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.
MoRuf’s children and his wife make a cameo in the video.
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 life-defining time they shared in high school. 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 spankin’ new 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.
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)
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.
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.
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.
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, 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.
At the beginning of R&B star entertainer Ty Dolla Sign’s video for ‘Wit It’ featuring fellow star singer-songwriter and producer Chlöe, there’s a symbolic narration detailing the meaning of the word “tycoon” and how “the world twisted it like all beautiful things”. Instead of leading lives of integrity as the rest of the world might hope, the elite groups of people mentioned seem to “carve laws to suit their sins and erase guilt with money thick as blood.”
As these men in suits see a magazine page featuring a faceless and topless woman, the Ye collaborator sits at their table. Is he one of them? You’ll have to watch the black-and-white treatment with random animals, champagne, firearms, and pole dancing to throw your vote in the bucket.
Hoodrich Pablo Juan was released from prison on October 19, 2025, according to Wikipedia.
Six days ago, Atlanta-based star rapper Hoodrich Pablo Juan, who was signed to Gucci Mane’s 1017 Eskimo and arrested in 2020 and sentenced to five years in prison connected to RICO charges, released a brand new video for his track ‘First Day Out’. It captures the moment he leaves the Georgia Department of Corrections as a free man, shops for new outfits and designer accessories, and counts thousands of dollars in cash in the back of a Maybach. Emitting his classic flow over a catchy trap beat produced by DJ Champ, he reminds us that he’s fly, handsome, and that he’s a player like (NBA) 2K, as he heads to the strip club. Aside from cameos made by Lil Baby and BlocBoy JB, the ‘Zambamafoo’ rapper shouts out to Young Scooter, who passed away on his 39th birthday, viewers get to see glimpses of Atlanta nightlife.
[Verse 1]
Straight from a Hollywood scene, licked his teeth like I was a cuisine
He was sweet to a tea, begging me for a treat, oh
Felt a suspicious mystique, something’s giving me the creeps
Nah, I’m trippin’, I’m so smitten, now I’m drippin’, started kissin’
[Chorus]
Under the moon with you
So majestic, fucking vicious
Like a werewolf when you’re in it
Under the moon, ah-ooh
I’m addicted (Ah), so horrific (Ah)
And you kill it (Kill), and you murder, oh
[Verse 2]
Silver bullet through your bullshit
Ripping my clothes, hands on my throat
Know I should go, pulling me close
I don’t feel right, now he’s preyin’ on my life
Intuiton never misses
Shoulda listened, bad decisions
[Chorus]
Under the moon with you
So majestic, fucking vicious
Like a werewolf when you’re in it
Under moon, ah-ooh
I’m addicted, so horrific
And you kill it, and you murder, oh
[Bridge]
It’s so strange
It’s so, something isn’t right
Clever songwriting: Is Ari Lennox howling like a wolf through the chorus?
Four days ago, Ari Lennox shared the haunting visual for her latest single, ‘Under the Moon’. At the beginning of the storyline, the ‘Shea Butter Baby’ singer’s date places a strange order at a local restaurant. As Ari Lennox and her date sit at the table and wait for his order to arrive, the pair flirt and watch one another morph into what they are at the surface.
Watch the Erik Rojas-directed music video below to see the night play out for the young star in character.
[Chorus]
I don’t wanna be without your love
I don’t wanna be without your trust
I don’t wanna leave before I tell you I’m the only one that loves you
How you gonna live without my love?
You don’t wanna see the end in us
Don’t you know that I could never love somebody else the way I love you?
No, no
[Verse 1]
What do you see when you look at me?
How do you feel when you’re touching my body?
It’s not as deep as it’s meant to be
Where do we go from here?
What do you do when I’m outside?
How do you feel? Are you missing me, baby?
I know you don’t tell me everything (I, I)
But whеre do we go from herе? (I, I)
[Pre-Chorus]
I don’t wanna be without your—
Way I love you, way I love you, love you
Way I love you, way I love you, love you
Way I love you, way I love you (My)
Way I love you, love you (My body)
Way I love you, way I love you, love you
Way I love you, way I love you, love you
Way I love you (My), way I love you (My, my)
Way I love you (My)
[Chorus]
I don’t wanna be without your love
I don’t wanna be without your trust
I don’t wanna leave before I tell you I’m the only one that loves you
How you gonna live without my love?
You don’t wanna see the end in us
Don’t you know that I could never love somebody else the way I love you?
[Verse 2]
Why’d you pretend you’re not into me?
We both know the truth, why we holding back, baby?
Is this as deep as it’s meant to be?
I don’t want to believe
I’m just as confused about you and me
We both said before we don’t want to be something
What a fantasy (I, I)
This love could set me free (I, I)
[Chorus]
I don’t wanna be without your love
I don’t wanna be without your trust
I don’t wanna leave before I tell you I’m the only one that loves you (I, I)
How you gonna live without my love? (I, I)
You don’t wanna see the end in us
Don’t you know that I could never love somebody else the way I love you?
[Outro]
I don’t wanna be without your—
Way I love you, way I love you, love you
Way I love you, way I love you, love you
Way I love you, way I love you (My)
Way I love you, love you (My body)
Way I love you, way I love you, love you
Way I love you, way I love you, love you
Way I love you, way I love you (My)
Way I love you
I don’t wanna be without your—
Two days ago, Walsall-native singer-songwriter Jorja Smith released the official acoustic music video for her latest record, ‘The Way I Love You’. With this heartfelt release, the Burna Boy collaborator takes time to sing about wanting to hold onto her partner’s love and trust, although she’s experienced confusion and a period when he behaved as if he didn’t like her. Within the musical composition, she wonders how he would continue to live without her love when she’s the only one who loves him, and he doesn’t want to see their relationship come to an end.
“What do you see when you look at me?
How do you feel when you’re touching my body?
It’s not as deep as it’s meant to be
Where do we go from here?
What do you do when I’m outside?
How do you feel? Are you missing me, baby?
I know you don’t tell me everything (I, I)
But whеre do we go from herе? (I, I)”
Regardless, the pair seems to be on the brink of separation, so Smith asks the difficult questions with hopes of getting answers.
“Why’d you pretend you’re not into me?
We both know the truth, why we holding back, baby?
Is this as deep as it’s meant to be?
I don’t want to believe
I’m just as confused about you and me
We both said before we don’t want to be something
What a fantasy (I, I)
This love could set me free (I, I)”
Watch the music video for the acoustic version above. It is produced by Ed Thomas, Maverick Sabre, and Shayk.
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