Cardi B says that she will not be dropping a video to her BIA diss track “Pretty & Petty” because she doesn’t wanna be a bully.

BIA dropped off her new album, Bianca, on Friday (Oct. 10), and during a recent livestream with fans Cardi B said she recognized that putting out an album is a lot of stress and work. Due to this, Cardi, who dropped her album Am I The Drama? back in September, said she would not be dropping off the Instagram visual to her song “Pretty & Petty.”

“I know how stressful it is to put an album out and I know how f—ked up you be in the mind when you put an album out and s—t, so I feel like if I do a video to ‘Pretty & Petty as F—k’ this week or today, I feel like I would be bullying,” Cardi said. “I don’t wanna feel like a bully. Because when I bully, then God takes from me.”

She continued, “If the b—h ain’t messing with me and she didn’t sub me in her f—king dusty a– album, I’m not gonna do a video, like, reciting her diss track and s—t like that on a day that I know she’s stressed. Because then God will punish me. So I’ll do a video tomorrow morning to another song. Probably next week, I’ll do a video for ‘Pretty & Petty as F—k.’ I’mma be nice to you because it’s your album day. I don’t wanna add to your stress. I’m not that bad person that people think I am.”

The empathetic response comes just a few days after Cardi B fired back at BIA following the “Whole Lotta Money” rapper’s recent interview with Hot 97. BIA addressed her feud with the Bronx native in the interview, and said it all stemmed from fans noting similarities in BIA’s Really Her project and Cardi’s “Enough (Miami).”

“That was the only thing it was about for me,” BIA clarified on Hot 97, before dispelling rumors that it had anything to do with both rappers flipping Missy Elliott’s “She’s a Bitch.”

Cardi responded almost immediately on X Spaces on Wednesday (Oct. 8).

“After we resolved that conversation on the phone, the ‘Enough’ music video comes out and then you start subbing me again because you in your delusional mind think I copied one of your music video contents,” Cardi said. “It’s like, b—h, I done told you before. You’re not interesting enough for me to look at you. You’re not creative, your music is boring, everything about you is boring. I don’t care nothing about you. You’re bugging.”

Check out Cardi B’s latest response below.

Cardi b said she was going to do a instagram video for “pretty & petty” but she don’t want to add to BIA album stress 😭😭😭😭😭😭 pic.twitter.com/sneylU3oqP

— kxngcardo (@KxngCardo) October 10, 2025

Following a sold-out 2025 edition that marked its most successful year yet, the Same Same But Different (SSBD) Festival is breaking new ground by inviting fans to buy into its future. 

The Southern California festival, held each September at Lake Perris State Park in Riverside County, has launched a first-of-its-kind public ownership campaign through WeFunder, allowing attendees to invest directly in the company. The soft launch, open only to 2025 attendees, raised $409,000 in its first week. Now, WeFunder is opening the investment opportunity to the general public, making SSBD one of the first music festivals in the U.S. to pursue what co-founder Brad Sweet is calling a “fan-funded ownership model.” 

“For as little as $100, fans can move from just attending to becoming part-owners,” says Sweet of the offering, which starts Friday (Oct. 10). “We’re making sure SSBD grows with the people who made it possible — and that it stays independent for years to come.” 

Founded 2018 by musicians and friends living together in Southern California, Same Same But Different has steadily built a loyal following around its lakeside setting, immersive art and eclectic music lineup. This year, the festival capped attendance at 5,000 — a sellout — and achieved a 34% year-over-year increase in ticket sales, beating its own projections, the festival says. 

“Our theme this year was ‘less but better,’” Sweet explains. “Rather than expand and do everything that comes across the plate, we wanted to hone in on what we already do well and make it better, smoother, more dialed in.” 

Sweet says SSBD’s goal is to cap attendance permanently at around 7,500 to maintain the intimate, community-driven atmosphere that defines the event. “It’s a reflection of the festivals I loved the most,” he says. “You can still stay profitable and be a business that makes sense — but keep that intimacy that makes it special.” 

Because SSBD is attempting to raise money through WeFunder, it is required to disclose internal financial information to the Securities and Exchange Commision (SEC). According to the company’s public filings, SSBD has $242,811 in assets, more than double the previous year, with $234,620 in cash on hand. The company is carrying $726,962 in short term debt, up from $353,726 in the previous year, and long-term debt of $1.5 million, up from $1.1 million the previous year. The company reported $2.2 million in revenue this year, slightly up from the previous year, and negative net income of $911,994, down slightly from the previous year. 

Under the new WeFunder model, fans can purchase actual shares in the company. “This is true ownership,” says Sweet. “We filed with the SEC, so it’s real — not just crowdfunding. It’s ownership, perks, and participation.” 

Investors can buy in for as little as $100, with perks starting at $250 and scaling up to lifetime VIP passes for investments of $10,000. At the $500 level, investors will be invited to annual meetups and early access events — including a cannabis-themed show this November where Sweet plans to discuss next year’s plans with the community. 

Investors at higher levels will have opportunities to weigh in on creative decisions, like lineup choices or art installations, though voting rights in company operations will remain with festival management. 

“We didn’t want hundreds of people voting on business matters,” Sweet says with a laugh. “But creatively, we want their input. These are the people who understand the culture.” 

Sweet says he wanted to prove that independent festivals could stay independent — and financially healthy — without selling to Live Nation or AEG. “We’re doing this because we’re profitable,” he emphasizes. “We didn’t want this to feel like a donation. We wanted fans to know they’re investing in a strong business with a future.” 

If successful, investors could receive dividends within a few years, as the festival grows into its 7,500-attendee ceiling. Sweet says any future acquisition — though not the goal — would pay out investors equally alongside founders. 

“This might become a new financial model for how independent festivals can stay independent,” Sweet says. “Raising funds is often what pushes early-stage festivals into the arms of big corporations. This could be a way to change that — to let the community that loves you also own you.” 

Before Jay Dee became the lead singer of pioneering trap corridos troupe Herencia de Patrones, the artist born Jesús Diego Orejel spent his days picking peaches in Northern California’s vast agricultural fields. The fuzz from the fruit often caused his skin to itch, a constant reminder of the grueling labor he dreamed of leaving behind to chart a future in music.

His journey from farmworker to frontman is at the heart of CLIKA [“The Gang”], a film executive-­directed by Jimmy Humilde, founder and CEO of label Rancho Humilde. Due for release in January 2026 by Columbia Pictures in collaboration with Sony Music U.S. Latin and Sony Pictures, the movie offers an authentic look at the Mexican American experience while showcasing the corridos tumbados explosion of recent years — and the cultural movement it inspired.

“It all started with an idea, something that had to do with the culture, how we’re building corridos and how we didn’t have to go to Mexico to [do so],” Humilde says. “We created it here in the U.S. for the U.S. audience, and now it has gone global.” Adds Txema Rosique, senior vp of A&R for Sony Music U.S. Latin, “CLIKA is grounded in real experiences, promoting self-worth, perseverance and cultural pride… We see this as the start of a long-term effort to tell more stories that uplift and empower underrepresented communities.”

The film is loosely inspired by the rise of Rancho Humilde, the independent label Humilde founded in 2011 to elevate artists like Natanael Cano, Fuerza Regida and Herencia de Patrones. For years, the label’s viral music videos, many of which depict artists flexing luxury rides and stacks of cash, have racked up hundreds of millions of YouTube views. These visuals served as storytelling pieces for the budding corridos tumbados movement and helped cement the rise of Jay Dee’s group, which broke through in 2019. Soon enough, Humilde realized those stories could extend beyond music videos: “I thought, ‘Why don’t we make a movie?’ We already had the audience.”

The film was also a natural next step for Jay Dee, who makes his acting debut in the lead role. “It felt like shooting a music video, and because this story was so close to my own life, it was easier to step into those shoes,” he says. “Up here in Northern Cali, that’s what a lot of people know — my family members and the people that I roll with in my crew, they all know farmwork. They all got their hands dirty and know what it’s like to pick peaches, deshijar [“to remove shoots and suckers”], podar [“to prune”].”

Formed in Yuba City in 2016, Herencia de Patrones is widely credited with helping pioneer a style that fuses traditional regional Mexican corridos and norteño with hip-hop wordplay. The film’s narrative parallels Jay Dee’s personal milestones, including the release of “Cosa de la Clika,” his group’s breakthrough corrido featuring Fuerza Regida and Legado 7 from its 2019 studio debut, Pa las Vibras. “That was the track that changed everything,” Jay Dee recalls.

For Humilde, the movie reflects the same philosophy that made Rancho Humilde a success. “This film is to show people that anything you set your mind on to do is possible,” he says. “We created all [of this] with thought, faith and a lot of belief in ourselves.”

This story appears in the Oct. 11, 2025, issue of Billboard.

In the rapidly evolving landscape of generative AI, the music industry is facing urgent and profound disruptions. As AI-generated compositions flood digital platforms, mimic human artists (to varying degrees), and go viral under fictional personas, the industry finds itself at a crossroads. At the heart of the issue is a challenge that resurfaces with every technological shift: creating fair and equitable licensing models. Time and again, new (and well-funded) companies enter the market with little interest in paying music creators what they’re truly worth. 

Since the inception of the concept of copyright, there has been an underlying assumption that songs originate from human creators. This foundation underpins everything from copyright registrations to royalty distributions. But in today’s landscape, generative AI can create music with minimal or no human input, and the industry’s legacy systems are simply not equipped to handle this new reality.

When an AI-generated work appears on a streaming platform, who owns it?  Who should get paid if it racks up millions of streams or is licensed for film, TV or ads? And how is it fair for these AI-created works to siphon off streams — and revenue — that would otherwise go to human-made music?  These questions remain largely unanswered. As a result, AI music continues to enter the market with little to no accurate metadata about how it was created, who owns it or what its legal status is. 

This lack of clarity imposes a serious threat to the infrastructure that sustains the music industry economy. At a time when building a sustainable career as an artist, musician or songwriter is already more difficult than ever, this represents yet another massive challenge. PROs, DSPs, music publishers, record labels and digital distributors all depend on accurate metadata to properly allocate royalties. When a track’s origin is unclear, the system breaks down: payments go unmade, or worse, end up in the hands of bad actors gaming the system. Now multiply that by the virtually limitless volume of AI-generated music, and we’re staring down a full-blown crisis. 

Metadata is the DNA of music. It contains essential information — songwriters, performers, publishers, ISRC codes, ISWC codes — that allows works to be identified, tracked, monetized and ultimately paid on. Unfortunately, the music industry still has massive data gaps for millions of human-generated works. With the arrival of AI-generated music at a global scale, that gap is rapidly widening into a chasm. 

To future-proof the industry, we need new metadata standards that clearly indicate whether a work is human made, AI-assisted, or fully AI-generated. This added layer of transparency would benefit everyone in the licensing ecosystem: publishers, labels, DSPs, broadcasters, distributors and beyond. It should also extend to the listening public, so audiences know what they’re engaging with. Implementing this could be as simple as adding a few extra few words to the label copy or credits.

A fair and equitable licensing model goes hand in hand with the new standard for metadata. It’s straightforward: the AI needs songs to train off of, and songs have tremendous value. The pushback is that large-scale licensing often comes with challenges in identifying all the rights holders — multiple songwriters and publishers and hard-to-trace sound recording owners can make the process complex. But AI companies that are creating the most powerful learning technology ever known to man should be able to keep track of what songs are being used to train their models. Furthermore, it’s never been easier to find out who owns the rights to a song.  The music industry has worked tremendously hard on transparency over the years, driven largely by the shift from physical formats to a digital streaming ecosystem and the vast amounts of data that come with it.

AI is moving at a breakneck speed, and the gap between attribution and automation is widening by the day. If we fail to act now, we risk losing the ability to properly document, license and protect music at scale. Once metadata is lost — or never created in the first place — it becomes exponentially harder, if not impossible, to recover. The longer we wait to implement clear standards and guardrails, the more vulnerable human creators become to exploitation and erasure. The time to close the gap is now — before attribution becomes a relic of the past.

Frank Handy is the national chair and Los Angeles chapter president of the Association of Independent Music Publishers (AIMP) and a seasoned music executive with two decades of experience in publishing, royalties, and operations. Currently vice president and head of operations & administration at Position Music, he has overseen global catalogs and worked with artists including The Weeknd, Lorde, and Diplo.