The dismembered body of Celeste Rivas Hernandez, the teen girl found in the trunk of a Tesla registered to D4vd, was likely dead for weeks before being discovered, according to the Los Angeles Police Department.

PEOPLE spoke with LAPD Captain Scot M. William, who confirmed that the Tesla containing Celeste’s body was parked for weeks before being towed to a yard in Hollywood.

“We know for sure that Celeste Rivas Hernandez died and someone placed her body in the front trunk area of David Burke’s [D4vd’s] Tesla,” William said. “We know that the Tesla had been parked at the location from which it was towed for several weeks, so it is very likely Celeste Rivas Hernandez had been dead for several weeks prior to her body being discovered.”

A cause of death for Rivas has yet to be ruled, and D4vd hasn’t been publicly named a suspect in the case of the 15-year-old’s murder as the investigation remains ongoing.

“The Los Angeles County Medical Examiner has not determined a cause or manner of her death, so we don’t know for sure if anyone has any criminal culpability for her death beyond the concealment of her dead body,” William added.

A body was found on Sept. 8 after police officers responded to a call of a “foul odor” coming from an impounded Tesla at a Hollywood tow yard. Just over a week later, Celeste Rivas was identified as the individual in D4vd’s trunk, who had previously been reported missing since April 2024.

During this time, D4vd was on the road for his Withered World Tour. On Sept. 20, the singer ended up canceling the rest of his North American leg as well as the upcoming European dates of his tour without any explanation.

“As far as their relationship, it would be premature for me to say anything,” officer William stated of the connection between the 20-year-old singer and Celeste Rivas. “We are looking into everything.”

Billboard has reached out to the LAPD for comment.

Two months after launching their celebratory JONAS20: Greetings From Your Hometown tour, the Jonas Brothers are adding dates to their anniversary outing. On Monday (Sept. 29), Joe, Nick and Kevin Jonas revealed 18 more North American dates for the tour, with newly revealed shows in Newark, Cincinnati, Detroit, Las Vegas, New Orleans, Ottawa, Montreal, Baltimore and Brooklyn.

Tickets for the new shows will go on sale on Thursday (Oct. 2) at 10 a.m. local time here.

The list of fresh stops also two one-offs that are not part of the arena tour, including an Oct. 31 stop dubbed DNCE Halloween, seemingly in honor of Joe’s side dance project, as well the Nick Jonas Sunday Best Brunch on Nov. 30 coinciding with a show that night at Maverik Center in Salt Lake City.

After joining them for surprise appearances on earlier dates, Jesse McCartney has signed on the tour as the opening act in some of the new markets. Since launching the tour on Aug. 10 with a show at MetLife Stadium in East Rutherford, N.J. with guests Demi Lovato, Switchfoot and Dean Lewis, the JoBros have been criss-crossing North America with a show that has featured guest performers including: 5 Seconds of Summer, Alessia Cara, All Time Low, Cartel, Chord Overstreet, Christina Perri, Dashboard Confessional, Fifth Harmony, Hanson, Hoobastank, Jack’s Mannequin, Jason Mraz, John Legend, JoJo, JP Saxe, Kelsea Ballerini, Machine Gun Kelly, Neon Trees, Paul Russell, Phantom Planet, Plain White T’s, Russell Dickerson, Ryan Cabrera, Simple Plan and Sum 41, among others.

Fans who can’t make it to one of the shows can stream the tour live from Milwaukee on Oct. 12, Orlando on Oct. 26 and Buffalo on Nov. 9 on Samsung TV Plus.

Check out the new JONAS20: Greetings From Your Hometown 2025 North American dates and tour poster below.

+With The All American Rejects
^With Jesse McCartney

*With Franklin Jonas

On Sunday night (Sept. 28), Cardi B landed her second No. 1 on the Billboard 200 with Am I The Drama?, moving 200,000 equivalent album units. After a seven-year gap — marred by delays and high-profile marital drama — Cardi’s sophomore rollout became a masterclass in execution, turning chaos into fuel and proving how rewarding it can be for her to lean fully into her own drama.

Following June’s announcement of a September release, Cardi handled the controversy with Jeter-like precision. She stood firm, brazenly defending her decision to slot 2020 smashes “WAP” and “Up” onto the project five years later, using Spaces on X as her battleground and firing back at anyone questioning her motives. And while her second single, “Imaginary Playaz,” fizzled on the Hot 100 with a No. 70 debut, Cardi stuck to her blueprint, stepping “Outside” this summer to rally her base and keep the rollout momentum alive.

She hosted WWE SummerSlam at MetLife Stadium in August, bridging her love for wrestling with a mainstream audience and brilliantly teasing “Hello” as her entrance theme. Then came her assault trial — a must-see spectacle where Cardi’s comedic wit and reactions stumped attorneys and flooded social media timelines. Within days, her hairstyles and jaw-dropping one-liners became viral gold. That wave became the spark her campaign needed: after being found not guilty, she announced “The Courtroom Edition” of Drama, doubling down by hawking CDs on the streets of L.A. and the subways of New York with her trademark charisma. Cardi turned memes into marketing plans and became the topic of conversation this latter half of the summer with her epic rollout to release week. 

Her push carried over to the media circuit. Following her viral Billboard cover, Cardi hit radio, TV, and podcasts including The Breakfast Club, The Jennifer Hudson Show, and Call Her Daddy. She did in-store signings and meet-and-greets — while pregnant — a grassroots move virtually unheard of for someone at her level. Every play she made was an instant reminder to fans why she’s the People’s Champ. She mobilized her fanbase, and tapped into their allegiance more than ever by interacting with them in-person and online. While today’s artists largely lean on the internet, Cardi literally took it back to the streets, shaking hands, kissing babies and jumping on car roofs like we’re back in the ‘90s and ‘00s.

Could she have landed another No. 1 without this extra grind and motivation? Probably. But instead of a routine 115–125K debut, her surprise performances with Apple Music, A+ street-level hustle and perfectly timed pregnancy reveal with NFL star Stefon Diggs, pushed Drama into a full-fledged cultural moment. It echoed her 2018 Invasion rollout playbook, but with even more savvy and grit. 

Most importantly, the music delivered. That’s what made this album cycle more than theatrics. She wasn’t overly reliant on features: Megan Thee Stallion on “WAP” is a legacy holdover, Janet Jackson’s appearance via sample on “Principal” plays as homage and Summer Walker’s appearances on “Dead” and “Shower Tears” are legitimately additive to those songs, but Cardi clearly shoulders the load throughout the 23-track expedition. If Invasion solidified Cardi’s superstardom, Drama proves she’s currently hip-hop’s rarest breed: an A-lister still hustling like the rent’s due. 

T.I. is facing a new lawsuit from veteran hip hop producer Sir Jinx over his oft-raised accusations that the rapper has failed to pay proper royalties for his 2016 Dr. Dre collaboration “Dope.”

Jinx (Anthony Wheaton) – Dre’s cousin who rose to fame with Ice Cube in the 1980s – is publicly credited as a producer on the disputed 2016 song. But in a lawsuit filed Sunday in Los Angeles federal court, he says he’s been denied his full compensation.

“Despite repeated demands, including a formal demand letter dated November 11, 2022, defendants have failed and refused to provide an accounting or pay royalties owed to plaintiff,” Jinx’s lawyers write.

Though the lawsuit is new, Jinx’s accusations are not. He’s already sued T.I.’s company  (Grand Hustle, LLC) over such allegations twice before – once in state court in 2023 and again in federal court earlier this year. But he dropped the state case in April after a judge largely sided with T.I., and the first federal case was dismissed last month over procedural defects.

Reps for T.I.’s company and an attorney for Jinx did not immediately return requests for comment on the dispute. Dre is not involved in the litigation on either side.

Jinx rose to prominence in the 1980s as a member of the hip hop trio C.I.A. alongside Ice Cube and Kid Disaster. In addition to producing Cube’s early albums, he then had a prolific career in the studio for other artists, producing records for Yo-Yo, Tone Loc, Xzibit and others.

But in recent years, Jinx has become more of a prolific litigant. In 2021, he sued Ice Cube over claims that he was still owed royalties for more than two dozen tracks he had produced for the star. And in December, he sued Warner Music Group and Universal Music Group over claims that he hadn’t been fully paid for his work on Yo-Yo’s 1991 album Make Way for the Motherlode.

T.I. released a star-studded video for “Dope” in 2016, with Dre listed as a producer after hinting earlier that he’d been working with the rap icon on his upcoming album Dime Trap: “Dre’s the homie, to be honest with you,” T.I. told Rolling Stone in 2015. “I’ve never seen somebody so meticulous about music before.”

When the album was finally released in 2018 by his Grand Hustle Records and Sony’s Epic Records, “Dope” wasn’t included in the track list. But the song remains popular on YouTube, where the video has racked up more than 19 million views.

Jinx says it’s not in dispute that he worked on the song – and on T.I.’s official YouTube channel, the longtime DJ is indeed listed as a producer for the track. But like his previous cases, his new lawsuit seems to claim that he was not aware that “Dope” had been dropped publicly – and that he now wants his cut from any proceeds.

“Plaintiff later discovered that ‘Dope’ was released and exploited,” his lawyers say. “Defendants’ continued unauthorized use of ‘Dope’ has resulted in substantial financial harm to plaintiff.”

The lawsuit does not name an exact amount of damages, but says Jinx is owed at least $800,000 from T.I.’s company.

On day one of All Things Go NYC (Sept. 26), buzzy English pop-rocker Rachel Chinouriri delivered one of those special sets that convinced everyone in Queens’ Forest Hills Stadium that she’s the next big thing.

Playing a smattering of songs across a half-hour set – several of which were from her 2024 breakthrough debut album, What a Devastating Turn of Events — Chinouriri commanded the stage with a calm self-assuredness that she occasionally dropped for vivacious bursts of energy. From leading dance-a-longs to “23:42” to getting the entire venue to raise its hands during the “All I Ever Asked” chorus, the 26-year-old singer-songwriter was one of the early winners of this year’s NYC staging of All Things Go. Near the end of her set, Chinouriri played one of her newest songs, a sweet, indie-pop ode to her boyfriend titled “Can We Talk About Isaac?”

“Isaac is in New York for the first time ever, and I’ve always had a vision of him running out with a tambourine,” Chinouriri tells Billboard backstage after her set. “We didn’t have a tambourine, so I was like ‘Come out, anyway,’ and Amira, my tour manager, said she’d push him…. so he was forced onstage. [Laughs]. I think he deserves his moment, he’s inspired some songs!”

“Can We Talk About Isaac?” appears on Chinouriri’s Little House EP, which she released this spring (April 5). The EP arrived the day after Chinouriri concluded her stint as an opener for the first European leg of Sabrina Carpenter‘s Short n’ Sweet Tour. With Carpenter set to bring that tour back on the road this fall — in support of her latest Billboard 200 chart-topper, Man’s Best Friend — Chinouriri already has an idea of which new song she’d like to remix. “‘Sugar Talking,’” she says without hesitation. “It’s undefeated, it needs to be No. 1.”

Alongside Carpenter, Chinouriri also named Pinkpantheress and Hayley Williams as artists she’d like to collaborate with this year. Of course, Chinouriri is no stranger to receiving love from pop superstars; Adele popped out to her L.A. show in June and sent her flowers to celebrate her first two Brit Awards nominations. “It’s mental because she feels like this magical entity,” Chinouriri jokes. “I’ve not met her, so I just want to sit with her and be like, ‘Who on Earth showed you my songs? How did this happen?’ But I love that she’s a South London girly and feel very grateful to have her support.”

As she continues to prep her follow-up to What a Devastating Turn of Events, Chinouriri remains focused on lifting other Black girls in the indie and alternative scenes as her star rises. “We need more [Black girls in these spaces]. It’s not acceptable that my only other Black indie counterpart, Cat Burns, went to my school,” she stresses. “I can’t wait until I’m 60 and lots of young Black girls can enter the industry and not have to do the whole ‘Don’t call me R&B’ dance. I want them to do it freely, be supported freely and not feel like they don’t deserve to be in this space.”