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LeBron James and the Los Angeles Lakers are set to take on the Cleveland Cavaliers today (Jan. 28) at Rocket Arena. Even though it’s been eight seasons since King James decided to leave his hometown team and join the purple and gold, NBA fans always get excited when the kid from Akron comes home.

The Lakers and Cavs are having equally great seasons with both teams currently sitting at the 5th seed in their respective conferences with 28 wins so far. In the middle of his 23rd season, LeBron is averaging 22.4 points, 6.7 assists and 6 rebounds per game. With Luka Doncic putting up MVP numbers as well, the Cavs will need to step up their defense to stop the Lakers offensive fire power.

When Does the Lakers vs. Cavs Game Start?

Lakers vs. Cavs game will start on Jan. 28 at 7 p.m. ET/4 p.m. PT at Rocket Arena in Cleveland.

Where to Watch Lakers vs. Cavs Online

The Lakers vs. Cavs game will broadcast live on ESPN but can be streamed through Sling TV. Keep scrolling on how to sign up for the streaming service.

Here’s How to Watch the Lakers vs. Cavs Wild Card Game on Sling TV

Sling TV offers the Blue, Orange and Sling Orange + Blue packages, which comes with ESPN, NBC, USA Network, CNBC, MS NOW, Bravo and others. Blue is one of the most affordable options and comes with more than 40 channels and can be streamed on up to three device at a time.

You can watch cable networks, including ESPN2, ESPN3 (for ABC simulcast), Disney Channel, Freeform, MotorTrend, A&E, AMC, BBC America, BET, CNN, Comedy Central, Food Network, Fuse, HGTV, History Channel, IFC, Lifetime, Nick Jr., QVC, TBS, TNT, Travel Channel, Vice and many others.

Meanwhile, starting at $4.99 for the Sling 1-Day Pass, you can access Sling Blue for 24 hours. Additionally, the Sling 3-Day Pass goes for $9.99 to access Sling Blue from Friday-to-Sunday. Sling 7-Day Pass, which goes for $14.99, gets you access for seven days of Sling Blue.

Please note: Prices and channel availability depends on your local TV market. You can learn more about Sling TV here.

While some fans are wallowing in their 10th year without a new Rihanna album, everyone’s favorite Bajan Bad Gal is celebrating the massive success her ANTI album has generated during that period.

On Jan. 28, in celebration of the 10th anniversary of her era-defining opus, the Recording Industry Association of America revealed new certifications for nine different ANTI tracks, including a jaw-dropping eighth Diamond certification for Ri thanks to the success of “Love on the Brain.”

The doo-wop-infused ballad soared to No. 5 on the Billboard Hot 100 back in 2017, and its new certification helps Rihanna extend her record as the female artist with the most Diamond singles in RIAA history. “Love” joins fellow ANTI smashes “Needed Me” and “Work” (with Drake), which earn new 12x Platinum and 11x Platinum certifications, respectively. Her other Diamond tracks are her Eminem collab “Love the Way You Lie,” “Stay,” “We Found Love” with Calvin Harris, “Umbrella” and “Diamonds.”

Additional new ANTI RIAA certifications include fresh plaques for “Kiss It Better” (quadruple Platinum), “Sex with Me” (quadruple Platinum), “Desperado” (triple Platinum), the SZA-assisted “Consideration” (double Platinum) and “Woo” (Platinum). Currently certified sextuple Platinum, ANTI also remains the longest-charting album by a Black female artist on the Billboard 200, with more than 508 weeks and counting.

Rihanna’s latest commercial achievements come amid a particularly busy — and successful — week for the household she shares with partner A$AP Rocky. On. Jan. 26, Rocky scored his first Billboard 200 No. 1 album in more than a decade with Don’t Be Dumb, which Rihanna celebrated via X, writing, “Just me here to let yall know my baby daddy got the NUMBER 1 ALBUM!!! Aaahhhhhh hah! DONT BE DUMB!!!”

Though a new album still eludes the Rihanna Navy, their fearless leader hasn’t been completely musically absent in the years since ANTI‘s release. In 2023, she headlined the Super Bowl LVIII Halftime Show, which arrived just months after she dropped her Grammy and Oscar-nominated Black Panther: Wakanda Forever theme, “Lift Me Up.” Last year, she voiced Smurfette in Smurfs and welcomed her third child (and first girl!) with Rocky.

See the RIAA’s celebration of Ri below:

Karol G achieves her 21st No. 1 on Billboard’s Latin Airplay chart as “Coleccionando Heridas,” with Marco Antonio Solís, rises from No. 3 to secure the top spot on the chart dated Jan. 31. Solís returns to No. 1 after more than a decade, with the victory giving him a 12th leader.

“Coleccionando Heridas” is the fourth single from Karol G’s Top Latin Albums No. 1 Tropicoqueta to land at the summit on the overall Latin Airplay chart. Cowritten by Karol G, Keytin, CASTA and Edgar Barrera, the song takes the lead in its 13th week, marking the longest climb to the top among the album’s four chart-topping singles: “Si Antes Te Hubiera Conocido” took four weeks to hit No. 1, “Latina Foreva” achieved the feat in seven weeks and “Verano Rosa” succeeded in 11 weeks.

“Coleccionando Heridas” reaches the summit following a 16% increase in audience impressions, to 8.83 million, accrued during the Jan. 16-22 tracking week, according to Luminate.

With the new achievement, Karol collects her 21st No. 1 on Latin Airplay, the second-most champs among women since the chart’s inception in 1994. She trails only Shakira, who continues to lead with 24.

For Marco Antonio Solís, the success marks his return to the top of the Latin Airplay chart after more than a decade, his last No. 1 being his featured turn on Enrique Iglesias’ 2014 No. 1 “El Perdedor.” In between, El Buki secured a top 10 through “Se Veía Venir” (No. 5 high in 2021).

Beyond its Latin Airplay coronation, “Coleccionando Heridas” fortifies its stronghold on Latin Pop Airplay, reigning for a fifth consecutive week at No. 1.

Grupo Frontera’s 16th Hit

Elsewhere on the Latin charts, Grupo Frontera achieves its 16th No. 1 on Regional Mexican Airplay through “Monterrey” as the song jumps 2-1 with 7.8 million audience impressions, up 17%, during the tracking week.

Among its 16th champs, “Monterrey” gives Grupo Frontera its second ruler unaccompanied by any other act, following “Hecho Pa’ Mí” in 2024.

“Monterrey” is one of 13 songs on the album Lo Que Me Falta Por Llorar, which debuted and peaked at No. 11 on the Regional Mexican Albums chart in November.

When Ozzy Osbourne died in July, the world remembered how the Black Sabbath legend had shaped both modern rock and many aspects of today’s music business — showing artists how they could build massive merchandising empires and turn reality TV stardom into a new revenue stream, while also pioneering the concept of a genre-focused touring festival.

But while Ozzy was the face of those innovations, the creative force behind the blueprints was his wife of 43 years, Sharon Osbourne — a supremely talented music executive in her own right who’s not yet done changing the industry.

“All of the creative direction for visuals at Ozzfest was mine. I can’t sing a note — I’m tone-deaf — but I can be creative, and I like to create things,” Osbourne, 73, reminisced in December from a hotel room on New York’s Upper East Side, perfectly coiffed and sipping tea after a late night out at a star-studded private rock show at the Capitol Theatre in Port Chester, N.Y., that featured Slash, Eddie Vedder, Anthony Kiedis, Yungblud and Bruno Mars, among others.

“I’ve been talking to Live Nation about bringing [Ozzfest] back recently,” she continues. “It was something Ozzy was very passionate about: giving young talent a stage in front of a lot of people. We really started metal festivals in this country. It was [replicated but] never done with the spirit of what ours was, because ours was a place for new talent. It was like summer camp for kids.”

First, Osbourne says, she’s working with Live Nation to launch a classical tour of Black Sabbath’s catalog, performed by local orchestras and set to state-of-the-art visuals, as well as a scripted feature film about a portion of Ozzy’s life. (Just weeks before Ozzy’s death last summer, Osbourne organized Back to the Beginning, a farewell concert for Black Sabbath stacked with metal legends in the band’s native Birmingham, England, that raised around $10 million for charity.)

Osbourne, the daughter of music impresario Don Arden, was born in London and cut her teeth working at her father’s record label, Jet Records, before taking what she calls the biggest risk of her career: leaving that label to manage Ozzy, whom she’d married after he was fired from Black Sabbath in 1979.

“Everybody thought Ozzy’s career was never going to happen as a solo artist — in those days, there weren’t that many people that had left bands and actually gone on and done really well,” she recalls. “They thought Ozzy and I would just end up in the toilet. It was really about getting up every day and showing everyone: F–k you, this is what we’re going to do. I never took no for an answer.”

She went on to manage acts including The Smashing Pumpkins and Motörhead. And while she wouldn’t go back into management now (“management is all or nothing — you can’t just be a little bit in”), she’s still obsessed with discovering new talent, seeing as much live music as she can and scouring the internet for gems. “I’ll troll all night,” she says, “and I’ll reach out to people I think are talented.

“I’m not interested in little girls in leotards throwing themselves around and humping the floor — some of them are really talented, but it’s not original,” Osbourne continues. “You have to have that sense of individuality, because otherwise you’re just a clone. Are you going to be an icon? Are you going to last the test of time? If you want to be a serious artist, who are you? It’s so easy to market yourself these days. Come out with a great little video — do it yourself at home, but be different. Don’t follow. You’ve got to be a leader. You’ve got to have your own look, your own sound. Your voice has to be instantly recognizable.”

Osbourne finds the business “very nerdy” now, remarking that “everybody is so polite,” and she hates streaming and AI-generated music: “I don’t like anything by machines — it’s got no soul.”

She still looks up to great executives, though, particularly Irving Azoff (“Love him, hate him, whatever — he’s a f–king icon,” she says). And while she says “grief is a new part of my life that I have to get used to” and admits she gets little sleep (“I’m up 24 hours a day. I only catnap now”), she’s heartened by the prospect of showcasing a new crop of rising stars at the next iteration of Ozzfest, which she says could launch as soon as 2027.

The festival would tour everywhere, just like it used to, she says, but of course, she has a new vision for it: “I’d like to mix up the genres.”

This story appears in the Jan. 24, 2026, issue of Billboard.