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Fresh off the heels of just getting inducted in the Rock & Roll Hall of Fame, Atlanta-based hip-hop group Outkast is back in the limelight nearly 20 years after the pair’s last album Idlewild. The hip-hop duo is recognized for being one of the most influential groups of the ’90s and 2000s, with a style, sound and swagger that’s unmatched.
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To celebrate the duo’s induction, Outkast partnered with apparel company HOMAGE for a collection of tees, hoodies, crewnecks and more with prices starting at just $36.
The collection features iconic images from Outkast’s career, like art from ATLiens, Stankonia and others. In addition, there are a few items that celebrate Atlanta sports teams, like Atlanta Hawks, Atlanta Falcons and Atlanta Dream. HOMAGE even has a complete set with the Outkast logo, if you want to feel “so fresh, so clean” in loungewear.
Ahead, you’ll find our recommendations for the best items from the Outkast x HOMAGE collection.
HOMAGE
Outkast X Homage
Outkast Tee
HOMAGE
Outkast X Homage
Outkast ‘ATLiens’ Tee
HOMAGE
Outkast X Homage
Outkast ‘Two Dope Boys’ Tee
HOMAGE
Outkast X Homage
Outkast ‘I Am For Real’ Tee
HOMAGE
Outkast X Homage
Outkast ‘Pay Homage’ Tee
HOMAGE
Outkast X Homage
Outkast x Atlanta Hawks Crewneck
HOMAGE
Outkast X Homage
Outkast x Atlanta Falcons Crewneck
Meanwhile, the more you buy, the more you’ll save on shipping to your home. In fact, if you purchase $99 or more from HOMAGE, you’ll get free shipping on your entire order. Just buy three Outkast x HOMAGE t-shirts (or hoodies) and you’ll get free shipping.
HOMAGE also has a rewards program, so the more you buy, the more you’ll rack up points for exclusive savings and apparel. And best of all? HOMAGE Rewards is free to join with purchase.
With prices starting at $36 for tees and $72 for hoodies, HOMAGE’s Outkast collection is now available. Shop more items from the Outkast x HOMAGE collection, below:
Want more? HOMAGE has other unique remixes and collaborations, like the Tribe Called Quest x NBA collection. Learn more about HOMAGE and the company’s apparel here.
For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.
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Entertainment management company Milk & Honey Music + Sports has acquired U.K.-based firm Bigfoot Music Management, Milk & Honey tells Billboard.
Under the terms of the deal, Bigfoot is being absorbed by Milk & Honey, meaning the firm will exist entirely under the Milk & Honey banner. As a result, Bigfoot’s current staff will now be part of the Milk & Honey team, and its entire client roster, which includes pioneering electronic producers Adam Beyer and Joris Voorn, will become Milk & Honey management clients. Beyer’s longtime manager, Jeremy Ford, will be senior vp of electronic for Milk & Honey globally and be based in the company’s London offices.
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The move further expands the dance/electronic footprint at Milk & Honey, as the company hired longtime music manager Andrew Goldstone as head of electronic music this past March. Goldstone brought manager Taren Smith into the company, along with clients including the dance/electronic artists Kream and Sullivan King.
“As diverse as the Milk & Honey brand is in mainstream music genres, we are equally invested in underground music,” Milk & Honey founder and CEO Lucas Keller tells Billboard. “The company looks after unique talent across all facets of the music business, and this deal with Bigfoot to join Milk & Honey represents a further investment into techno and electronic music which is a top priority for the company. We are very excited to have Jeremy and his team in our UK office and joining the global M&H outfit.”
Over the years, Ford and his team have helped guide and grow international dance brands, including Beyer’s Drumcode label and Voorne’s Netherlands-based house and techno label, Spectrum. Other artists on the Bigfoot roster who will now be represented by Milk & Honey include Juliet Fox, Sarah Story, Sam Wolfe, Simon Patterson and Will Atkinson.
“Over the past three decades, Jeremy Ford and Bigfoot Management have built one of the most respected operations in electronic music,” adds Milk & Honey head of artist management & sports Dave Frank. “From Adam Beyer and Joris Voorn to the iconic Drumcode brand that encompasses record label, events, fashion and globally syndicated radio, their team has played a big role in shaping modern techno and house. We’re thrilled to welcome the Bigfoot team into the Milk & Honey family as we combine our networks, relationships and resources in representing and growing world-class talent who are and will be the global stars that drive our scene into the future.”
“Since its inception, Bigfoot has always championed talented artists who possess authenticity and ambition as well as brands, labels and events that also share a purposeful, global vision,” says Ford. “We’ve always strived to embrace, nurture and develop visionary leaders within the scene. Joining Milk & Honey represents an incredible opportunity for us to expand our reach and strengthen our ability to serve artists in a wider capacity. We share the same values, drive, work ethic and belief in building long-term careers so with this partnership and the fusion of two such talented teams we look forward to an exciting future that will no doubt shine a brighter spotlight on those we represent.”
Trending on Billboard Ja Rule says Drake doesn’t need any advice on how to bounce back from the Kendrick Lamar feud. In a sit-down on Carmelo Anthony’s 7PM in Brooklyn podcast, Ja said if he were to give advice to Drizzy, he’d simply tell the 6 God to keep it pushing. “Drake don’t need no […]
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Myke Towers achieves a triple victory with his latest single, “Tengo Celos,” which dominates Billboard’s Latin Airplay, Latin Pop Airplay, and Latin Rhythm Airplay charts (each dated Nov. 15). This marks his second triple-chart win in 2025, following a similar accomplishment on the Aug. 9-dated rankings. It jumps 10-1 on Latin Airplay, 2-1 on Latin Pop Airplay and 4-1 on Latin Rhythm Airplay.
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“Seeing my name at No. 1 on all the radio charts in the United States and Puerto Rico is something that still amazes me, because behind every achievement like this there’s much more than numbers: there are sleepless nights, sacrifices, tough decisions, and above all, a real connection with the people,” Towers tells Billboard.
“Tengo Celos” was released July 17, as part of Towers’ album Island Boyz, via OneWorld International/Warner/Warner Latina. While the set reached No. 8 high on the Latin Rhythm Albums chart then, the song skyrockets 10-1 on the overall Latin Airplay chart after a 43% gain in audience impressions, to 8.1 million, earned in the United States on the week ending Nov. 6, according to Luminate.
The latest victory secures Towers his 16th No. 1 on the Latin Airplay chart. It follows “Soleao,” with Quevedo, which became the first track from Island Boyz to reach the top spot in August. As a solo artist without collaborations, “Tengo Celos” becomes Towers’ fourth chart-topper on the overall Latin radio tally, joining “Lala” (2023) as well as “La Falda” and “La Capi,” both in 2024.
“This No. 1 is for my team, for those who believe, for the radio stations that support me, and for the audience that always stands by me,” Towers adds. “Representing my island and seeing how Latin music continues to grow around the world is a blessing that I never take for granted. We keep working with the same hunger and the same faith as on the first day.”
As “Tengo Celos” secures a triple coronation across the Latin Airplay, Latin Rhythm Airplay, and Latin Pop Airplay charts, it becomes the fourth song to accomplish this feat in 2025. Towers previously hit the same milestone in August with his Quevedo collab, “Soleao.” Earlier this year, Danny Ocean and Kapo’s “Imagínate” topped all three charts (April). Most recently, Maluma joined the list of triple-achievers with “Bronceador” in October.
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Under a new partnership between Universal Music Group (UMG) and Udio, Taylor Swift will soon be able to flip the AI-music switch and allow users to create all the songs they want in the superstar’s style — as would every other artist signed to the world’s biggest label.
“It’s their choice,” Udio’s CEO, Andrew Sanchez, told Billboard shortly after the deal was announced. “But yeah, in the new service, you would be able to do that, and you’d be able to make extraordinary music.”
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Unsurprisingly, Swift was unavailable for comment. But would artists be open to tossing their songs into a generative AI machine to see what the robots can do with them? Maybe, some top managers say. Sia, for example, “views Sia as an avatar,” says Jonathan Daniel, who manages the “Chandelier” hitmaker as well as Miley Cyrus and UMG artist Lorde. “It’s like anyone can be a pop star. That’s why she wears the wig.”
On Oct. 29, UMG was the first major label to settle a lawsuit with Udio, one of the top AI-music services, agreeing to develop a new creation and streaming platform that’s set to launch next year. Under the deal, artists will be able to opt in to the platform in “granular” ways, according to Sanchez, allowing them to choose — by essentially selecting from a menu of options — exactly how fans are allowed to use their music and voices to create songs.
Although Daniel says many of his other clients, including Green Day and Nirvana, are unlikely to submit their catalogs to AI, he adds, “Not all artists, but certainly a lot of artists, are less worried about AI music than people that sound worried about it. Artists are in the magic business, right?”
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AI has spent 2025 creeping into the music business, as artists like Xania Monet and Unbound Music have hit the Billboard charts via streaming and track sales. As Matt Pollack — a senior manager at Monotone Inc., which represents Jack White, Vampire Weekend, LCD Soundsystem and others — puts it, artists, managers and labels must suddenly contend with a future that “wasn’t happening eight weeks ago, and now it is.”
The idea of opting into an AI-music service, even if it’s legal under the terms of the UMG-Udio deal, remains daunting for many artists. (The other two major labels, Sony Music Entertainment and Warner Music Group, have pending litigation against Udio and, along with UMG, another AI-music firm, Suno; their complaint alleges infringement on “an almost unimaginable scale.”) “Once you start to put words in an artist’s mouth, you’re in a real danger zone,” says Jeff Jampol, CEO of Jam Inc., which manages the estates of The Doors, Janis Joplin, Charlie Parker and others. “The legacy is the art and their voice. Do I want to take that and co-opt it and twist it? No, I don’t.”
Corey Smyth, owner and CEO of Blacksmith Holdings, a management company for Vince Staples, De La Soul, the Max Roach estate and others, worries about the idea of major labels managing the AI future of the business. In his view, label executives profited greatly from the streaming revolution, while many artists received pennies for their work. “They’re going to screw you on it,” he says. “The industry’s not built like that. They’re not building it for you.”
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As for whether his Universal-signed artists might agree to the AI treatment, Smyth says, “It depends on where you are, what your business model is. Are you a legacy artist, [or] are you just a flash in the pan? Most artists are driven by the idea of creating. Anyone who wants to just have the thing done isn’t trying to create art — they’re creating commerce.” Daniel, manager of Sia and Green Day, adds that AI is a “great tool” that “might replace pretty good music,” but “great artists have a point of view. Is AI going to write American Idiot? I don’t think so.”
At Monotone, the management company, AI music is a central topic at weekly staff meetings, Pollack says, including the implications of their clients “opting in” to AI systems, as Sanchez suggested after the Oct. 29 settlement with UMG. One of Montone’s artists is working on short-form video content on a low budget and uses AI to save time and money. But he also finds the concept of managing an AI artist that is “not a breathing entity” a bit too surreal, whether major labels allow the possibility or not. Says Pollack: “That’s insane.”
“The reality of it is, I don’t really know,” he adds. “Nobody ever really planned for this. This was a science-fiction notion up to a year and a half or two years ago.”
Trending on Billboard
In March 1984, “Thriller” reached No. 4 on the Billboard Hot 100 — becoming the seventh top 10 hit on Michael Jackson‘s blockbuster album of the same name, a then-record on the chart. On this week’s Hot 100 (dated Nov. 15), the song reaches the top 10 again for the first time since that run, bounding 32-10.
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The reason for the 40-plus-year-old song flying up the chart is simple: It returns annually around this time of year, having re-charted on the Hot 100 in 11 of the last 13 Halloween seasons (dating back to 2013), and in every such season since 2018. With its spooky production, suspenseful lyrics and iconic mini-horror movie music video, “Thriller” has become an obvious Halloween soundtrack staple, with its radio airplay and streams spiking every late October (often bleeding into early November) as a result.
But before this year, the song had never re-charted higher than No. 19 — where it landed on the Hot 100 in 2021, followed by three straight years re-charting somewhere in the 20s. So if it made the top 10 this year, that must mean the song received an even bigger bump in streaming and sales than usual, right?
Not exactly. In its biggest 2024 week of Halloween-boosted performance (the tracking week ending Oct. 31), “Thriller” racked up 17 million official U.S. streams, according to Luminate — its highest weekly tally of the 2020s — along with 5,000 in digital song sales. This year, “Thriller” amassed 14 million streams in its biggest week (for the week ending Nov. 6, as reflected on the latest Hot 100), with 3,000 in sales.
The simplest explanation for the downtick isn’t that “Thriller” suddenly got less popular: It’s more likely just a matter of timing. In 2024, the tracking week (which always runs from Friday to Thursday) ended with Halloween that Thursday — which means that “Thriller” got to count consumption from both Halloween night and the six days of build-up to it, when Halloween songs are usually already heating up.
This year, with Halloween on a Friday, that build-up was all counted towards the prior tracking week (Oct. 24-30), with the song’s daily streams and sales dropping off immediately following Halloween night, and all but returning to usual levels following Halloween weekend. You can see the disparity for “Thriller” in the respective weeks immediately prior to its biggest week of the year: In 2024, it earned 17 million streams the week of Halloween, but only 5.8 million the week before; for 2025, it earned 14 million streams during Halloween week but 8.9 million the week before. (Combine the two weeks into one overall Halloween season and “Thriller” is close to even on streaming year-over-year.)
So how do we explain the chart jump in 2025? It seemingly has less to do with “Thriller” than with the competition it’s facing. With Taylor Swift’s The Life of a Showgirl songs receding from their spectacular streaming debuts a month earlier, and few new hits speeding in to replace them, the top streaming (and selling) songs are performing at a lower rate than they were the past two years at this point in the calendar.
This week, “Thriller” ranks sixth on our Streaming Songs chart and fifth on Digital Song Sales, with 14 million streams and 3,000 in sales. In both 2023 and 2024, those numbers would not have been strong enough to make the top 10 of either chart.
Also helping with the “Thriller” bump: With Billboard updating its rules in October for songs on the chart going recurrent, several long-lasting songs that might have otherwise been in its way in the Hot 100’s top tiers — including Teddy Swims’ “Lose Control” and Lady Gaga and Bruno Mars’ “Die With a Smile” — have since been deemed ineligible for the latest list.
So with fewer songs performing at a particularly high level in streams or sales, and a handful of those songs no longer eligible to chart anyway, there’s simply more room for revived hits like “Thriller” to zoom toward top of the chart. And it’s not the only song taking advantage of the extra opportunity: A little lower on the Hot 100, fellow Halloween perennials from Bobby “Boris” Pickett and the Crypt-Kickers (“Monster Mash,” No. 21), Ray Parker Jr. (“Ghostbusters,” No. 22) and Rockwell (“Somebody’s Watching Me,” No. 24) all also make the chart’s top 25 for the first time in the streaming era.
It’s also worth pointing out that while the competition from brand-new releases was minimal for Halloween songs on this week’s Hot 100 — the highest debut on the chart comes at No. 93 (Yeat’s “Come n Go”), though a couple Christmas songs also make an early re-appearance in the 30s and 40s — it was more formidable the past couple spooky seasons. Indeed, “Thriller” and its ilk might have threatened similar streaming-era chart peaks to their performances this year if not for the release of Tyler, the Creator’s Chromakopia before the Hot 100 dated Nov. 9 in 2024, or (again) Taylor Swift, with 1989 (Taylor’s Version) right before the Hot 100 dated Nov. 11 in 2023 — both of which charted numerous songs across the top 20.
Will this trend continue, with “Thriller” and its Halloween cohorts continuing to scale higher and higher on the Hot 100 until one day potentially competing for the No. 1 — like Mariah Carey’s “All I Want for Christmas Is You” and its Christmas compatriots do annually around the holiday season? Possibly, but the answer to that may lie more with the performance of the rest of the non-holiday music industry than with “Thriller” and friends themselves.
Trending on Billboard Katy Perry got some new ink in honor of The Lifetimes Tour, which has just eight shows left before wrapping up. The pop star continued her tradition of getting a tattoo to commemorate each of her tours, showing off her butterfly wing tattoos that she and her team got in an Instagram […]
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Barry Manilow released a new video on Tuesday (Nov. 11) for his new single “Once Before I Go.” In the video, Manilow portrays a character who sacrifices a traditional family life to pursue his dream as a performer. Filmed at the Westgate Las Vegas Resort & Casino, home to Manilow’s long-running residency, the video was directed by Jamie Thraves, who has helmed such clips as Sam Smith’s “Stay With Me” and Coldplay’s “The Scientist.”
Thraves’ video for “The Scientist” received a Grammy nomination for best short-form music video 22 years ago. Manilow has received 15 Grammy nominations, winning best pop vocal performance, male in 1979 for “Copacabana (at the Copa).” He also received record of the year nods for “Mandy” and “I Write the Songs” and an album of the year nod for Even Now.
Manilow’s first video with a narrative storyline was “Read ‘Em and Weep” in 1983, when video ruled the music business. Bob Giraldi directed the clip.
“Once Before I Go” was coproduced by Kenneth “Babyface” Edmonds and Demonte Posey, and cowritten by Peter Allen and Dean Pitchford. The song was first recorded by Allen in 1983 on his album Not the Boy Next Door. Other artists who have covered it include Patti LaBelle, Hugh Jackman (in the Broadway show The Boy From Oz) and Johnny Mathis (on his most recent non-holiday studio album, Johnny Mathis Sings the Great New American Songbook – which was also produced by Babyface).
Manilow has had two No. 1 albums on the Billboard 200, nearly 30 years apart – Barry Manilow Live! (1977) and The Greatest Songs of the Fifties (2006). He has had three No. 1 hits on the Hot 100 – “Mandy,” “I Write the Songs” and “Looks Like We Made It.” Manilow has won two Primetime Emmys, a Grammy and an honorary Tony. He was elected to the Songwriters Hall of Fame in 2002 and has received the BMI Icon Award.
In April 2026, Manilow will be presented with the American Advertising Federation’s 2026 President’s Award at the AAF’s Advertising Hall of Fame induction ceremony for his early work in advertising. Manilow has produced, composed, and performed some of the most iconic commercial jingles of all time for companies and brands such as State Farm, Band-Aid, KFC, Pepsi and McDonald’s.
The new music video arrives as Manilow prepares for a series of farewell performances in nine U.S. cities this January. These dates mark his final concerts in each market. For all dates, tickets, and VIP packages, visit Manilow’s site.
Watch Manilow’s video below:
Trending on Billboard What better way to celebrate a historic Rock & Roll Hall of Fame induction than grooving down the Jennifer Hudson Show spirit tunnel? On Tuesday (Nov. 11), Grammy-winning hip-hop group Salt-N-Pepa visited Hudson’s talk show to reflect on more than three decades of boundary-obliterating moves. From reclaiming their masters (which they alluded […]
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Ever since the Los Angeles Lakers acquired all-star Luka Doncic in a trade with the Dallas Mavericks last season, there has been a new spark and energy for the team. Although Oklahoma City is considered the favorite to win the NBA Finals again, the new-look Lakers may give the Thunder some trouble repeating on the court.
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The Los Angeles Lakers take on the Oklahoma City Thunder at Paycom Center in Oklahoma City, Oklahoma on Wednesday, Nov. 12. This game could be a preview of the Western Conference Finals this season, with the Lakers and Thunder expected to lead the pack in the west.
When Does L.A. Lakers vs. Oklahoma City Thunder Game Start?
L.A. Lakers vs. Oklahoma City Thunder game broadcasts live, with tipoff at 9:30 p.m. ET/6:30 p.m. PT.
Where to Watch L.A. Lakers vs. Oklahoma City Thunder Online
L.A. Lakers vs. Oklahoma City Thunder game broadcasts on ESPN, and it’s also livestreams on Sling Orange. Keep reading for more details on how cord-cutters can watch the Lakers-Thunder game online with Sling TV.
How to Watch L.A. Lakers vs. Oklahoma City Thunder With Sling TV
A subscription to Sling Orange, which comes with ESPN, gets you access to live TV from popular cable channels.
You can watch cable networks, including ESPN2, ESPN3, Disney Channel, Freeform, MotorTrend, A&E, AMC, BBC America, BET, CNN, Comedy Central, Food Network, Fuse, HGTV, History Channel, IFC, Lifetime, Nick Jr., QVC, TBS, TNT, Travel Channel, Vice and many others.
Please note: Prices and channel availability depends on your local TV market. You can learn more about Sling TV here.
Which Celebrities Are Making Appearances During Lakers vs. Thunder?
It’s likely there will be a number of celebrities and recording artists in attendance during Wednesday night’s game — such as L.A. Lakers fans Snoop Dogg, Ice Cube, Flea, Anthony Kiedis, Kendrick Lamar and others; as well as Oklahoma City Thunder fans Kristin Chenoweth, Bill Hader, Olivia Munn, Hanson and others. Tune in to Sling TV to find out who’s sitting courtside on celebrity row.
Starting at 9:30 p.m. ET/6:30 p.m. PT, L.A. Lakers vs. Oklahoma City Thunder broadcast on ESPN, while it’s also available to livestream on Sling TV on Wednesday, Nov. 12.
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