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The future of smart glasses is here. Meta and Ray-Ban just launched its most advanced wearable tech with the Meta Ray-Ban Display. Releasing with a Meta Neural Band, the device is the world’s first Al display glasses that feature an in-lens display with input control from your wrist. Hidden within Ray-Ban’s timeless wayfarer frames, these tech-savvy spectacles continues to push boundaries in wearable technology without sacrificing style.

Priced at $799, the new Meta Ray-Ban Display & Neural Band package are only available in-store exclusively at Best Buy. Starting on Tuesday, Sept. 30, shoppers can schedule appointments at Best Buy to demo the smart glasses to get hands-on experience. Check appointment times here.

They may look like a classic pair of Ray-Ban Wayfarer’s but underneath are some impressive tech and smart features. Unlike previous Meta Ray-Ban products, the Display features a 600x600p hi-res full-color augmented reality display built into the right lens. Users can make subtle hand movements to navigate the in-lens display, send and receive messages, get turn-by-turn directions and translate conversations live with Meta Al. The days of pulling out your phone are a thing of the past.

The glasses also feature open-ear speakers with Bluetooth connectivity, a 12MP camera with 3X zoom and even a viewfinder on the in-lens display for more accurate capturing. Users will be able to get up to six hours of continuous battery life per charge and up to 30 total hours of battery life with fully charged case.

The Meta Ray-Ban Display and Neural Band are available starting Tuesday, Sept. 30, exclusively in-store at Best Buy locations. Look into the future by booking a demo appointment here.

Irving Azoff still has a bone to pick with YouTube over the streaming giant’s royalties to artists.  

“YouTube is by far the worst offender,” the famed artist manager and entrepreneur said on Friday (Sept. 26) at The Wrap’s TheGrill 2025. “I’m really not fond of when companies take advantage of creators.” 

Citing numbers available through Global Music Rights (GMR), the performance rights organization he founded in 2013, Azoff said YouTube’s royalty rates are a fifth of its nearest competitor despite having five times that competitor’s annual revenue. That gives YouTube “unchecked” power when it comes to negotiating with rights holders such as GMR, SESAC, Paramount, Fox Television, Univision and NBC Universal, he added.

“When you get down to the end of a negotiation with them, they call your artists, they call your record companies,” Azoff continued. “They go out and [say], ‘We’re going to take your music down.’” 

Azoff has been voicing his opinions about YouTube for at least a decade. In a February 2016 interview with The New York Times, he lambasted the video streaming platform for paying too little to creators and hiding behind the Digital Millennium Copyright Act’s (DMCA) “safe harbor” provision that allowed it to host music videos uploaded by its users. “When you’re dealing with these tech companies,” he said, “they are worth zillions of dollars, more than the net worth of the entire music industry.” 

At Clive Davis’ pre-Grammy Awards gala a few days later, Azoff warned the music industry not to “be pacified by lip service about efforts to create paid subscription services.” At the time, music consumption was skyrocketing, industry revenues were at an all-time low, and YouTube’s poorly monetized free streams were competing against burgeoning subscription services. “It’s a system that is rigged against the ­artists,” Azoff told Billboard in May 2016. “In my years as a manager, I haven’t seen such a serious threat to artists.”  

Azoff also lambasted YouTube at the same The Wrap event in October 2016, calling the company “very evil” and citing its use of the Clinton-era DMCA. “We’re at a time, especially in music, when there’s such a lack of respect for intellectual property, and they’re the worst offender of it,” he said.  

Since 2016, YouTube has launched various subscription services to complement its core ad-supported free platform, including YouTube Music, which currently has a 10% share of the global music subscription market, according to MIDiA Research. But ad-supported royalties have faltered in recent years, and numerous music industry sources have told Billboard that YouTube Shorts, YouTube’s short-form video format, is likely a factor behind a decrease in music royalties from the video platform.  

Music companies aren’t alone in opposing the tech giant. NBCUniversal is currently mired in a licensing dispute with YouTube TV and warned on Monday (Sept. 29) that its programming could be pulled from the platform. “YouTube TV has refused the best rates and terms in the market, demanding preferential treatment and seeking an unfair advantage over competitors to dominate the video marketplace — all under the false pretense of fighting for the consumer,” NBCUniversal said in a statement. 

NBCUniversal’s confrontation with YouTube could end up being helpful for music, said Azoff at the event on Friday. “You got to hope at some point something goes on that forces them to come to the party,” he said. “But when you got people like [chairman and CEO of NBCUniversal owner Comcast] Brian Roberts making public statements about it, it’s better. So, I’m more hopeful that something gets done, because it’s not just the music industry that they’re bullying. It’s everybody.” 

Bunnie Xo is speaking out amid the uptick in comments she’s receiving regarding Jelly Roll‘s weight loss.

In a recent TikTok, the podcaster mimicked a common remark she says she’s been seeing in her replies — “Girl, your man is so hot now that he lost all that weight” — before slamming such comments as “shallow.” “Is he? ‘Cause he’s always had the same face,” Bunnie told the camera. “He’s always had the same heart, he’s always had the same soul.”

“I think the most appropriate thing here to say is he looks so much more healthier now that he’s lost weight,” she continued of her husband. “We’ve gotta stop living in a Shallow Hal world, guys. You might miss out on the best love of your life by judging somebody by their weight.”

The influencer’s reminder comes as Jelly has been looking slimmer than ever. He’s been open about his weight-loss journey over the past year or so, revealing in April that he’d lost more than 200 pounds.

Earlier this month, Jelly also showed off his new wardrobe while visiting Rome to meet Pope Leo XIV. “I can fit in Louis Vuitton now,” he wrote on Instagram at the time. “Pray for my bank account.”

And while some fans may have started crushing on Jelly in recent months, Bunnie has been the country star’s other half for years. The pair got married in 2016 and recently celebrated their nine-year anniversary.

“Life is ours, we live it our way, 9 years of us,” Bunnie wrote on Instagram at the time, while Jelly added on his Story, “I love more and more every single day.”

See Bunnie’s TikTok below.

@xomgitsbunnie

He’s been that dude. I’ll forever be cheering him on no matter what weight he is 💫 #jellyandbunnie

♬ suara asli – SOUND MEME VIRAL – SOUND MEME VIRAL

After a seven-year wait following unanimously acclaimed 2018 debut Invasion of Privacy, Cardi B finally returned to DSPs and vinyl and CD store shelves this month with her sophomore album AM I THE DRAMA?

This week, following a months-long media full-court press, DRAMA debuts atop the Billboard 200 with 200,000 first-week units. In addition, the album charts 17 of its tracks on the Billboard Hot 100, led by the Kehlani collab “Safe,” which debuts at No. 26.

Was the first-week performance of DRAMA less or more than what we expected? And will we get a third Cardi B album before the turn of the decade? Billboard staffers discuss these questions and more below.

1. Cardi B’s AM I THE DRAMA? bows atop the Billboard 200 with 200,000 first-week units moved. Is that number lower, higher or about what you would have expected? 

Kyle Denis: I’ve had so much time to predict her first week numbers and gauge my expectations, and I’m still unsure. Considering hip-hop’s current commercial pull, the lack of hit single or viral guest verse ahead of the album release, the plethora of variants, and her late-stage promotional blitz, 200,000 first-week units is around where I would have expected AM I THE DRAMA? to land. What’s getting me is how much we had to see Cardi and her team sweat and fight to reach that figure…

Carl Lamarre: Higher, but not by much. I’m proud to say that I was one of the very few who thought that Cardi could eclipse 175K. She sealed my bet when she went crazy with her promo run going into release week. From doing in-store meet-and-greets to literally kissing babies in Dyckman, her hustler’s spirit is what helped her sprint to a hefty 200k debut. 

Jason Lipshutz: Higher. “Eternity” doesn’t do justice to a seven-year gap between full-length projects in modern hip-hop, and while Cardi B has scored multiple chart-toppers since 2018’s Invasion of Privacy, AM I THE DRAMA? arrived without any hit single preceding it. The lack of momentum ultimately didn’t matter, since Cardi remains such a force of nature as a hip-hop artist and personality. Her return was always going to generate a lot of interest, but considering the circumstances, DRAMA outpaced reasonable expectations in its debut week.

Heran Mamo: A bit lower considering the meme-driven and guerilla marketing for the album, from the “courtroom edition” CDs featuring viral images from her recent assault trial on the covers to selling said CDs and more plus vinyls on the streets of NYC. AM I THE DRAMA? earned 15,000 fewer album sales than Invasion of Privacy in the first week, which had the biggest sales week for an R&B or hip-hop album in 2018 upon its release – and the latter was only available to purchase as a digital album. Meanwhile, AM I THE DRAMA? had multiple digital and physical variants and still didn’t fare better than her debut album.

Andrew Unterberger: A little higher, just because there were really no safeguards for Cardi’s performance on this album — it didn’t have an advance streaming hit or a real wave of positive momentum that it was coming in on, and 2018 streaming numbers are not being repeated by many artists in 2025. Still, it’s Cardi B: You knew that even in a worst-case scenario she was gonna make six digits, and probably fairly comfortably. And 200,000 is a very nice first-week number for her right now.

2. Much has been made of the seven-year wait between Cardi’s first two official albums. Do you see DRAMA’s first-week performance as validation of her taking as long as she did?  
 
Kyle Denis: Sure, DRAMA‘s first-week performance validates the idea that people are interested in Cardi B albums post-Invasion of Privacy. But I’d argue that number could have (and probably would have) been higher with a shorter wait. If she pulled 200k without a hit anywhere near the level of “Bodak Yellow” (or even “Be Careful”), imagine what she could have done without having to rebuild her momentum from the ground up mere weeks before the album’s full release. I still think an album dropping after “Money”/“Press” in 2019 or “WAP”/“Up” in 2021 would have pulled stronger (or at least comparable) numbers.

Carl Lamarre: Yes and no. It validates why artists should take more time between their albums, especially after coming off a successful debut like Invasion. SZA played it masterfully, after segueing between Ctrl and SOS. Despite her five-year gap, she remained relevant, doling out high-profile features like her Grammy-winning collab with Doja on “Kiss Me More” to her show-stealing appearance on K. Dot’s “All the Stars.” Most importantly, Cardi and SZA thrived off their respective waits because they did what many artists should do when taking time off in-between projects: go out and live life.   

Jason Lipshutz: It’s hard to say, since, if Cardi had released three more albums between Invasion of Privacy and AM I THE DRAMA?, she very well could have had three more No. 1s in her collection. What the debut of DRAMA does validate is the public’s continued interest in all things Cardi, from passionate hip-hop fans excited to check out a high-profile new release to curious casuals who want to hear what outrageous things she might say on her latest opus. A seven-year wait for a second album would hamstring most rap headliners, but Cardi is undeniable enough to break convention and still come out on top.

Heran Mamo: Not really. Invasion of Privacy set the bar really high: a No. 1 debut with 255,000 equivalent album units, two Hot 100 No. 1 hits (lead single “Bodak Yellow” and “I Like It,” featuring Bad Bunny and J Balvin) and a Grammy for best rap album. While AM I THE DRAMA? also scored a No. 1 debut on the Billboard 200 (and already includes two Hot 100 No. 1s), it had a relatively clear runway to the top slot this week and earned 55,000 fewer equivalent album units than her debut album despite her meticulous marketing efforts. For an artist of Cardi’s stature – not just in rap, but in general – and for an album with this much anticipation building, one could argue that a No. 1 debut and 200,000 units moved in the first week is about what you’d expect if not a bit more.  

Andrew Unterberger: It doesn’t necessarily validate it as a strategy, though it does show that it wasn’t too detrimental to her long-term prospects. Some of the hottest rappers of 2018 are barely even mainstream propositions in 2025; Cardi certainly doesn’t have that problem and probably won’t for some time. But could she have had an even stronger sophomore performance if she’d just powered through releasing LP2 in 2021? We’ll never know, but it’s hard not to wonder.

3. Of the new songs, “Safe” with Kehlani is off to the hottest start. Do you see it becoming a lasting breakout hit from the set? Does the album have a song you think is more likely to be that? 

Kyle Denis: I think so. Anecdotally, I’m seeing this being received much more warmly than both “Outside” and “Imaginary Playerz.” Of course, it also helps that Kehlani has a rising hit of her own in “Folded,” which should help the momentum of “Safe” on rhythmic radio. I still have my eye on “Magnet,” though. Obviously, there’s also “Bodega Baddie,” which very well could become the set’s true monster hit if the right person remixes… maybe next year’s Super Bowl halftime show performer? 

Carl Lamarre: “Safe” is the money record to me. It was an instant winner when I first heard it at her private listening party in August. She and Kehlani have incredible chemistry and thrive off each other well. After the success of “Ring,” “Safe” feels like a perfect sequel to their 2018 scorcher, and if anything, it’s a strong enough indicator as to why these two should drop an EP one day.

Jason Lipshutz: It’s been interesting to watch listeners gravitate toward “Safe,” a relatively subdued R&B track about romantic longing, instead of more cutthroat fare like “Imaginary Playerz,” “Hello” and “Pretty & Petty” — but that success speaks to both the quality of “Safe” as a sumptuous listen, as well as the refreshing change-up compared to the tone of Cardi’s usual hits. It doesn’t also hurt that Kehlani is enjoying another mainstream moment, as “Folded” continues pushing up the Hot 100. “Safe” is an unlikely breakout hit from Cardi’s new album, but the stars have aligned in its favor.

Heran Mamo: I’m not surprised that “Safe” caught on first: Cardi featured Kehlani on “Ring” from Invasion of Privacy,and the single hit top 40 on the Hot 100, peaking at No. 28. “Safe” is already off to a better start since it debuted at No. 26. But I feel like “Pretty & Petty” has a shot of being this album’s breakout hit because of its hook and all the clever, memorable shots she took at Bia, starting with the viral first verse: “Name five Bia songs, gun pointin’ to your head/ Bow, I’m dead.” Bia teased that she’s prepared to respond on her album BIANCA next month, which will inevitably bring listeners back to Cardi’s track to better understand the timeline of their beef. Cardi’s inextinguishable spirit means she knew she had to come in with that heat after a seven-year gap between projects, so “Pretty & Petty” can only burn brighter from here.  

Andrew Unterberger: I do feel like “Safe” has all the ingredients for real breakout hit potential, but I’m kept from being too bullish on its prospects after it debuted outside the top 25 on this week’s Hot 100. How it does next week may ultimately be a better indicator of its long-term ceiling — if it maintains momentum or keeps from slipping too much it should have a good chance to go the distance, if it’s in the chart’s bottom half next week, maybe it’s not the one after all.

4. After receiving universal acclaim for her 13-track debut album Invasion of Privacy, Cardi went much more everything-goes with her 23-track sophomore album, including the inclusion of early-2020s singles “Up” and “WAP” at the end of the tracklist. Do you think that DRAMA ultimately justifies its length and general inclusivity song-wise? 

Kyle Denis: No. After sitting with the album for over a week, there are definitely a handful of songs that should have been left on the cutting room floor, “What’s Going On” chief among them. Sure, including “Up” and “WAP” fast-tracked the album to double-platinum status, but she couldn’t even debut all the set’s new songs on the Hot 100. You win some and you lose some! One of the most frustrating parts of an album listening experience is sifting through the duds to find the jewels, who wants to do that after already waiting seven years? 

Carl Lamarre: Personally, I’m not a fan of anyone having more than 20 songs on an album anymore. Cardi did reveal in our cover story that she recorded over 60 tracks for DRAMA, so it’s natural that she would want to include a lot of songs on this project. Of the 23 records overall, I think if she kept it at 15, my letter grade would leap from B/B+ to a strong A.

Jason Lipshutz: After this amount of waiting, the fact that a new Cardi B album exists, however overstuffed, is a gift that I won’t take for granted. While AM I THE DRAMA? is not as focused or cohesive as Invasion of Privacy, its extended track list contains plenty of riveting moments — and, yes, “Up” and “WAP” are years old at this point, but they’re both still great! Normally I would ding a superstar for emptying the clip with a too-long project, but with Cardi’s first album since 2018, I’m generally fine with a more-is-more approach.

Heran Mamo: Just because there was a long wait for AM I THE DRAMA? doesn’t mean the album needed to be that long. Although she defended her inclusion of “WAP” and “Up” on the album that’s earned double platinum certification by the RIAA within 10 days of its release, the hits’ placement at the tail end of the project feel like she just tacked them on there for a guaranteed boost. There were a few other tracks (such as the Lizzo-assisted “What’s Goin On” and “On My Back,” featuring Lourdiz) that felt like filler or disturbed the sequencing of the LP, but given her high-profile marital issues with Offset and new relationship with Stefon Diggs, beefs with Bia and JT and the other headline-making drama that’s played out over the last few years, Cardi had much to say and didn’t hold back for 70 minutes. 

Andrew Unterberger: Of course 23 tracks is too long — but to her credit, it’s only about 4-5 tracks too long, rather than the 8-10 that I’d feared going in. There aren’t a lot of outright duds on this album, and I understand Cardi B both wanting to include all her favs and anticipating the “seven years and only [lower number] tracks?” criticism if she’d gone modest with the tracklisting. But man, a 16-track version of this album would’ve been tight.

5. Make a prediction: Will we get Cardi B LP3 before the year 2030? 

Kyle Denis: CB3? Ha! Let’s get through the Little Miss Drama tour first. 

Carl Lamarre: I predict a 2028 release for Cardi. DRAMA officially made her a highly anticipated albums artist. After she experiences her first headlining tour next February, I can see her wanting to return to the studio and begin plotting her next move just because of that newfound confidence she’s soaking in. For now, she should breathe and savor the fruits of her labor.

Jason Lipshutz: No. When you think about the history of major artists finally releasing long-awaited albums, from Dr. Dre with Compton to Guns N’ Roses with Chinese Democracy to D’Angelo with Black Messiah, the track record doesn’t suggest that another new album followed sooner than expected afterwards. This might be it for a long time. I hope I’m wrong!

Heran Mamo: Considering AM I THE DRAMA? is nearly double the length of Invasion of Privacy, she bought herself some more time to release the next album, so I’m inclined to say we won’t be getting CB3 in 2030. But in the seven years between both albums, Cardi has doled out verses every one of those years, including her third Hot 100 No. 1 and RIAA diamond-certified hit “Girls Like You” with Maroon 5, DJ Snake’s “Taki Taki” also featuring Selena Gomez and Ozuna, and remixes on Glorilla and Megan Thee Stallion’s “Wanne Be” and Latto’s “Put It on da Floor.” So even if we don’t get another Cardi album this decade, she’ll at least keep us fed with her A-list assists.

Andrew Unterberger: Probably not, but that’s OK. However long the gap is between LP2 and LP3 ends up being for Cardi, it won’t feel as long as it did here; she’ll never have this kind of pressure on her for an album release again.