 13 months ago, and another of A&M’s stalwarts, Brazilian keyboardist and Brasil ’66 bandleader Sergio Mendes, died earlier this month — another death that hit close to home for Alpert, who signed the group to A&M and produced its 1966 debut album, which remained on the Billboard 200 for more than two years and was voted into the Grammy Hall of Fame in 2012. It was Mendes who introduced Alpert to Hall, too, when she was part of Brasil ’66.

“He was an extraordinarily gifted musician. We just hit it off,” Alpert says of Mendes, adding that he and Hall spoke with him almost daily during the last year of his life. “He was a real person. He was excited about so many things. He loved great food. He loved great wine. He loved great restaurants. He spoke several languages. He was into life. He was a very unusual guy. He’s missed by everyone who came into contact with him.”

Alpert’s record of having four albums simultaneously in the Billboard top 10 back in 1966, meanwhile, was matched last year by none other than Taylor Swift.

“I sent her a nice little FaceTime, and I was very happy for her,” Alpert says. “I think she’s a really good artist. I don’t actually follow her music. I hear a couple of things, but I like her. She has a lot of integrity. She understands her audience. She’s very sensitive. She’s smart. I don’t think that record is carved in stone; I like to see other artists jump in there, too. I have other records, so it’s alright.”

What’s most impressive and inspiring is that Alpert is still doing it, and also planning for the future. He’s released a dozen albums since 2010 — eight of which debuted in the top 10 of the Billboard Jazz Albums chart. He approached the 10-track 50 much like he did his other releases.

“I don’t even think about it as being an album,” he explains. “I have a studio at home here, and I just record at my whim, individual songs and melodies that just touch me…. I don’t have a master plan for recording an album. I don’t have a concept. I just take songs that I like, and when I feel it’s worthy of putting out there for other people to listen to, I put out an album. But really I’m just trying to entertain myself more than anything.”

50 features Alpert’s usual mix of original compositions and covers. One of those covers — The Chords’ 1954 hit “Sh-Boom (Life Could Be a Dream)” — is particularly special for him.

“I was kind of a snob with classical music until I heard ‘Sh-Boom,’” Alpert recalls. “I was in high school, and it was the first time I heard a song like that. There was something about it…. I remember sitting down at a friend’s house who had the radio on, listening to this song, thinking, ‘I like that. I like the feeling of that song.’ I really didn’t understand what the lyric was about ’til much later, but I liked the harmonies and the feeling. That song got me on to pop music and got me thinking about some of the songs that were out there in that period. Then I started listening to jazz and never looked back.”

Alpert maintains that his litmus for music has remained the same throughout the decades. “Melody reigns supreme,” he says. “Any artist who’s had success over the years has to have good taste when it comes to melody. You can have a fabulous lyric and terrible melody and I don’t think that song’s gonna go very far. But you can have a fabulous melody with a pretty good lyric and that’ll go far. And if you have a fabulous lyric with a fabulous melody, i.e. Burt Bacharach and Hal David and all those sophisticated songs they did, it hits. Even with jazz, after expressing a melody all of a sudden they’ll improvise on the chord changes of the particular song and invent a whole new melody. That’s exciting.”

As he reaches this year’s milestones, Alpert is already eyeballing the future. He plans to release a recording of “The Christmas Song” for this holiday season (“It touches me, and I feel like a lot of people might feel the same”) and reports that “I have another Christmas album in my head.” And while he and Hall have concert dates books into mid-December, next February Alpert plans to hit the road with a revived version of the Tijuana Brass, the band he led from the early ‘60s into the mid-70s and released hits such as the Billboard Hot 100 top 10 “The Lonely Bull” and the Billboard 200-topping 1965 album Whipped Cream & Other Delights.

“A lot of people have asked; they want to hear that Tijuana Brass sound again, so I’m gonna do it and I’m excited about it,” he says. “I always like the music. It always gave me a good feeling when I hear it, and I know a lot of people feel the same. It’s gonna be fun for me to revisit that whole sound again and play some of the old standards — ‘The Lonely Bull,’ ‘Spanish Flea,’ ‘This Guy’s In Love With You.’” He also plans to include his 1979 hit “Rise” in the repertoire, one of his two Hot 100 toppers (the other being “This Guy’s In Love With You”).

And beyond all that? “I hope to keep living,” Alpert says with a laugh. “Honestly, I don’t know if there’s anything I’m missing. I play the horn every day. I’d like to be able to play a little better bebop, but that’s an inch at a time. There’s not much, though. It’s been a great life.”

A week after its strong No. 2 debut on the TikTok Billboard Top 50 chart dated Sept. 21, BabyChiefDoit’s “Rollin’” is the ranking’s latest No. 1, lifting 2-1 on the tally dated Sept. 28.

The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Sept. 16-22. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.

“Rollin’” reigns thanks largely to lip-synchs set to the song’s “Don’t slip, don’t trip, don’t fall/ Come to the crib and take off your drawers” lyric, as well as a dance.

In the latest Billboard chart tracking week ending Sept. 19, “Rollin’” earned 1.1 million official U.S. streams, a gain of 135%, according to Luminate. So far, the TikTok Billboard Top 50 is the only chart on which the song appears, and it became BabyChiefDoit’s first Billboard appearance overall upon its Sept. 21 bow.

Like many of the chart’s top-performing songs these days, some of the highest ranking TikTok uploads using “Rollin’” also set the song to footage from the Nickelodeon live action series Henry Danger, which aired between 2014-20. The song that originally sparked the trend of Henry Danger-related memes, Ashanti’s “Rain on Me,” concurrently remains at its No. 5 peak.

Alphaville’s 1984 single “Forever Young” follows “Rollin’,” leaping 7-2 for a new peak after previously rising as high as No. 4. The song, which eventually rose as high as No. 65 on the Billboard Hot 100 four years after its release in 1988, has fluctuated on the TikTok Billboard Top 50 the past month; after debuting at No. 50 on the Aug. 3 survey, it initially broke into the top 10 the following week and then rose into the top five on the Sept. 7 list.

Trends involving “Forever Young” have ranged from one where one person lifts the other in the air and spins them around while water sprays down on top of them from a bottle, to general content about getting older and reminiscing about one’s younger days, to edits of content about fictional characters who passed on early in their respective universes.

IV of Spades’ “Come Inside of My Heart” ranks at No. 3, jumping into the top 10 after debuting at No. 13 on the Sept. 21 tally. The song was released as part of IV of Spades’ 2019 album CLAPCLAPCLAP! and has largely been used in general viral content rather than with a major throughline trend. The track concurrently jumps 63% to 215,000 streams in the week ending Sept. 19.

Jack Johnson’s “Upside Down,” which peaked at No. 38 on the Hot 100 in 2006, debuts at No. 4 on the latest TikTok Billboard Top 50. Written for that year’s film Curious George, Johnson’s fan favorite nabs a place on the survey with a two-person trend in which one person flips the other upside down – with varying results.

Now that the TikTok Billboard Top 50 has existed for a year, celebrating its first birthday two weeks ago, the chart is sure to see songs connected to or affiliated with certain times of the year make what could be an annual return. This week, it’s Earth, Wind & Fire’s “September,” which re-enters at No. 13.

“September,” which spikes in all music-related consumption every year due to its opening Sept. 21-related lyric (“do you remember/ the 21st night of September”), debuted at No. 3 on the TikTok Billboard Top 50 dated Sept. 30, 2023. It’s back for another round via dances, lip synchs, sketches and other uploads celebrating the track’s yearly bump in attention, 45 years after it peaked on the Hot 100 at No. 8 in February 1979.

As the TikTok Billboard Top 50 tracked the Sept. 16-22 period, overall gains for “September” on the rest of the Billboard charts will be known on the Oct. 5-dated tallies, which comprise the Sept. 20-26 tracking week.

See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.

A performance years in the making became dazzling reality in August at Burning Man, when DJ-producer Mita Gami played with conductor Meir Briskman and an orchestra assembled especially for the occasion.

The hour-and 15-minute performance happened mid-week at Burning Man 2024 on the festival’s famed Mayan Warrior art car, a new version of which made its debut at the event this year after the original was destroyed in a fire in April 2023.

The Israeli conductor came up with the idea for the performance years ago and brought it to Gami, with the pair performing together since 2022 with an electronic/classical fusion show for which Briskman wrote and conducted the orchestral elements, with Gami producing and performing the electronic components.

For Burning Man, the orchestra was assembled after the pair put a call out to players, with 123 people applying to be in the orchestra and 37 of them ultimately selected to perform. On Instagram, Briskman wrote that the performance came together “after 3 years of work, 1467 phone calls, 4356 emails [and] 5942 WhatsApp messages”

“Our search to find classically trained players that were going to Burning Man began through posting via our instagram stories,” the pair tell Billboard in a joint statement. “The message rapidly spread, and we received an overwhelming number of responses. Despite the limited rehearsal time, we embraced the challenge and turned our dream into a magical reality, delivering a complex performance that flowed effortlessly.”

The performance was managed by Amal Medina, a members of Gami’s management team, a co-talent buyer for Los Angeles-based electronic events company Stranger Than and the talent buyer/events coordinator for Mayan Warrior. Medina helped manage the orchestra and handled logistics such as vetting the musicians, organizing rehearsals in San Francisco and at Burning Man and sourcing equipment and instruments and managing the orchestra. Tal Ohana of Stranger Than helped gather equipment and staging elements for the performance, The Mayan Warrior team worked on onsite and sound and lighting elements.

The performance was well-aligned with the goals of the new edition of Mayan Warrior, with the art car’s founder Pablo Gonzalez Vargas telling Billboard in 2023 that the team was planning to “slowly transition into a more diverse spectrum of musical and cultural performances. The goal over time is to have more live acts with real instruments that can provide new experiences.” 

Other performers on Mayan Warrior during Burning Man included Rüfüs du Sol, whose set is also up now.

Watch the Mita Gami & Meir Briskman Orchestra Set exclusively on Billboard.com below: