The political love affair between Nicki Minaj and Donald Trump continued on Wednesday (Feb. 18), as Donald Trump gushed about Minaj during his speech at the White House.
Trump gave the Young Money rapper her flowers, calling Minaj “beautiful” and highlighting her political prowess while speaking at the Black History Month event in Washington, D.C.
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“How about Nicki Minaj? Do we love Nicki Minaj? I love Nicki Minaj. She was here a couple weeks ago. She’s so beautiful,” Trump raved. “I said, ‘Nicki, you’re so beautiful.’ Her nails are like that long, I said, ‘Nicki are they real?’ She didn’t want to get into that. But she was so beautiful and so great and she gets it, more importantly.”
Minaj celebrated Presidents’ Day on Monday (Feb. 16) by posting an AI-generated photo to social media of her riding around in a convertible with President Trump while counting money.
The Queens icon also attended the Trump-backed World Liberty Forum event on Wednesday (Feb. 18), which saw Minaj tapped as a keynote speaker for the “Owning the Culture: The Business of Music in a Creator-Led Economy” panel.
Minaj met the president for the first time at the Trump Accounts Summit in Washington, D.C. in January, where she stood alongside Donald Trump and labeled herself the “president’s No. 1 fan.”
“I am probably the president’s No. 1 fan,” Minaj said. “And that’s not going to change. What people have to say, it does not affect me at all. It actually motivates me to support him more. And it’s going to motivate all of us to support him more.”
She continued: “We’re not going to let them get away with bullying him. And you know, the smear campaigns. It’s not going to work. He has a lot of force behind him and God is protecting him.”
Minaj hasn’t been shy about her support for the Trump administration in recent months. She joined podcaster Katie Miller for an interview earlier in February, where she explained the backlash that Trump faced inspired her to be more outspoken in his corner.
“Religious freedom is something that’s very important to me, but if I’m being honest, President Trump,” she said. “When I saw how he was being treated, over and over and over, I just couldn’t handle it.”
Watch the full clip of Donald Trump speaking about Nicki below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-02-19 00:35:512026-02-19 00:35:51Donald Trump Declares ‘I Love Nicki Minaj’ at White House Black History Month Reception: ‘She Gets It’
Jelly Roll might be significantly smaller following his weight loss, but according to Bunnie Xo, his — ahem — manhood has only done the opposite amid the singer’s health journey.
In a candid interview with Howard Stern on Tuesday (Feb. 17), the podcaster didn’t hold back when asked about how her sex life with her husband has changed since he’s dropped a few hundred pounds. “He’s getting his confidence back, and he’s peacocking around,” Bunnie told the radio host, according to People. “He’s got a little strut in his step, and I think it’s just the cutest thing.”
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Bunnie went on to share, “I will tell you that it is very true that when a man loses weight, it grows a lot.”
Noting that the country star’s appendage has gotten “severely bigger” in the past few years, the Dumb Blonde host added of her partner, “Oh God, he’s gonna kill me.”
Jelly has been on a weight-loss mission for a few years now, revealing in a January Men’s Health cover story that he’d shed 275 pounds at that point. Though frequent exercise and dieting were both crucial to his success, the Grammy winner told the publication that the most important thing was shifting his mindset.
“Once I started treating food like an addiction, it started changing everything for me,” he explained at the time. “When I started really looking at the source of why I was eating. What was I eating for?”
He’s also been open about how slimming down has improved his sex life with Bunnie. “I couldn’t even get aroused, I was so big,” he told Joe Rogan in December. “I was having to play Twister to have sex. ‘Left foot here, right foot on the X. Are we in there yet? Tell me if you feel something.’”
Elsewhere in her conversation with Stern, Bunnie — whose memoir Stripped Down: Unfiltered and Unapologetic arrived Tuesday — spoke on the more serious topic of her husband having an affair years ago. “When we went through that entire situation, I had to look inside myself also and be like, ‘Why am I attracting these men? Because this seems to be a huge pattern in my life,’” she told the on-air personality.
“Not that I’m making excuses for him, but most of the time when men cheat, women wanna point the finger,” she continued during the interview. “I didn’t wanna do that. I was like, ‘I really love this man’ … I just knew that something was so special in my husband and I knew that he would become the man that he is today. He just needed somebody to love him.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-02-18 23:25:422026-02-18 23:25:42Bunnie Xo Reveals How Jelly Roll’s Manhood Is ‘Severely’ Different After Weight Loss: ‘He’s Gonna Kill Me’
Rapper Lil Poppa has died, the Fulton County Medical Examiner’s Office confirmed on Wednesday (Feb. 18). The Jacksonville rapper (born Janarious Mykel Wheeler) was 25 years old.
Poppa’s cause of death remains under investigation at this time, as details remain scarce. There’s been an outpouring of support from the rapper’s fans and peers since news of his death broke. Dej Loaf, Mozzy and Nardo Wick were among the rappers to pay tribute to Poppa.
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Great Day Records CEO Caroline “Baroline” Diaz, who worked with Poppa in the early stages of his career, also paid homage on X. “My little brother is gone,” Diaz wrote. “Poppa I love you so much. I am so broken. One of the first artists I had at Interscope. A&R’ed 4 of his projects. I’m so sad right now.”
My little brother is gone, Poppa I love you so much. I am so broken. One of the first artists I had at Interscope. A&R’ed 4 of his projects. I’m so sad right now……..
Lil Poppa signed to Yo Gotti’s CMG label in 2022. He’s notched collaborations over the years with Gotti, Polo G, Rylo Rodriguez, Toosii, Mozzy, Yungeen Ace and Seddy Hendrix.
Last week, Poppa returned to unleash his “Out of Town Bae” single on Feb. 13. He had been on tour in late 2025 and had a Birthday Bash show set for March in New Orleans.
Lil Poppa earned a pair of entries on the Billboard 200 in his career. Poppa’s Blessed, I Guess project reached No. 160 in May 2021 and his Under Investigation 3 album peaked at No. 194 in May 2022. He landed several placements on the Heatseekers Albums chart, including a peak of No. 4 thanks to Heavy is the Head in November 2022.
Billboard has reached out to reps for Lil Poppa for comment.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-02-18 23:25:412026-02-18 23:25:41Florida Rapper Lil Poppa Dead at 25
R&B singer Kenny Lattimore has received only a single royalty check since the release of his latest album — and now he’s taking distributor SRG/ILS Group to court.
Lattimore filed a lawsuit on Wednesday (Feb. 18) against SRG, which handles digital distribution for indie labels in partnership with Universal Music Group’s Virgin Music. The lawsuit, first obtained and reported by Billboard, claims SRG owes him at least $100,000 in royalties for his 2021 album Here to Stay.
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“Artists pour their heart, soul and life experience into the music we create,” Lattimore says of the lawsuit. “In today’s streaming world, earning a sustainable living from that work is already a challenge. So to then be denied royalties from the limited pool that exists in the first place isn’t just disappointing — it’s unjust. When creators aren’t paid for the very art that fuels the industry, that’s not a glitch in the system. It’s a travesty.”
According to the complaint, Lattimore’s distribution deal created a 50-50 split of recorded royalties between SRG and the singer’s Sincere Soul Records. Lattimore alleges Here to Stay did well and reached full recoupment status by 2022, with the single Take a Dose” hitting No. 1 on Billboard‘s Adult R&B Airplay chart. Yet despite this success, SRG has allegedly sent Lattimore just a single royalty check in the years since — a 2023 payment of just $4,400.
The lawsuit claims SRG has likely withheld more than $100,000 in royalties from Lattimore. But the singer says he hasn’t been able to ascertain the full tally because SRG hasn’t sent him proper royalty statements, even after he initiated an audit in 2024.
“SRG deliberately and systematically obstructed the audit process by refusing to produce essential source documentation, rejecting reasonable and industry-standard confidentiality accommodations and preventing any meaningful independent verification of its accounting,” write Lattimore’s lawyers.
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Lattimore alleges that SRG and its CEO, Claude Villani, then tried to “intimidate and pressure” him into abandoning the audit. According to the complaint, SRG executive vp Dominique Zgarka told Lattimore in 2025, “I can guarantee you that Claude’s patience is running out, and you can expect some form of counterclaim/lawsuit to come from SRG-ILS unless this matter is settled in short order.”
The lawsuit also alleges that SRG’s conduct here was “not an isolated incident.” Lattimore says SRG “has engaged in a broader pattern and practice of similar misconduct toward other recording artists,” including withholding royalties from singer J. Brown and the R&B group After 7.
Lattimore’s lawsuit brings claims for breach of contract and deceptive business practices. He’s requested a court-ordered accounting to determine the proper amount of past-due royalties that SRG must pay, plus financial damages for the alleged wrongdoing.
The singer’s attorney, Felton Newell, said in a statement, “Artists deserve transparency and to be paid what they earn. After repeated demands and an obstructed audit process, Mr. Lattimore was left with no choice but to file suit. This case is about enforcing clear contractual rights and addressing unfair business practices.”
Lattimore, who’s been a pillar of R&B music since the 1990s, tells Billboard that he hopes the lawsuit will serve as “a blueprint for younger artists that don’t have resources or the know-how to pursue the things that are owed to them.”
“Sometimes you don’t volunteer to be the advocate and to be the person who stands up for everybody, but sometimes God chooses you to be that,” adds Lattimore. “We’re not just doing this for me. We’re doing this for artists and for our rights, for things to be done properly in this business.”
A rep for SRG did not immediately return a request for comment on Wednesday (Feb. 18).
It’s been a truly insane February for Bad Bunny, who began his month by winning album of the year at the Grammys, followed it up by headlining halftime at Super Bowl LX the next week, and now makes it three weeks of headlines in a row by taking over the Billboard Hot 100 in historic fashion.
The Puerto Rican superstar notches 18 songs on the Hot 100 this week’s chart (dated Feb. 21) — most from his 2025 album Debí Tirár Mas Fotos, but also including a handful of catalog hits dating back to 2019 — with four of those songs reaching the top 10, three of which hit new peaks on the chart. One of them is “DtMF,” which tops the chart for the first time (after previously hitting No. 2 in early 2025), making it both his first No. 1 as an unaccompanied artist, and the first predominantly Spanish-language song to reach the top since Luis Fonsi and Daddy Yankee’s Justin Bieber-featuring “Despacito” in 2017.
How long will the takeover last? And is Bad Bunny now the biggest pop star on the planet? Billboard staffers answer these questions and more below.
1. Bad Bunny owns 18 entries on the Hot 100 this week, including four of the top 10 and both of the top two — with “DtMF” marking his first-ever unaccompanied No. 1 hit. Is this kind of post-Super Bowl bump for him bigger, smaller, or about what you expected from him?
Kyle Denis: This is exactly what I expected. Bad Bunny is a monster on streaming, and the project that anchored his halftime set is just over a year old. In fact, he’s still touring it! Between that overall momentum and the boost of his historic album of the year Grammy win earlier this month, the stage was perfectly set for a massive streaming boost post-Super Bowl.
Lyndsey Havens: A bit bigger. I expected to see a bump, of course, but to see him dominating in this way is only further proof of what a smashing success his halftime show was. He delivered such a spectacular set — and message — that it’s nice to imagine this bump being from fans old and new. For the longtime crowd, Bad Bunny delivered exactly what we hoped for (and then some). And for the less-familiar crowd, I would bet they’re still doing a deep dive into all he has to offer.
Sigal Ratner-Arias: I am not surprised at all by these numbers. Bad Bunny has consistently reached the top of charts including the coveted Billboard 200, where four of his albums have been No. 1. The interest generated by his Super Bowl performance – plus the controversy surrounding his selection as the halftime show headliner from the very moment it was announced – led to old and new fans, as well as detractors and curious people, to listen to his music. And it really paid off.
Jessica Roiz: Honestly, I expected him to dominate the Hot Latin Songs chart following the Super Bowl, but never thought he would have such a massive presence on the Hot 100. This, to me, is only a reflection of his real star power, whether you’re a fan of his music or not. What impresses me most is that the No. 1 and No. 2 spots are taken by a modern plena song and a traditional salsa tune — far from the very popular reggaetón and música Mexicana genres.
Andrew Unterberger: If it is surprising, it’s not very. We already saw how Bad Bunny’s numbers just following the Grammys — where he didn’t even perform — so for him to play so many of these songs during the most-watched TV event of the year, to millions of folks who might not have been even able to name a Bad Bunny song previously, was always going to have a majorly galvanizing impact. But it’s still hard to predict anyone will chart 18 songs in a week when he hasn’t even released an album in the past year.
2. Last year, Kendrick Lamar also swarmed the top of the Hot 100 following his Super Bowl show, and eventually used the momentum to land the longest-lasting No. 1 hit of his career in “Luther” with SZA. Do you see Bad Bunny doing something like that with “DtMF” (or one of his other revived hits), or do you think the bump will be shorter-lasting for him?
Kyle Denis: Because “Luther” was barely a few months old, I think it had a bit of an advantage over “DtMF” given that the latter is a year old and has already had a stint in the top 10. It’s entirely plausible that it sticks around with an even greater shelf-life post-Super Bowl, but I think the boost will slowly subside in the coming weeks as the charts recalibrate.
Lyndsey Havens: I mean, nothing says new era like a completely wiped Instagram account. It’s possible that Benito will also use his Super Bowl momentum to lead into new music. And if he does, I can definitely see it being (if you can believe it, following a historic Grammy win and halftime show set) his biggest cycle yet.
Sigal Ratner-Arias: Before the Super Bowl, “DtMF” spent 46 weeks at No. 1 on the Hot Latin Songs chart since January 2025, but only reached No. 2 on the Billboard Hot 100. This is not his first No. 1 on this chart – he previously reached the top with “I Like It,” his collab with Cardi B & J Balvin – but it is his first as a solo artist. So, regardless of how many weeks he spends at the summit, it’s already a historic achievement for Bad Bunny — and this is no small feat, given his many records and accomplishments.
Jessica Roiz: Personally, and only because it’s my favorite song right now — and it was named the No. 1 Latin song of 2025 by Billboard editors — I wouldn’t mind seeing “Baile Inolvidable” eventually take the lead. Either way, I’m not sure how long Bad Bunny will dominate the Hot 100 chart for, but if he goes on two weeks or beyond, he will break his own longest-leading record. Prior to “DtMF” reaching No. 1, Bad Bunny topped the chart for one week in 2018 with his appearance alongside Cardi B and J Balvin on “I Like It.”
Andrew Unterberger: I don’t know if “DtMF” will end up a 13-week No. 1 like “Luther” — it already had a pretty good and long chart run last year — but I don’t think it’s gonna disappear next week either, or any time soon. A lot of people are catching onto it for the first time, and just based on the number of times I’ve heard the song in videos on social media or out in the wild in the weeks since the Grammys, folks are more excited about it than ever right now.
3. “DtMF” marks the first predominantly Spanish-language No. 1 since “Despacito” in 2017. Are you surprised it’s been that long? Do you think we’re more likely to see more of them now that Bad Bunny’s broken through like this?
Kyle Denis: I’m not entirely surprised, but it does feel like it should have happened sooner. As far as I’m concerned, “Tití Me Preguntó” was a multi-week No. 1 smash! While it’s incredible to see “DtMF” at the top, it took a well-timed 1-2 punch of Grammys and Super Bowl weekend to get there. That kind of timing is very rare, so I’m not too sure we’re more likely to see more predominantly Spanish-language Hot 100 No. 1s in the years to come. I’d be more hopeful if U.S. top 40 radio routinely got on board with predominantly Spanish-language songs without remixes from non-Latin artists. Some perspective: Benito has yet to reach the top 10 of Radio Songs with a solo song, and “DtMF” has yet to see any of the chart’s 50 positions.
But if anyone can rewrite the rules of language and dialect at top 40 radio in the 2020s, it’s probably Bad Bunny.
Lyndsey Havens: I’m not surprised, no. When you think of a song like “Despacito,” that took over the conversation, the culture and clearly the charts. It’s become a sonic time capsule. But, at the same time, it was also the peak (so far) for Luis Fonsi. An artist like Bad Bunny is quite the opposite, rather than just one song dominating the conversation and culture it is Bad Bunny himself in that position. So, while I do think it’s a possibility we will see more Spanish-language No. 1s, I think if anything Bad Bunny has proven how difficult it really is to get here — and how even at the top, he’s still battling detractors. All is to say, it’s a longer, harder road for Spanish speaking artists to achieve such mainstream acclaim, but it seems Benito is reshaping that path.
Sigal Ratner-Arias: We all knew “Despacito” would open more doors and ears for Spanish-language music – even though the version that hit No. 1 on the Hot 100 was the one featuring Justin Bieber, with his lyrics in English. A lot has happened in nine years in the music industry, so I hope to see more opportunities now that Bad Bunny has broken through like this.
Jessica Roiz: Yes, it’s surprising that it took almost a decade for a Latin song to hit No. 1 on the Hot 100, but it’s even more shocking that none of the biggest songs on the Hot Latin Songs history reflected in feat: “Bailando” by Enrique Iglesias, December Bueno and Gente de Zona, which spent 41 weeks at the top or Shakira and Alejandro Sanz’s “La Tortura,” which spent 25, would have been deserving of a Hot 100 No. 1 spot. Now, the Super Bowl halftime show definitely sparked an interest in Bad Bunny’s music, and hopefully that will translate to wider Latin music consumption, resulting in more No. 1 Latin songs sooner rather than later!
Andrew Unterberger: It’s been such a globally explosive period for Spanish-language music over the past decade that even though there’s no one song I would say definitely feels like a No. 1 hit that didn’t end up actually being one, it is still a little surprising that no song has gotten there since 2017. But if nothing else, I imagine it will be a shorter distance for Bad Bunny himself to get back to No. 1 than ever before.
4. Do you think Bad Bunny will take advantage of this moment by quickly returning to the studio to record new music, or do you think he’ll take more of a break following the summation of his tour this summer? What would you advise him to do if you were on his team?
Kyle Denis: Human to human – take a break! My guy has been grinding non-stop for almost two years; I hope he’s able to take a few months for himself — especially considering his heightened fame. Nonetheless, Bad Bunny lives in the studio. In fact, he’s never taken more than a year and a half between studio albums (and that’s not counting the mixtapes and collaborative projects he’s dropped along the way). I fully expect him to have some new music ready by the summertime, if not to celebrate the tour’s conclusion. And that makes total sense! Why not take advantage of the recent expansion of your already massive fanbase?
Lyndsey Havens: I think he may have already been in the studio. And I think he may already know exactly what’s next. If I were on his team, I’d say let this moment breath, drop a project that goes on to become the second Spanish-language Album of the Year winner and then, just when he’s feeling rested, return to the stage to headline … well, with Coachella and the Super Bowl under his belt, he can really tackle whatever stage he wants.
Sigal Ratner-Arias: As a prolific hitmaker, Bad Bunny has never been an artist who can spend much time away from the studio. Even when he’s said he’s taking a break, he’s surprised his fans shortly after not with a single but with a full album. I believe that will be the case now that the Super Bowl is over, although it may take a little longer because of his current world tour. I have no advice to offer; I expect him to continue evolving musically while staying true to his Puerto Rican roots and keep spreading a much-needed message of Latin pride and unity.
Jessica Roiz: Bad Bunny is very unpredictable, and if his 2020 album title YHLQMDLG (yo hago lo que me de la gana) is any indication, he truly does whatever he wants, and there’s no advising him. But I do think he’s at the recording studio creating new music. Following the Super Bowl, he immediately removed all the content from his Instagram account, which has been a strategy in the past when he’s about to drop a surprise album.
Andrew Unterberger: If I had to bet, it would be on a bit of a break from music for the rest of 2026 — but if he released an album in the next three months, I also wouldn’t be shocked at all. Regardless, I don’t think he can really lose, whether he takes his time with the next project or jumps back in immediately. The only advice I’d give him is to make sure the next project is something he’s really passionate about, and that isn’t chasing what anyone else is currently doing: Bad Bunny’s long proven to be his most successful when he’s setting the trends, rather than following them.
5. Is Bad Bunny now the biggest pop superstar on the planet?
Kyle Denis: I mean, c’mon… without question!
Lyndsey Havens: He’s up there, for sure. And deservedly so.
Sigal Ratner-Arias: Yes. For how long? I don’t know. But as the numbers show, today, he is.
Jessica Roiz: Yes. No ifs, ands, or buts.
Andrew Unterberger: Taylor Swift is maybe still a little bigger. But if she is, she’s the only one.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-02-18 23:21:052026-02-18 23:21:05How Impressive Is Bad Bunny’s Post-Super Bowl Chart Takeover — And How Long Will It Last?
A federal judge on Wednesday (Feb. 18) refused to dismiss the Justice Department’s sweeping monopoly lawsuit against Live Nation, sending the case to trial next month.
Live Nation had asked Judge Arun Subramanian to end the antitrust lawsuit, which aims to break up the company from its Ticketmaster subsidiary, arguing the feds had uncovered little hard evidence after more than a year of discovery.
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But in his ruling, the judge said the government could proceed to trial on several key accusations, including that Live Nation abused its vast portfolio of amphitheaters to force artists to use its promotion services.
“A reasonable jury could certainly find that artists were coerced into going with Live Nation as their promoter to get into its amphitheaters,” Judge Subramanian wrote in allowing those claims, known as “tying,” to move ahead.
The judge also refused to dismiss the DOJ’s accusation that Live Nation has forced venues into exclusively using Ticketmaster as their primary ticketing service, preventing rival services from growing into challengers.
“Taking all this together, a jury must decide whether the exclusive contracts are the product of coercion (as there’s some evidence for) or venue preference (as there’s some evidence for),” the judge wrote.
Though he allowed the case to move ahead, the judge threw out some other key monopoly claims focused on concert booking and the fan experience. He held that the DOJ failed to properly define a nationwide market for fans, dooming those claims, and that there’s no evidence of Live Nation harming both arenas and amphitheaters with a booking-services monopoly.
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The DOJ declined to comment on the ruling. Live Nation did not immediately return a request for comment. A jury trial is currently scheduled to begin on March 2.
The DOJ and dozens of states filed the case in 2024, with an aim to break up Live Nation and Ticketmaster over accusations that they form an illegal monopoly over the live music industry. The feds alleged Live Nation runs an illegal “flywheel” — reaping revenue from ticket buyers, using that money to sign artists, then leveraging that repertoire to lock venues into exclusive ticketing contracts that yield ever more revenue.
In October, after more than 15 months of discovery, Live Nation moved for a so-called summary judgment ruling, arguing there was “barely a molehill” of evidence that it had done anything monopolistic. The DOJ disagreed, arguing it had uncovered numerous examples of the company abusing its market power.
In his ruling allowing the tying accusations to move ahead on Wednesday, Subramanian pointed to “evidence of coercion” — including “specific instances in which Ticketmaster appears to have threatened venues by conditioning access to artists on the venues picking Ticketmaster as the ticketer.”
“Although Live Nation argues that these threats aren’t specific to exclusivity, a jury could find that it was understood that going with Live Nation meant going with an exclusive deal,” the judge wrote.
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K-pop idols always seem to have the most juicy, hydrated lips around. Their makeup is pretty much perfect, almost infuriatingly so.
If you’ve ever wondered how your faves achieve the perfect pout, then this new Laneige launch might be the answer to all your queries. Made in collaboration with KATSEYE, the South Korean cosmetics brand dropped a JuicePop Box Lip Oil Stain in the shade K-pop Pink. The product is marketed as a mix between a lip stain and a lip oil, offering hydration and pigment with one swipe. The shade is described as a “cool bright pink” and is available now at Sephora for $23. The secret to the stain meets lip oil’s success? The unique formula, which combines 80% oil and 20% water for maximum hydration and staining power.
This is a glossy lip stain that is said to be hydrating because it is oil based. The stain is in the shade K-pop pink.
When applied, the lippie leaves a high-shine finish and a tinge of pink that lasts all day, according to Laneige. The doefoot applicator is curved, meant to mimic the natural shape and curvature of your lips for expert application. Along with this K-pop-certified lip product, Laneige dropped eight other JuicePop shades, including neutral hues and vampy mocha hues, all with that high-shine finish. Each shade features names inspired by music genres like Jazz, Lo-Fi, Pop, Disco and more.
Each shade is said to offer wearers up to 12 hours of long-lasting shine. The lip oil stain is also formulated with peptides, which, according to Laneige, visibly firm and improve elasticity for plumper, more hydrated lips overall. Every lippie comes with a unique cap that features an opening on the top that can be clipped onto keychains or bags.
Speaking of keychains, Laneige also dropped a limited-edition JuicePop Box Lip Tint Wristlet & Keychain to go along with their new lip products. The keychain/wristlet retails for $20 and is affixed with a bright pink strap, inspired by the KATSEYE-approved shade, and two charms, including a pink and black record. The keychain clips to your JuicePop Box lippie securely and can be attached to your bag, belt or keys so you’ll have your lip product with you at all times. The limited-edition launch capitalizes on the ever-popular bag charm trend that is still going strong.
This limited-edition keychain attaches to your newly-acquired lip stain. The keychain can be worn as a wristlet or attached to your bag or keys to have your lippie wherever you go.
Along with the launch of KATSEYE’s K-pop shade, Laneige dropped a promo video featuring the group and the new lippie. The video was set to the group’s latest track “internet Girl,” which peaked at 29 on Billboard’s Hot 100 charts. The track spent four weeks on the charts in total and was dropped on Jan. 2nd. You can watch the video below.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-02-18 21:40:412026-02-18 21:40:41Get Juicy KATSEYE-Approved Lips with the Girl Group’s New Laneige ‘K-Pop Pink’ Tint
You open up TikTok or Instagram. The first video is a creator dancing to “Lush Life” by Zara Larsson. The next one is an influencer promoting a startup mattress brand, set to Fleetwood Mac’s “Dreams.” After that, it’s Kylie Jenner lip-syncing to “Pretty Little Baby” by Connie Francis. Then it’s your favorite NCAA team, using AC/DC’s “Back in Black” in a hype video.
The creators of each of those videos pulled their music from TikTok or Instagram’s vast song libraries, which make it easy for modern social media users to add fully-licensed tracks to their posts. But only some of them were actually allowed to do so.
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Here’s why: According to the rules of those platforms, the song libraries are strictly for personal use. Videos posted by businesses or paid influencers, on the other hand, must utilize a far more limited commercial library. If a brand wants to use a popular song that’s not there, they must get a sync license — just like any conventional advertisement on TV.
Many companies have apparently missed that message. For years, large commercial accounts have liberally used well-known songs on social media to promote their brands — so much so that some social media managers likely don’t even know they aren’t allowed to.
But over the past two years,record labels and their lawyers have launched a large-scale crackdown on music used in social posts without permission. They’ve filed lawsuits against Marriott, Chili’s and more than a dozen NBA teams, claiming they’ve used thousands of songs. And many more companies have settled privately, experts say.
“For every case that we’re seeing, there are a ton of cases that we’re not seeing,” says Sarah Moses, a partner at the law firm Manatt Phelps & Phillips LLP, who has closely tracked the issue. “What you’re seeing bubble up in the courts is really just the tip of a very large iceberg.”
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The battle has its origins in 2021, when the three major labels began suing drink maker Bang Energy over its use of music in promotional videos; UMG claimed the company had used songs by Justin Bieber, Dua Lipa, Cardi B and others in more than 100 TikToks. The labels eventually won their cases, as judges rejected Bang’s excuse that it believed such songs were fair game because they’d been provided by the platforms.
The cases are unlikely to stop coming anytime soon, as the problem appears to be widespread. Third Chair, a startup that sells AI-powered monitoring and enforcement services, says it uncovered more 2.4 million commercial posts containing music posted between 2019 and 2025. Those numbers are imprecise — some could have been legally licensed — but they hardly indicate an isolated problem.
“We’re finding that there’s way more of this than anyone actually thinks. Way more,” says Yoav Zimmerman, Third Chair’s co-founder and CEO. “People think: ‘Oh, one company messes up every once and a while.’ [But] there are tens of thousands of companies that are doing this.”
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How did it get that way? After all, these aren’t anonymous bad actors torrenting music, or mom-and-pop companies grabbing a random song without permission for a Facebook post. These are major corporations with huge legal departments, accused of using copyrighted music on a mass scale.
In its lawsuit against Marriott, for instance, Sony claimed that the company — the world’s largest hotel chain, with $26 billion in revenue last year — illegally used popular songs in more than 900 social media posts over a four-year span, including tracks by Beyoncé, Harry Styles, Britney Spears, Michael Jackson and Miley Cyrus. That case ended in a settlement five months later.
“I think there’s been a mindset that social media is like the Wild West, where anything goes,” says Moses, the Manatt lawyer. “Even at large, sophisticated companies, the social group is often run by individuals who are younger, who have seen everyone using music and think: ‘If they can do it, why can’t we?’”
Some companies facing these lawsuits have essentially made a version of that argument in court. Hit with threats of litigation from Sony, footwear retailer DSW went on the offensive, filing a preemptive lawsuit that argued it had, in fact, been allowed to use the label’s music in its posts. DSW claimed Sony had “encouraged and supported” brands to use the songs by making them available on Instagram and TikTok, but was now trying to “pull the rug out” after already being paid licensing fees.
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“[DSW] will not permit the labels to bully them, abuse copyright law, and cast a shadow over their businesses,” the retailer wrote, calling Sony’s legal threats “opportunistic attempts to extract still more money for copyrights on which they have already received full compensation.”
That argument could face an uphill climb in court, though. The terms of use for both Instagram and TikTok are fairly clear: The former bars the use of music for “commercial or non-personal purposes” without “appropriate licenses,” while the latter says songs can be used “only for personal entertainment and non-commercial purposes.”
Faced with that explicit language, many large companies are now implementing training and workflows to fix the problem, Moses says, aimed at bridging the “disconnect between the marketing department and the legal department.” Other companies will likely start to litigate more aggressively rather than pay increasingly large settlement demands, especially as their insurers tire of paying such fees.
In court, some of those companies might argue that their use of the music was essentially accidental and thus doesn’t entitle labels and publishers to the kind of maximum statutory damages foisted against willful pirates, a cut-your-losses strategy that will likely be more persuasive to a judge than simply claiming they did nothing wrong at all.
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As the fight goes on, a trickier question will be what happens with the millions of TikTok and Instagram influencers who operate personal accounts but are frequently paid to hawk specific products. Such accounts have long been a gray area when it comes to advertising law, and experts say they’ll pose similarly difficult problems when it comes to the debate over music licensing.
Does a mommy blogger with 750,000 Instagram followers need to go negotiate a sync license every time she posts a video of her kids to a popular song? Probably not. But what about when she posts a hashtag #ad with a @partner? In the strictest legal sense, the answer is almost certainly yes.
Going after influencers would be easier said than done, however. It’s one thing to sue a global hotel chain over hundreds of obvious commercial posts — that’s easy. But are record labels really going to go full 2000s file-sharing era and start suing individuals for copyright infringement over specific paid posts?
“The rightsholders are able to go after the big companies in a pretty clean and clear way, because these are obviously commercial accounts. But influencers become very complicated to navigate,” Moses said. “We haven’t seen it yet, partly because there may just not be as much money there. But I wouldn’t be surprised if that was the tail end of this process.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-02-18 21:35:402026-02-18 21:35:40‘Like the Wild West’: Why Music Companies Are Cracking Down on Corporate Social Media
Kentucky’s Bourbon & Beyond festival will bring a plethora of musical talent spanning country, rock, Americana and more, when the multiday festival launches its eighth year on Sept. 24-27 in Louisville, Ky., at the Kentucky Exposition Center.
This year’s leading performers include Chris Stapleton, Kacey Musgraves, The Red Clay Strays, Foo Fighters, Queens of the Stone Age, Dave Matthews Band and many others. Over 100 artists will perform across five stages.
Also on the massive lineup are Goose, Mumford & Sons, Foster The People, Jason Isbell and the 400 Unit, Hootie and the Blowfish, Of Monsters and Men, The Flaming Lips, Counting Crows, Jesse Welles, Jessie Murph, The War on Drugs, Charley Crockett, Max McNown, Cheap Trick, Marcus King Band, Avery Anna, Gabriella Rose, Sierra Hull and The Creekers.
“Bourbon & Beyond is built to be the best weekend of your year. Plain and simple. From the second you arrive, everything is designed so you can fully experience what a music festival should be,” Danny Wimmer of Danny Wimmer Presents said in a statement. “It’s an escape with soul — a place where you can unplug from real life, let loose, be a kid again, and really live in the moment. You can ride roller coasters at Kentucky Kingdom, discover new artists and see your favorites, sip great spirits, and eat incredible food — and it all just works. At its core, it’s about creating memories. It’s a vacation inside a vacation. This lineup reflects everything Bourbon & Beyond stands for. And I say this with humility and confidence — there is nothing else quite like it in this space. It truly is the best weekend you can have at a festival of this scale.”
David S. Beck, president & CEO of Kentucky Venues, added, “Bourbon & Beyond captures the spirit of Kentucky like no other music festival. Last year’s move to the heart of the Kentucky Exposition Center set a new standard, and together with Danny Wimmer Presents, we’re proving the Commonwealth is the premier destination for world-class events.”
Other offerings during the fest include Fork & Flask curated by Kroger, which will highlight local restaurants, speakeasies and bars. The Kroger Big Bourbon Bar will house the Bluegrass Situation Stage to highlight top bluegrass bands. Attendees can also get free access to amusement rides inside Kentucky Kingdom, which became part of the fest’s footprint last year.
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Reneé Rapp shared her three-product lip combo with Allure last year and one item in particular stood out to viewers, as the BITE ME singer and Mean Girls actress touted the wonders of a $10 Amazon lip stain.
“My most asked beauty question is ‘what is your lip combo?’” Rapp bashfully said in the video. “I’ve been holding out on you b—hes … I’m not gonna lie because I don’t want to not be able to get this s–t.”
Fortunately, Rapp’s go-to lip stain is widely available on Amazon right now. The singer revealed that she starts her lip routine with Palladio’s Lip Stain in the shade “Mocha Cream.”
The hydrating lip stain currently retails for $9.59 on Amazon and comes in a mini marker-style package. “This is literally the best thing ever,” Rapp praised. “Hell yeah, I saw it on TikTok and hell yeah I bought, like, 20, and I’m never letting it go,” she said.
The Palladio Lip Stain currently boasts more than 10,000 reviews online on Amazon. And hundreds of TikTok videos have been created about the lip stain, with users praising its highly-pigmented color and stay-proof, water-resistant finish. The lip stain comes in six shades which you can see here. It’s formulated with panthenol, a humectant that retains moisture to help keep the lips hydrated.
At just $10, it’s a no-brainer to pick up on Amazon. As for Rapp? The star uses the stain to line her lips, blending out the harsh edges with a brush with residual concealer on it.
Rapp follows up her lip stain with this rosy brown lip liner from Makeup for Ever.
Rapp uses the Waterproof Artist Color Pencil in the shade Wherever Walnut. The lip pencil can be found at Sephora for $26. Rapp applied the warm, rosy nude shade over the lip line she just made with the stain, further defining it. The singer also warned not to take the liner into the middle of your lips. “‘Cause when it looks lighter, I feel like it looks better,” Rapp added.
What we like: the waxy waterproof formula offers maximum color payoff without budging.
Finally, Rapp topped her lip look off with the L’Oreal Paris Plump Ambition Lip Oil in the shade Wine O’clock, a deep red wine color (hence the name).
The oil is currently on sale for under $10 on Amazon. The Broadway star patted the oil in the center of her bottom lip, then smacked her lips together, dispersing the dab of product she’d applied. The oil, like her lip stain, is formulated with hyaluronic acid, which hydrates the lips. You’ve also got tripeptides that stimulate collagen production, creating that plumping effect.
Rapp new album Bite Me was released Aug. 1 and debuted at number-one on the UK charts.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-02-18 20:15:362026-02-18 20:15:36Reneé Rapp Found This $10 Lip Stain on TikTok and Added It to Her Makeup Routine