GRUNGECAKE

Category: News

  • Cardi B welcomes baby boy with Stefon Diggs, marking a new chapter for the superstar rapper

    Cardi B welcomes baby boy with Stefon Diggs, marking a new chapter for the superstar rapper

    The ever-energetic rapper Cardi B has officially welcomed her fourth child—a baby boy—with NFL star Stefon Diggs, according to a recent report from TMZ. 

    Arrival & Announcement

    Sources say the baby boy arrived last week, and Diggs was by Cardi’s side during the birth. Cardi took to social media to share the joyous news, posting a heartfelt message:

    “My life has always been a combination of different chapters and different seasons. My last chapter was the beginning of a new season. A new baby into my world, and one more reason to be the best version of me…” 
    In her own words, she described this as a fresh start—a new chapter worth embracing.

    Family Update

    This latest addition broadens Cardi’s already bustling household: she shares three children with her ex-partner Offset—daughters Kulture Kiari Cephus and Blossom, and son Wave Set Cephus. Stefon Diggs already has a daughter, Nova, from a previous relationship. 

    The Bigger Picture

    Cardi’s announcement comes amid other milestones: she recently released new music and teased a fresh album, signalling that both her personal and professional lives are entering vibrant new phases.


    For fans and the media alike, the arrival marks not just another little “Bardi Gang” member, but a turning point: Evolving relationships, expanding family, and creative reinvention all in one.

    It’ll be interesting to see how this new chapter unfolds for both Cardi and Stefon—from family dynamics to public appearances.

    Final Thoughts

    Congratulations are in order for the couple as they embark on this new adventure with their baby boy. With Cardi’s signature gusto and Diggs’ athletic pedigree, this little one is certainly stepping into a dynamic world. Wishing them lots of love, joy, and calm nights (yes, we can dream).

  • ‘Purr-fect’ protection: NYC pushes to grant “bodega cats” legal recognition

    ‘Purr-fect’ protection: NYC pushes to grant “bodega cats” legal recognition

    In what may be the most delightful update to the city’s street-corner scene in years, the New York City Council is moving to grant legal status to the ubiquitous “bodega cats” that patrol countless neighbourhood shops across the Big Apple. The bill, introduced by Keith Powers (East Side/Midtown Manhattan), would not only officially legalise these feline employees, but also launch a free vaccination, spay/neuter and health-care programme for bodega-resident cats.

    The push comes from advocates who say these cats are more than just cute mascots—they serve a practical role by keeping rodents at bay in small food stores. “Bodega cats embody the New York spirit: Friendly, welcoming, and anti-rat”, Powers remarked, adding that it’s time these four-legged guardians were removed from legal limbo.

    The bill, formally known as Intro. 1471, would require city-funded vaccination and spay/neuter services for cats registered under the programme.

    Support from the public has been strong. An advocacy group, Bodega Cats of New York, led a petition gathering more than 13,000 signatures pushing for legal recognition and veterinary-care access. Shop-owners themselves, many of whom have shared space with resident cats for years, might now find the animals legitimised rather than tolerated.

    There’s also a wider benefit beyond charm: By spaying and neutering these cats, the bill aims to curb stray and feral-cat populations that often surround bodegas and burden rescue services. As Rimada of the advocacy group put it: “If we don’t address that piece, we’re just going to add to the overpopulation pressures rescue workers have struggled with for decades.”

    If passed, this move would formalise a small but beloved part of New York City life—giving the silent shop-floor cats their long-awaited moment in the spotlight. Stay tuned for whether the measure clears the next hurdles.

  • Coco Austin defends breastfeeding daughter until age six: “It was about bonding, not nutrition”

    Coco Austin defends breastfeeding daughter until age six: “It was about bonding, not nutrition”

    TV personality Coco Austin is standing by her decision to breast-feed her daughter, Chanel, until the age of six. On the latest episode of the podcast Dumb Blonde hosted by Bunnie XO, Austin explained that whilst Chanel was solidly eating by about one-year-old, she allowed the extended nursing more as a “bonding experience” rather than a nutritional necessity.

    “It wasn’t like I was feeding her because she needed a meal,” Austin said. “She was able to eat by a year… full, like, solids.”

    She added that she let her daughter decide when to stop: “She’s not gonna be 16 on my boob… And that happened around 6… which was still [an] extremely long amount of time apparently. But in Europe, they’re doing till 7. Like, it’s nothing to them. I mean, Americans think that’s weird.”

    Austin shared that the extended breast-feeding was mostly for comfort when Chanel wanted her around: “It was more of like a comfort thing with her… she wanted me to be there.”

    She also noted that she received plenty of support for her choice, yet that many people reacted strongly. She remarked, “I got so many people that loved it… I was the only one speaking about it. And I’m like, why is this so hard? Like, people have been doing this for thousands of years.”

    In possibly-unintended light-hearted comment, Austin revealed that her daughter remains “obsessed with boobs”—“not a big thing”, she said, adding that they share a relaxed, affectionate moment now, before Chanel hits the teenage years.

    Whilst the topic of extended breastfeeding often sparks intense cultural debate—particularly in the United States, where six-year-nursing would be considered highly unusual—Austin frames her decision as a personal mother-child choice rooted in attachment, rather than judgment of others’ practices. Whether one agrees or not, she is firmly owning the narrative.

  • JPEGMAFIA fires back at Danny Brown over ‘Scaring the Hoes 2’ comments: “This Isn’t True”

    When crafty, unpredictable artists like JPEGMAFIA and Danny Brown team up, something interesting tends to happen. Their 2023 effort, ‘Scaring the Hoes’, was celebrated for its wild production and chemistry—no ordinary Hip-Hop collaboration. The culmination of that success left fans hungry for a sequel. But things have gotten a bit messy.

    In an interview with Billboard, Danny Brown claimed that the follow-up album ‘Scaring the Hoes 2’ was being delayed because JPEGMAFIA wasn’t showing up. Brown’s words: “It’s up to Peggy! I’ve been ready”, he said.

    “I call him all the time, tell him, ‘Let’s do it.’ He tells me, ‘I’m comin’, I’ll be there on this day.’ That day comes, he don’t come. That’s been the process for a while.”

    For many fans, Brown had set the narrative: the sequel exists, the will is there—but one half of the duo is not playing ball. Enter JPEGMAFIA, who pushed back publicly, via social media, saying Brown’s assertions are false. He tweeted and retweeted, “This isn’t true. I personally texted Danny today and told him to stop lying for lame teenagers on the internet. Because this is the second time he’s done it.” 

    He didn’t stop there. JPEGMAFIA added:

    “This year I’ve been taking care of a sick family member all year—that’s why I haven’t been around. Stop making things up to entertain yourself. I’m not part of your marketing plan.”

    He was careful to insist there’s no personal animosity, but did question Brown’s decision to air allegations publicly instead of reaching out directly:

    “I have no beef with Danny… It’s just weird that he goes on the internet to say things he never says in person, when he could just call or text me. There’s no need to blast literal lies to teenagers who thirst for bullshit all day.” 

    So what’s really at stake here? A few threads to pick apart:

    Photo: Pittsburgh Magazine

    1 The sequel-expectation trap
    When the original album landed and resonated, the sequel became inevitable. But expectations rise as soon as you say ‘2’ or ‘Part II’. Brown’s comments suggest he was ready, and the public assumed production must just be delayed. But JPEGMAFIA’s explanation adds context: life stuff happens (in this case, caring for a sick family member). In creative partnerships, such personal factors often get hidden until they Pop publicly.

    2 Narrative control & public discourse
    Brown went to media; JPEGMAFIA responded on social. Both are shaping how fans perceive the project’s status. Brown’s version: He’s kept reaching out, the other side is stalling. JPEGMAFIA’s version: those claims are lies, my absence is for personal reasons, I’m not holding you up. Both sides have to manage brand, legacy, and the relationship with their fan base.

    3 Fan/industry implications
    If ‘Scaring the Hoes 2’ is delayed indefinitely (or worse, shelved) because of this conflict—or worse, because of lack of clarity—fans may lose patience. Industry watchers might also interpret this as a red flag: two artists who collaborated well once, now stiff-arming each other publicly. This could affect future collaborations, label negotiations, and promotional strategies.

    4 The human element
    Caring for a sick family member is a heavy burden. JPEGMAFIA’s mention of this shifts the frame from “creative delay” to “life happens”. It invites empathy, yet also calls into question the timing of public claims made by Brown. In other words: How do you balance transparency with respect for privacy? When creativity is a public act, personal issues become public too.

    In summary
    The sequel to ‘Scaring the Hoes’ is still talked about—and maybe still exists—but its pathway is now murky. Danny Brown believes the project is held up by JPEGMAFIA; JPEGMAFIA says the narrative is false and that he’s been unavailable for valid personal reasons, not for stalling. The public spat raises questions about creative partnerships, timing, how artists manage fan expectations, and how much of the behind-the-scenes world gets broadcast.

  • Watch New Jersey artists MoRuf and SZA reminisce about time spent in her mama’s ‘PT Cruiser’

    MoRuf’s children and his wife make a cameo in the video.

    MoRuf - PT Cruiser featuring SZA

    Three weeks ago, MoRuf, one of our favourite artists ever, released the official music video for his latest track, entitled ‘PT Cruiser’, featuring longtime friend and fellow Jerseyan SZA. Throughout the good-feeling nostalgic track, the friends reminisce about the time they shared in high school, even though she didn’t know him for a long time. It also doubles as a song about falling in love as a child.

    According to Wikipedia, MoRuf “sings about spending time with a former love interest in the backseat of her mother’s PT Cruiser, and SZA references her high school pastime of improvising car freestyles with Moruf on her mother’s driveway.”

    In terms of their friendship, they’ve known one another for over a decade, and the multiple GRAMMY-winning superstar credits him as the person who motivated her to start making music when she was in high school, stating on an Instagram post, “Without our car freestyles in my mom’s driveway there’d be no me !”

    Check out the song produced by Jesse Boykins III, Nate Bajar, MeLo-X, Aspene Taylor, and Matt Cody. The official music video was directed by Joshua Kissi, a celebrated Ghanaian-American photographer and filmmaker. It is approaching one million views (currently at 949,000), and his forthcoming album ‘Moolodic: Hotep Luxury’ is out today. It was executive produced by Jessie Boykins, art direction and cover art by Joshua Kissi, and mixed and mastered by Matt Cody.

    [youtube=https://www.youtube.com/watch?v=fAmSmQ5JBs0&h=315]

  • African artists likely to be nominated at the 68th GRAMMY AWARDS

    Africa’s current wave of global dominance in music is reflected in the shortlist of artists likely to secure GRAMMY nominations today. The projected list includes acts that have challenged the definition of what it means to be an African artist, pushing the boundaries of their respective genres while expanding the global music and African music categories beyond conventional frameworks.

    DAVIDO –  ‘5IVE’ The Album (Best Global Music Album)

    [media-credit name=”Davido/#5AliveTour” align=”alignnone” width=”169″][/media-credit]

    Davido anchors the list. The 5ive Album remains a benchmark in global album craft, striking a balance between Afrobeats/Nigerian culture and structure, Western-standard engineering, and crossover vocal control. It’s a logical Best Global Music Album contender.

    DAVDO – “WITH YOU” featuring Omah Lay (Best African Music Performance)

    [media-credit name=”Davido/5AliveTour” align=”none” width=”225″][/media-credit]

    Davido’s record “With You” positions him again in Best African Music Performance, a very strong contender for a nomination at the 68th Grammy Awards. The song ‘With You”   samples Pa. Bright Chimeze’s “Because of English” and Stanley Nnorom’s “ARABANKO”, two original Nigerian heritage classics, spotlighting Davido’s ear for outstanding musical delivery. From the master record to the official video, the execution of this single earns Davido his place at the 68th Grammy Awards.

    DAVIDO – “OFFA ME” featuring Victoria Monét (Best African Music Performance)

    This is my personal favourite on the 5IVE album and also the first Davido collaboration designed as a deliberate GRAMMY crossover, merging Afrobeats pulse with R&B precision. The first video I ever saw, Davido getting geared up to bust moves like Michael Jackson, and as Africans, dance is the pulse of our living and our music; that’s why I see this song as a strong contender in today’s announcement.

    TYLA & Wizkid – “Dynamite” (Best African Music Performance/Best Global Music Performance)

    Rhythmic and intimate, its nomination potential for both Best Global Music Performance and Best African Music Performance reflects its dual-market viability; it’s structured for both African sonic syntax and Western placements, and since the collaborative efforts between music stars in South Africa and Nigeria, we have begun to see the impact of merging or crossing cultures, as the popular term goes.

    I personally feel like TYLA & Wizkid should be able to snag a nod at the 68th Grammy Awards nomination.

    Amaarae – “Black Star” (Best Global Music Album)

     

    View this post on Instagram

     

    A post shared by BLACK STAR (@amaarae)

    //www.instagram.com/embed.js

     

    When I say music has to evolve, I’m talking about what Amaarae did on the Black Star project. It belongs in the Best Global Music Album discussion for its audacious experimentation. It redefines pan-African alternative pop through tonal layering, genre collapse, and a self-contained production language that ignores Western mimicry. She carries her home country, Ghana, on her back, signalling responsibility and representation.

     

    Shallipopi & Burna Boy –  “Laho II” (Best African Music Performance)

    This song totally asserts the street-to-stage transition in Nigerian sound culture. Its potential nomination is driven by its rawness and feel-good vibe. Should Shallipopi get a nomination for this song, this would mark his first nomination/entry for the Grammy Awards.

    Rema – “Is It a Crime” (Best African Music Performance)

    Rema positions himself as an emotional technician. His control over pitch and melodic phrasing allows the record to occupy a crossover lane without loss of origin.

    Coming off his nomination at the 67th Grammy Awards, Rema might snag a nod yet again this year.

    Olamide – “Billionaires Club” featuring Wizkid & Darkoo (Best African Music Performance)

    This would mark Olamide’s first Grammy nod, which is long over-due if you ask me.

    Olamide has held down the Nigerian industry for decades and I would say he deserves his place in the Afrobeats Mount Rushmore. His newly released project ‘Olamide” reinforces his curatorial dominance. Both records demonstrate maturity in structure and tone, capturing the progression from local dominance to global readability.

    Gunna – “Forever Be Mine” featuring Wizkid/ “WGFT” ft. Burna Boy (Best Melodic Rap Performance)

    Gunna has been on a roll in 2025, and with the singles off his newly released project “The Last Wun”, he is a strong contender for Best Melodic Rap Performance entries. They fuse trap melodies and logic with African demeanour, which is a notable pattern in most African and Western collaborations.

    There goes my top picks for this year’s nomination ceremony. Wishing all contenders good luck and congratulations to the nominees.

    Disclaimer:
    The following commentary reflects the personal opinions and professional analysis of Recording Academy member Manny King John. It does not represent, reflect, or imply any official position, endorsement, or viewpoint of the Recording Academy, its affiliates, or its voting bodies.

     

  • OK Go earns two nominations at the 68th GRAMMY Awards

    OK Go earns two nominations at the 68th GRAMMY Awards

    OK Go, the Chicago-bred quartet known for redefining the boundaries between music, art, and technology, has earned two nominations at the 68th GRAMMY Awards. The band’s latest feats—the mesmerising video for ‘Love’ and the intricately crafted physical edition of ‘And the Adjacent Possible’—have been recognised in the Best Music Video and Best Recording Package categories, respectively.

    The nomination for ‘Love’ underscores OK Go’s long-standing reputation as visual innovators. The video, a breathtaking single-take production, features frontman Damian Kulash and his bandmates performing alongside 29 synchronised robots and over 60 mirrors, creating a hypnotic world of reflections and geometric choreography. The result is a kaleidoscopic spectacle that blurs the line between performance art and engineering marvel.

    Shot inside a decaying Budapest train station, the video captures OK Go’s signature blend of precision and playfulness. Concepted in partnership with creative agency SpecialGuest and co-directed by Kulash, Aaron Duffy, and Miguel Espada, the production was realised with technical integration by SpecialGuestX and produced by 1stAveMachine. Upon its release, Rolling Stone wrote: “OK Go are back with more proof that they remain the masters of power-pop gems and high-concept music videos with a kaleidoscopic visual for their new single.”

    In addition to the video’s nomination, OK Go’s new album ‘And the Adjacent Possible’ has been recognised for Best Recording Package—a testament to the band’s dedication to physical artistry in an increasingly digital age. The double LP is pressed on 180-gram, 45RPM vinyl and presented in a foil-stamped gatefold sleeve that opens to reveal a 3D pop-up sculpture. Designed by Yuri Suzuki and Claudio Ripol, with the intricate sliceform and pop-up structure engineered by Wombi Rose, Hà Trịnh Quốc Bảo, and Emilio LaTorre for Lovepop, the album’s packaging transforms the act of unsealing a record into an immersive visual and tactile experience.

    Design publication Yanko Design described the project as “a revolutionary vinyl jacket design that transforms the simple act of opening an album into a moment of wonder and discovery that perfectly complements their boundary-pushing musical approach.”

    The 68th GRAMMY Awards will air live from the Crypto.com Arena in Los Angeles on Sunday, 1 February 2026, at 5 PM PT / 8 PM EST on CBS.

    These two new nominations mark the band’s fourth and fifth career nods from the Recording Academy. OK Go’s first taste of GRAMMY recognition came in 2007 when they won Best Short Form Music Video for ‘Here It Goes Again’, the treadmill-powered viral sensation that redefined what a music video could be in the YouTube era. They went on to earn nominations for ‘All Is Not Lost’ in 2012 and ‘Upside Down & Inside Out’ in 2017—both of which continued to push the boundaries of visual storytelling through innovation and collaboration.

    The band’s recognition this year follows a wave of international acclaim throughout 2025. At the UK Music Video Awards, Damian Kulash received the Icon Award, joining a select group of visionary directors including Michel Gondry and Joseph Kahn. ‘Love’ also took home the award for Best Rock Video–International. Elsewhere, at the Cannes Lions International Festival of Creativity, ‘A Stone Only Rolls Downhill’ won a Bronze Lion, whilst ‘Love’earned a Silver Lion in the Excellence in Music Video category. The same video continued its winning streak with a Silver Award for Best Music Video at the London International Awards, and ‘A Stone Only Rolls Downhill’ secured Second Place for Best Experimental at the Berlin Music Video Awards.

    With their dual nominations at the 68th GRAMMY Awards, OK Go reaffirm their standing as one of music’s most imaginative forces—a band that continues to fuse sound, motion, and design into art that both dazzles and endures.

  • McDonald’s introduces cash rounding policy as United States prepares to phase out penny

    [media-credit name=”McDonald’s” link=”https://corporate.mcdonalds.com/corpmcd/our-stories/media-assets-library/media-article/mcdonald_s_wordmark.html” width=300 align=”center”][/media-credit]

    McDonald’s has quietly changed how it handles cash transactions in response to the forthcoming phase-out of the penny in the United States. Under the new policy, if a cash purchase ends in 1–2 ¢, the total is rounded down to 0 ¢; if it ends in 3–4 ¢, it is rounded up to 5 ¢; endings in 6–7 ¢ are rounded down to 5 ¢; and 8–9 ¢ are rounded up to 10 ¢. Totals ending in 0 or 5 ¢ remain unchanged.

    Importantly, prices listed on the menu stay the same. The change applies only to cash payments—card and digital payments still process the exact cents. ‌

    Why the shift? The United States Department of the Treasury will stop minting new pennies by early 2026 due to production costs that exceed the coin’s value. In 2024, the Treasury reportedly lost $85.3 million from minting over three billion pennies. With fewer pennies in circulation, retailers are beginning to adopt “cash-rounding” methods. Other businesses like Kwik Trip and Sheetz have already introduced similar policies.

    Reactions among customers have been mixed. Some argue the practice is confusing and feels like a hidden price increase, especially when rounding goes up.

    “Why not just change the damn prices?” one commenter asked.

    Others point out that countries such as Canada and Australia have operated with similar rounding systems for years and find the move practical.

    From your vantage, it raises interesting questions about cash, convenience and fairness. If you pay by cash at McDonald’s, you may pay as little as two cents less—or as much as one to four cents more—than the listed total. For card users, nothing changes. And given that cash usage is already declining, this shift might pass unnoticed for many. Yet for people paying in cash, especially frequent-small-amount customers, it’s something to keep an eye on.

  • Ben & Jerry’s co-founder launches ‘Peace for Palestine’ ice cream after Unilever blocks flavour

    [media-credit name=”Bloomberg” width=860 align=”center”][/media-credit]

    Ben & Jerry’s co-founder Ben Cohen has revealed that the decision by parent company Unilever to block the launch of a new flavour intended to show solidarity with Palestine has deepened a long-standing fault line between activism and corporate control.

    According to Cohen, he will proceed independently with the flavour via his personal venture, Ben’s Best, citing Unilever’s refusal to permit the original brand’s engagement in certain “social mission” initiatives.

    The proposed flavour is a watermelon-flavoured sorbet, its colour palette—red, green, black, and white—intentionally echoing the Palestinian flag, Cohen explains in a video posted on Instagram.

    He stated: “I’m making a watermelon-flavoured ice cream that calls for permanent peace in Palestine and for repairing the damage that was done there.”

    This development occurs against the backdrop of a fraught history: Ben & Jerry’s pulled out of sales in Israeli-occupied territories in 2021, sparking legal and commercial entanglements which led Unilever to divest the brand’s Israeli operations to a local licensee. Cohen claims that Unilever and the soon-to-be-split ice cream division Magnum have unlawfully prevented Ben & Jerry’s from fulfilling its founding values.

    In his view, the activation of the watermelon sorbet through Ben’s Best is a way to reset the mission that was sidelined. Whilst the original brand remains under Unilever’s corporate umbrella, Cohen’s independent path signals an intensifying dispute over how far an activist-oriented brand can tread within the constraints of a multinational parent.

    Whether the new flavour will gain widespread distribution—or how Unilever or the broader market will respond—remains uncertain. What is clear: the moment highlights how ice cream, branding, and global politics are now deeply intertwined.

  • Offset’s tax debt soars amid Cardi B divorce drama, allegedly

    [media-credit name=”Instagram” link=”https://www.instagram.com/p/DPmEzvkAIgY/?img_index=1″ width=1440 align=”center”][/media-credit]

    Rapper Offset is facing a mounting tax problem just as his divorce from Cardi B plays out. Reports say his unpaid tax debt has grown into the seven-figure range, putting fresh pressure on already tense personal and financial dynamics.

    According to the coverage, the IRS and state filers have imposed multiple liens on Offset’s property—one federal lien reportedly at about $1.5 million for tax liabilities tied to recent years, with additional amounts from state authorities. The exact total remains somewhat unclear publicly, but insiders say it’s “close to $2 million”.

    What makes this more than a mere tax story: All this unfolds whilst Cardi B and Offset’s divorce negotiations are stalled. Cardi has publicly claimed one of the sticking points is Offset’s financial demands, including that she cover his tax bills and property transfers in order to finalise the split.

    For fans, analysts and anyone watching celebrity finances, several themes emerge:

  • The tax liens raise questions about Offset’s financial planning, obligations and potential exposure beyond just the musical brand.
  • The divorce context adds a layer of complexity: financial liabilities aren’t just personal—they can influence asset division, custody, and public image.
  • Cardi B’s willingness to highlight the tax issue suggests she sees it as more than incidental—she frames it as part of the leverage around their separation.

    • Whilst neither party has provided full transparent accounting, the debt alone is large enough to affect settlement talks, future earnings and how both artists navigate their independent paths. In the coming months, watch for how the liens get resolved, whether Offset pays down or structures the debt, and how that resolution affects his and Cardi’s public and professional narratives.