At her 2011 A Night With Beyoncé concert special taping, Bey was two months pregnant with Blue Ivy and suffering from severe nausea as a result — not that anyone in the crowd was any the wiser.

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That’s because the Destiny’s Child alum powered through the performance like a true pro, according to her mom, Tina Knowles, who posted a throwback clip of Bey singing “Best Thing I Never Had” at the show on Instagram. “This just came across my feed! It took me down memory lane,” the businesswoman wrote on Tuesday (Jan. 6).

“This is one of the hardest shows we’ve ever done,” Knowles recalled. “Beyonce was about two months pregnant with Blue and as nauseated as she could be. In between songs, she would run back and throw up and come out and do the next song.”

“This is when I knew without a doubt how strong and resilient of a performer she was,” Knowles continued of her daughter. “We couldn’t tell anyone about the pregnancy … As sick as she was, she got through the show and killed her performances. All the band and crew knew was she [was] sick.”

The ITV concert special aired in December 2011, according to IMDb. In August of that year, Bey formally announced that she was expecting her first child with Jay-Z by debuting her baby bump at the VMAs, famously opening her jacket for the big reveal after performing “Love On Top” during the ceremony.

She would go on to welcome twins Rumi and Sir with Jay in 2017.

Knowles often looks back on high points in her daughter’s career on Instagram, and delved more deeply into her experience watching Bey navigate superstardom in the 2025 memoir Matriarch. Published in April, the book would go on to top The New York Times‘ hardcover nonfiction and combined print & E-book nonfiction bestsellers lists.

Also in Matriarch, the designer shared her side of the story of how the public called Bey’s first pregnancy into question after an optical illusion during a TV interview convinced many that it was fake. “The worst thing is that people had no idea how hard it was for Beyoncé to go through multiple miscarriages, and then when finally blessed to carry a baby to term, the world starts heckling you as you both try to make it to the finish line,” she wrote.

“This child was prayed for and prayed over — a wanted, cherished, real baby, and people were making a living off saying she was a lie.”


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For those raised on 2000s hip-hop, the phone number 281-330-8004 is stained in their memory for good. Of course, that’s Mike Jones’ number that he famously raps about on his 2005 anthem “Back Then.”

The Houston native revealed he still has the number to this day, and his phone is blowing up with calls from fans hitting him up on the low.

The 44-year-old posted an Instagram photo of his upgrade to a new iPhone 17 on Tuesday (Jan. 6) with his phone number in tow, and Jones thanked the fans for all the support over the last two decades.

“The # was ringing back to back before it came out the BOX!! This # is connected with me for Life lmao , thanks to all yall who believed , who still call to this day,” he wrote. “Some call just to say what’s up and some call JUST to say thank u! Some call for shows & features, but I may go live and just answer calls from fans live!! So yall can see n feel the organic love that comes thru this phone!!! #Who 281-330-8004.”

Fans enjoyed a heavy dose of nostalgia with the blast from the past courtesy of Mike Jones. “I put your number down as my Reference and my Emergency Contact,” one fan wrote in his comments section.

Another added: “I used to call every other day in 3rd grade off random ppls phones!”

While one more fan replied: “Can’t even remember my old home phone # but I definitely got this one memorized!”

“Back Then” arrived in February 2005 as Mike Jones’ “Still Tippin” follow-up heading into his Who Is Mike Jones? debut album. The Salih Williams-produced hit reached No. 22 on the Billboard Hot 100.

Through the song itself and self-promoting merch, 281-330-8004 and “Back Then” have remained cultural staples for Jones while standing the test of time two decades later.

See Mike Jones’ post about his phone number below:


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Parmalee claims a fourth week at No. 1 on Billboard’s Country Airplay chart as “Cowgirl” saddles up atop the ranking dated Jan. 10. The single surged 21% to 32.2 million audience impressions in the Dec. 26-Jan. 1 tracking week, according to Luminate (with all songs on the chart up at least 10% as holiday music departed stations’ playlists).

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Extended No. 1 runs at radio by country groups are uncommon and “Cowgirl” now stands among the upper echelon of them. The song is the longest-running No. 1 by a group of three or more members in nearly 14 years, since Zac Brown Band’s “Keep Me in Mind” (four weeks, 2011-12). Prior to that, Lady A led for five weeks with “Need You Now” in 2009.

Since Country Airplay launched in 1990, “Cowgirl” ties for the fifth-longest No. 1 run among groups. Here’s a closer look at the longest-leading hits by groups in lead roles:

  • “Amazed,” Lonestar, 1999, eight weeks
  • “I’m Already There,” Lonestar, 2001, six weeks
  • “Need You Now,” Lady A, 2009, five weeks
  • “Bless the Broken Road,” Rascal Flatts, 2005, five weeks
  • “Cowgirl,” Parmalee, 2025-26, four weeks
  • “Keep Me in Mind,” Zac Brown Band, 2011-12, four weeks
  • “What Hurts the Most,” Rascal Flatts, 2006, four weeks
  • “What About Now,” Lonestar, 2000, four weeks
  • “Wide Open Spaces,” 1998, four weeks
  • “Jukebox in My Mind,” Alabama, 1990, four weeks

(Including featured billings, Sons of the Desert join the list, via Lee Ann Womack’s five-week No. 1 “I Hope You Dance” in 2000.)

Meanwhile, Brooks & Dunn continue to set the bar among duos. Of the 11 multiweek Country Airplay leaders by pairs, the act accounts for eight. Florida Georgia Line adds two titles, while Big & Rich contribute the remaining entry:

  • “Ain’t Nothing ’Bout You,” Brooks & Dunn, 2001, six weeks
  • “Stay,” Florida Georgia Line, 2014, four weeks
  • “Boot Scootin’ Boogie,” Brooks & Dunn, 1992, four weeks
  • “Cruise,” Florida Georgia Line, 2012, three weeks
  • “How Long Gone,” Brooks & Dunn, 1998, three weeks
  • “My Maria,” Brooks & Dunn, 1996, three weeks
  • “Lost in This Moment,” Big & Rich, 2007, two weeks
  • “If You See Him/If You See Her,” Brooks & Dunn, with Reba McEntire, 1998, two weeks
  • “Neon Moon,” Brooks & Dunn, 1992, two weeks
  • “My Next Broken Heart,” Brooks & Dunn, 1991, two weeks
  • “Brand New Man,” Brooks & Dunn, 1991, two weeks

Among all the Country Airplay chart’s 979 No. 1s historically, Nate Smith’s “World on Fire” (2023-24) and Morgan Wallen’s “You Proof” (2022-23) lead with 10 weeks each in charge.

Taken together, the rankings underscore how rare sustained radio dominance remains for country groups and duos alike, and how Parmalee’s latest now stands firmly among the format’s most durable modern hits.


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Pat Smear’s megawatt smile and enthusiastic strumming have been a fan-favorite staple of Foo Fighters shows since the Dave Grohl-led band’s debut in 1994. Unfortunately for longtime fans, though, that light will go dim for the group’s upcoming run of three January shows due to a gnarly foot injury Smear, 66, sustained over the New Year’s holiday.

In a tabloid-style Instagram post that plays on an iconic dead drummer gag from the first Spinal Tap movie, the band announced on Wednesday morning (Jan. 7) that Smear will have to sit out a run of January shows due to the accident.

“In the classic tradition of rockstars having bizarre gardening accidents, Pat Smear has apparently rung in the new year by smashing the s–t out of his left foot,” the band wrote alongside a fake Weekly World News-like newspaper cover featuring a smiling Smear flipping the middle finger as he’s transported on a gurney under the headline “Pat Smear Bizarre Gardening Accident!” along with a banner announcing “Aliens spotted warming up for spring training!”

“This means he’ll unfortunately be missing a few shows while the multiple broken bones in his foot heal,” the announcement continued. “We’ll miss our beloved Pat as much as you will, but we want him fully healed and back on his feet as soon as possible.” In the meantime, veteran Beck/St. Vincent guitarist Jason Falkner will be filling in for Smear at the Foos’ upcoming shows at the Feria Estatal De Leon in Guanajuato, Mexico on Saturday (Jan. 10), as well as a Kia Forum show in Los Angeles on Jan. 14 and a Jan. 24 gig at Utas Stadium in on the Australian island state of Launceston, Tasmania.


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Pink Floyd’s The Dark Side of the Moon — which continues to be the record-holder as the album with the most weeks on the Billboard 200 chart — is nearing a milestone 1,000th week on the tally. On the chart dated Jan. 10, the set nabs its 996th nonconsecutive week on the list, as it falls from No. 114 to No. 167.

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Those 996 nonconsecutive weeks would be the equivalent of more than 229 months, or more than 19 years, in total.

The Billboard 200 began publishing on a regular weekly basis in March of 1956. The Dark Side of the Moon became the longest-charted album in the history of the list in 1983 and has held the title ever since.

The Dark Side of the Moon was released in 1973, hit No. 1 for one week that April, and contains the band’s first entry on the Billboard Hot 100 songs chart, “Money,” which reached No. 13. Dark Side became the longest-charted album on the Billboard 200 on the chart dated Oct. 29, 1983. That week, it captured its 491st week on the list, surpassing Johnny Mathis’ long-standing record of 490 weeks with Johnny’s Greatest Hits.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA).

The Dark Side of the Moon had a near-constant presence on the Billboard 200 from its debut on the chart on March 17, 1973, through the Oct. 8, 1988, chart. During that 813-week span, the album spent 741 weeks on the list. After the Oct. 8, 1988, chart, the album would depart the ranking until it returned on the Dec. 12, 2009-dated chart, when rules were updated to allow older albums (termed “catalog”) to chart again. From 1991 through the end of 2009, catalog albums were largely disallowed from charting, and the survey included only then-current and recently-released albums.

The albums with the second-and-third-most weeks on the Billboard 200 are Bob Marley and The WailersLegend: The Best of Bob Marley and The Wailers (920 weeks) and Journey’s Greatest Hits (890 weeks). Legend was released in 1984 and spent 113 weeks on the chart in 1984-91, before returning in 2009 after rules changed to allow catalog albums to chart again. Journey’s Greatest Hits was released in 1988 and spent 92 weeks on the chart in 1988-90, returning in 2009. Both have been on the chart almost constantly since their return at the end of 2009.

Because of how the Billboard 200 chart is now compiled, with streaming activity blended with album sales and track sales, albums tend to spend a longer time on the list than before thanks to continued streaming activity — especially those albums loaded with popular songs (like best-of collections such as Legend and Journey’s Greatest Hits). The Billboard 200 began utilizing streaming information in its methodology in December 2014. Before, the chart was based solely on traditional album sales.

Additional reporting by Paul Grein.


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With the first round of the NFL playoffs kicking off on Saturday (Jan. 10), it’s definitely not too early to get your party plans in order for this year’s Super Bowl weekend. One of the events coming up is the return of Sports Illustrated‘s SI The Party, and Billboard can exclusively announce the headliners.

This year’s edition will feature returning 2024 headliners The Chainsmokers, who will be joined by Ludacris, Miami Heat house turntablist DJ Irie and rising DJ/producer Xandra. All will take the stage on the Saturday (Feb. 7) before the game at San Francisco’s Cow Palace.

“As someone who grew up loving Sports Illustrated, I’m looking forward to being a part of this weekend where sports and entertainment meet at the highest level,” Ludacris tells Billboard. “Sports Illustrated is known for longevity and excellence, so I plan on matching that energy, delivering a show that people will be talking about long after it’s over. This is going to be one for the record books!”

“We’re pumped to return to the Sports Illustrated Super Bowl party after an incredible event last year,” Chainsmokers members Alex Pall and Drew Taggart tell Billboard. “This year we’re going all out and can’t wait to bring something even bigger for Super Bowl weekend.”

In addition to the headliners, the release promises the addition of “special guests” and some “surprise moments” throughout the night, as well as branded activations from partners and a Lexus LX VIP Lounge for VIP ticketholders.

SI The Party, presented by DraftKings and produced by Authentic Live and Medium Rare, is a wind-up to the big game, often drawing a mix of fans, league owners, franchise execs, athletes and stars. Past A-list attendees have included Alex Rodriguez, Shaquille O’Neal, Justin and Hailey Bieber, Kim Kardashian, Miles Teller, Machine Gun Kelly, Kevin Hart, Leonardo DiCaprio and others.

Premium all-inclusive tickets, VIP access and VIP tables will go on sale Thursday (Jan. 8) at 10 a.m. PT via the event’s website.

“Across Big Game Weekend and other tentpole moments on the world’s biggest sporting stages, our vision with SI The Party has always been to deliver hospitality that feels intimate and insider, even at the largest events in the world, creating the most unforgettable night of Big Game Weekend where the energy and star power of sports truly comes to life off the field,” said Matt Goldstein, EVP of Entertainment and Special Projects at Authentic and head of Authentic Live, the live events division of Authentic and coproducer of the event, in a statement.

Last year’s event at Mardi Gras World in New Orleans was headlined by Diplo and Dom Dolla, with The Chainsmokers, Bebe Rexha and Kygo headlining the 2024 edition at the Wynn Las Vegas’ XS Nightclub. The Chainsmokers also co-headlined the 2023 show alongside Machine Gun Kelly.

Super Bowl LX will take place on Feb. 8 at Levi’s Stadium in Santa Clara, Calif.

See the poster for SI The Party below:

Sports Illustrated The Party 2026 flyer

Sports Illustrated The Party 2026

Courtesy of SI The Party


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6ix9ine (real name Daniel Hernandez, and formerly known as Tekashi 6ix9ine) turned himself in on Tuesday afternoon (Jan. 6) to begin a three-month sentence for violating the terms of his supervised release tied to his racketeering case.

Adin Ross livestreamed the final hours of Tekashi’s freedom as they traveled to Brooklyn’s Metropolitan Detention Center, where the “Gummo” rapper will serve his time alongside other famous inmates including Luigi Mangione and Venezuelan President Nicolás Maduro.

6ix9ine, Ross and other members of their crew arrived in a sprinter van with Akon’s “Locked Up” hilariously playing in the background as Tekashi was escorted by federal corrections officers inside the jail.

“That’s actually so f—ked sad. I don’t give a f—k, bro. That’s horrible,” Ross stated as his rap friend entered the MDC.

6ix9ine was sentenced to three months behind bars on Dec. 5 for violating his probation. The Brooklyn native was found with cocaine and MDMA and also admitted to assaulting a man who taunted him about snitching during a recent trip to a Florida mall.

Back in 2018, 6ix9ine was arrested on weapons, drugs and racketeering charges for his involvement in the Nine Trey Gangsta Bloods. After pleading guilty to nine charges, he agreed to cooperate with authorities and testify against his former associates as part of the Nine Trey RICO case in 2019.

Tekashi received a lighter sentence of two years behind bars following his cooperation, and was released in 2020 due to his risk of COVID-19 during the pandemic. He was sentenced to five years of supervised release.

This isn’t his first time being imprisoned on probation violations. The 29-year-old violated his supervised release in 2024 after being caught with methamphetamine, failing to appear for drug tests and taking an unapproved trip to Las Vegas.

For those, Judge Engelmayer sentenced him to 45 days behind bars and another year of supervised release, which saw him released once again in December 2024.


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Live Nation and Ticketmaster want a judge to dismiss the Federal Trade Commission’s lawsuit claiming the companies have enabled scalpers to jack up concert prices, calling it an “unprecedented” use of federal ticketing laws.

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The FTC sued the live giants last year, claiming they had engaged in years of “unfair and deceptive practices” that hurt consumers, including allowing brokers to buy up tickets and resell them at sky-high prices. The case came as spiking prices have rankled fans during a post-pandemic concert boom.

But in a motion filed Tuesday in federal court, Live Nation and Ticketmaster called the FTC’s case an “egregious instance of agency overreach” that should be tossed out of court immediately. In doing so, they accused the feds of misusing the BOTS Act, a 2016 law aimed at quashing scalping, in ways unintended by the lawmakers who wrote it.

“This statute is designed to help ticket issuers like Ticketmaster combat ticket harvesting and scalping, ensuring that tickets are accessible to genuine fans,” the company’s lawyers write. “Plaintiffs now ask this court to take the unprecedented step of applying this law against a ticket issuer for its operation of a resale platform.”

A spokeswoman for the FTC declined to comment on Live Nation’s motion.

With Live Nation and Ticketmaster already facing a blockbuster monopoly lawsuit from the Justice Department, the FTC filed its own separate case in September — accusing the companies of costing consumers billions in inflated ticket prices. The agency claimed they were “tacitly coordinating” with ticket brokers by allowing them to “harvest” millions worth of tickets despite public rules against it.

“American live entertainment is the best in the world and should be accessible to all of us,” FTC chairman Andrew N. Ferguson wrote at the time. “It should not cost an arm and a leg to take the family to a baseball game or attend your favorite musician’s show.”

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The case was aimed at a common gripe from music fans, who have seen ticket prices skyrocket as live music has boomed in the years since the COVID-19 pandemic shuttered venues. Though Taylor Swift’s Eras Tour was the poster child for infamously expensive resale tickets — fans routinely paid five-figure sums for some tickets — prices have risen across the board. According to Billboard Boxscore, the average ticket price for a stadium show in North America has risen from $101.77 in 2016 to $150.94 in 2024, for example.

But in their motion on Tuesday, attorneys for Live Nation and Ticketmaster say the BOTS Act was simply not intended to target ticket-selling platforms. The statute — formally the Better Online Ticket Sales Act — was aimed at cracking down on scalpers themselves, the companies’ lawyers write, and the FTC “cannot rewrite that statute through this litigation.”

“Plaintiffs’ theory boils down to the idea that Ticketmaster is liable under the BOTS Act merely for knowing that some brokers used multiple accounts or that some accounts possessed more tickets than the ticket limit permitted,” Live Nation’s lawyers write. “But that theory does not amount to a violation of the statute Congress enacted.”

The companies also argue that the FTC’s other allegations — including that Live Nation and Ticketmaster employed “bait-and-switch pricing” by tacking deceptive fees onto low advertised prices — were “equally deficient” because they now employ all-in pricing that discloses fees.

Despite its strong denial of any legal wrongdoing, Live Nation has announced major policy changes in the wake of the FTC’s lawsuit. In an October letter to Congress, the company told lawmakers that it plans to bar brokers from operating multiple accounts on its platform, shutter a long-criticized uploading application, and start requiring brokers to hand over Social Security numbers to sell tickets.

Zendaya is the latest star to receive a wax figure of their likeness courtesy of Madame Tussauds, which unveiled its latest addition to the New York City location on Wednesday (Jan. 7).

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Described in the release as “stunningly realistic,” the statue depicts the singer-actress in a black two-piece gown, modeled after the one she wore at a Dune: Part Two fan event in Mexico City in February 2024. And though Zendaya was not yet engaged to Tom Holland at the time of that event, Madame Tussauds went ahead and added a recreation of her horizontal oval diamond ring to the figure.

“Zendaya has earned her place among today’s most recognizable and respected stars,” said Tiago Mogadouro, general manager of Madame Tussauds New York. “This figure is a tribute to her lasting impact on both entertainment and fashion.”

The tribute comes more than a decade after Zendaya first helped the museum unveil two wax clones of herself in 2015. One of the initial figures — for which the Golden Globe winner personally sat for hundreds of measurements — went on display in San Francisco, while the other went to Madame Tussauds Orlando.

“This is a major, major honor and it’s so cool to have it in the Bay, where I’m from,” she said in a statement at the time. “This is the best trip ever. I get to be home and be with my people … and also my twins!”

In 2026, Zendaya has a lot of exciting projects coming up, including the highly anticipated, long-awaited third season of Euphoria. In addition to starring in the show, the Disney Channel alum collaborated with Labrinth to contribute original music to the drama’s second season in 2022.

Zendaya also stars alongside Robert Pattinson in Kristoffer Borgli’s The Drama, which is set to arrive in April, and she will play Athena in Christopher Nolan’s The Odyssey, coming in July.

The latest figure is now available for fans to visit in NYC. See photos of the new Zendaya wax statue below.


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The countdown is on until Cardi B’s Little Miss Drama Tour begins on Feb. 11. After starting tour rehearsals in Los Angeles on Tuesday (Jan. 6), Cardi hopped on IG Live early Wednesday (Jan. 7) to give fans an update on a few things, including the tour’s budget.

Cardi revealed that even after redoing the budget, she’s still over by a couple of million dollars, and the Bronx rapper needs to find the money elsewhere. The Grammy-winning artist said she could fund it herself to make sure she’s putting on the proper show she wants fans to enjoy.

“I’m over a couple of million on my budget tour,” she said. “We redid the budget, so now it’s just like I gotta go find the f—king money, or I would have to put some of my own money for things that I want because I went over my budget. I feel like we do the budget every other week and s—t.”

Cardi continued: “It’s just, like, a lot. On top of that, it’s a lot of dance moves that I gotta do and I’m just ready to go home. I don’t know what it is about L.A., but I don’t like being in L.A. anymore.”

Even with the budget issues, Cardi calmed the BardiGang’s worries, letting them know she’s working hard and going to put on a show she’s proud of, but don’t expect any Beyoncé-level production.

“I ain’t no damn Beyoncé, so don’t be expecting any of that. I don’t got that production money, but b—h, I’m gonna give it all I got. I’m working hard, I’m popping it,” she added. “This tour is catered to BardiGang, and to people who are not even BardiGang but are some type of fan of mine or just wanna have a good time.”

Palm Desert, Calif., will get the opening show of Cardi’s first headlining North American trek on Feb. 11. She’s scheduled for 36 dates, including stops in Las Vegas, Miami, Boston, Chicago, Denver, Baltimore, Philly, Charlotte, Toronto and Atlanta. She will also perform a pair of shows at NYC’s Madison Square Garden.

The Little Miss Drama Tour comes on the heels of Cardi’s sophomore album, Am I the Drama?, which topped the Billboard 200 in September with 200,000 equivalent album units earned.


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