djfrosty

Richard Parsons, Ex-Time Warner CEO Who Orchestrated Sale of Warner Music, Dies at 76

Richard Parsons, one of corporate America’s most prominent Black executives who held top posts at Time Warner and Citigroup, died Thursday. He was 76.

Parsons, who died at his Manhattan home, was diagnosed with multiple myeloma in 2015 and cited “unanticipated complications” from the disease for cutting back on work a few years later.

The financial services company Lazard, where Parsons was a longtime board member, confirmed his death. Parsons’ friend Ronald Lauder told The New York Times that the cause of death was cancer.

Parsons stepped down Dec. 3 from the boards of Lazard and Lauder’s company, Estée Lauder, citing health reasons. He had been on Estée Lauder’s board for 25 years.

Trending on Billboard

“Dick was an American original, a colossus bestriding the worlds of business, media, culture, philanthropy, and beyond,” Ronald Lauder said in a statement on behalf of the Lauder family.

David Zaslav, the CEO of Time Warner successor Warner Bros. Discovery, hailed Parsons as a “great mentor and friend” and a “tough and brilliant negotiator, always looking to create something where both sides win.”

“All who got a chance to work with him and know him saw that unusual combination of great leadership with integrity and kindness,” Zaslav said, calling him “one of the great problem solvers this industry has ever seen.”

Parsons, a Brooklyn native who started college at 16, built a track record of steering big companies through tough times.

He returned Citigroup to profitability after turmoil from the global financial crisis and helped restore Time Warner after its much-maligned acquisition by internet provider America Online.

Parsons was named to the board of CBS in September 2018 but resigned a month later because of illness.

Parsons said in a statement at the time that he was already dealing with multiple myeloma when he joined the board, but “unanticipated complications have created additional new challenges.” He said his doctors advised him to cut back on his commitments to ensure recovery.

“Dick’s storied career embodied the finest traditions of American business leadership,” Lazard said in a statement. The company, where Parsons was a board member from 2012 until this month, praised his “unmistakable intelligence and his irresistible warmth.”

“Dick was more than an iconic leader in Lazard’s history — he was a testament to how wisdom, warmth, and unwavering judgment could shape not just companies, but people’s lives,” the company said. “His legacy lives on in the countless leaders he counseled, the institutions he renewed, and the doors he opened for others.”

Parsons was known as a skilled negotiator, a diplomat and a crisis manager.

Although he was with Time Warner through its difficulties with AOL, he earned respect for the company and rebuilt its relations with Wall Street. He streamlined Time Warner’s structure, pared debt and in early 2004 sold Warner Music Group to an investor group led by the Seagram heir Edgar Bronfman Jr. for about $2.6 billion. For Parsons, the sale represented the fulfillment of a key promise to Wall Street — he had pledged to reduce Time Warner’s debt by $8 billion by the end of 2004. Before selling the music division, Parsons had already offloaded a half-stake in Comedy Central, a share in the satellite TV company operating DirecTV, and the Atlanta Hawks and Thrashers sports teams. He also secured a $750 million settlement from Microsoft to resolve an antitrust lawsuit.

He later fended off a challenge from activist investor Carl Icahn in 2006 to break up the company and helped Time Warner reach settlements with investors and regulators over questionable accounting practices at AOL.

Parsons joined Time Warner as president in 1995 after serving as chairman and chief executive of Dime Bancorp Inc., one of the largest U.S. thrift institutions.

In 2001, after AOL used its fortunes as the leading provider of Internet access in the U.S. to buy Time Warner for $106 billion in stock, Parsons became co-chief operating officer with AOL executive Robert Pittman. In that role, he was in charge of the company’s content businesses, including movie studios and recorded music.

He became CEO in 2002 with the retirement of Gerald Levin, one of the key architects of that merger. Parsons was named Time Warner chairman the following year, replacing AOL founder Steve Case, who had also championed the combination.

The newly formed company’s Internet division quickly became a drag on Time Warner. The promised synergies between traditional and new media never materialized. AOL began seeing a reduction in subscribers in 2002 as Americans replaced dial-up connections with broadband from cable TV and phone companies.

Parsons stepped down as CEO in 2007 and as chairman in 2008. A year later AOL split from Time Warner and began trading as a separate company, following years of struggles to reinvent itself as a business focused on advertising and content. Time Warner is now owned by AT&T Inc.

A board member of Citigroup and its predecessor, Citibank, since 1996, Parsons was named chairman in 2009 at a time of turmoil for the financial institution. Citigroup had suffered five straight quarters of losses and received $45 billion in government aid. Its board had been criticized for allowing the bank to invest so heavily in the risky housing market.

Citigroup returned to profit under Parsons, starting in 2010, and would not have a quarterly loss again until the fourth quarter of 2017. Parsons retired from that job in 2012.

In 2014 he stepped in as interim CEO of the NBA’s Los Angeles Clippers until Microsoft CEO Steve Ballmer took over later that year.

“Dick Parsons was a brilliant and transformational leader and a giant of the media industry who led with integrity and never shied away from a challenge,” NBA Commissioner Adam Silver said.

Parsons, a Republican, previously worked as a lawyer for Nelson Rockefeller, a former Republican governor of New York, and in Gerald Ford’s White House. Those early stints gave him grounding in politics and negotiations. He also was an economic adviser on President Barack Obama’s transition team.

Parsons, whose love of jazz led to co-owning a Harlem jazz club, also served as Chairman of the Apollo Theater and the Jazz Foundation of America. And he held positions on the boards of the Smithsonian National Museum of African American History and Culture, the American Museum of Natural History and the Museum of Modern Art in New York City.

Parsons played basketball at the University of Hawaii at Manoa and received his law degree from Albany Law School in 1971. He is survived by his wife, Laura, and their family.

Relive Fujii Kaze’s ‘Feelin’ Good’ Stadium Concert on Blu-ray & CD: Here are Some of the Highlights

Japanese singer-songwriter Fujii Kaze released a concert Blu-ray & CD called Fujii Kaze Stadium Live “Feelin’ Good” featuring his biggest solo headlining shows so far by the same name that took place at Nissan Stadium in Kanagawa, Japan on Aug. 24 and 25. 

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

About 140,000 fans flocked to see the shows over the two days that vividly conveyed Fujii’s magnetism as an artist — exceptional musicianship, outstanding entertainer’s spirit, a laid-back, natural presence that makes you forget you’re seeing him in a stadium setting, and a loving mind that looks out for each person in the audience. This writer also attended one of the shows and the two-hour set was an experience that left a lingering sense of euphoria.

The package delves deeply into the concert experience from various angles. Those who went to the shows will be able to relive the excitement, and for those not familiar with Fujii Kaze will be able to understand why he is loved by so many.

Trending on Billboard

The Blu-ray is a two-disc set, with Disc 1 containing live footage compiled mainly from the show on Aug. 25. Kento Yamada, a filmmaker who also directed the show itself, helmed the visuals for the concert film as well. Disc 2 contains the approx. 70-minute Feelin’ Good (Documentary) film, which shows fans the behind-the-scenes of the shows. This doc directed by filmmaker Elizabeth Miyaji contains a new interview of the 27-year-old musician, who speaks candidly about the concept of the shows and his thoughts on the project. The CD contains 16 tracks personally selected by the singer himself. The following are some highlights from the visual and audio discs.

The concerts were full of various gimmicks and stage effects, and by capturing them on video, they become easier to understand and enjoy. The show kicks off with Fujii suddenly appearing in the stands. As cheers break out, he slowly walks down the stairs near the audience and heads for the grand piano placed on the grass in the center of the arena. The camera also highlights the genuine expressions of surprise and joy on the audience members’ faces.

The impressive stage set was like a theme park with a stairway, bridge, and garage covered with vegetation. Based on Fujii’s desire to create something that evokes a sense of nature, Yamada meticulously crafted the set down to the smallest details, including the texture of the soil and the small objects inside the garage. The huge LED screen behind the stage displayed images like city and sky, designed to help create the impression of a single world when fused with the layout onstage.

The dancers’ performances were also notable. In particular, the multi-talented artist and his dancers performed choreography that was perfectly in sync for “Kirari” and “Kiri Ga Naikara” in the middle of the show. While Fujii is well-known for singing along to his own virtuoso accompaniment on the piano, his dance performances also showcase his star power.

The “Nan-Nan” hitmaker says in the documentary that the keyword for this show is “youth” (seishun). Sharing the fresh energy of youth with the 70,000 people in the stadium, with live renditions of “Seishun Sick,” sung while swaying with his dancers arm-around-shoulder, and an 8-beat punk rock version of “Tabiji,” was also one of the highlights of the concert.

While the respective visual projects on the Blu-ray discs are quite close to perfection, the recording on the CD allows fans to enjoy the you-are-there vibe of the show. The band members consist of Yaffle on keyboards, who also serves as band master, TAIKING from Suchmos on guitar, Naoki Kobayashi on bass, Norihide Saji on drums, Takashi Fukuoka on percussion, and ARIWA from ASOUND and Emoh Les on backing vocals. The funky, danceable beat of “MO-EH-YO (Ignite)” and the rich harmonies of “Shinunoga E-Wa” are just some of the highlights of the live arrangements.

Looking back over this past year, Fujii took on many challenges and overcame them all. From May to June, he traveled to North America for his first solo headlining trek in the region called Fujii Kaze and the Piano U.S. Tour, selling out both shows in Los Angeles and New York. From October to December, he visited 10 cities in Asia and performed in arenas for his Best of Fujii Kaze 2020-2024 ASIA TOUR, which also ended on a high note.

Fujii released only two new songs in 2024 — “Michi Teyu Ku (Overflowing),” the theme song for Tomokazu Yamada’s first feature film April Come She Will that became his fifth track to rack up 100 million streams in Japan, and the A. G. Cook-produced “Feelin’ Go(o)d,” released in July — but appears to be actively working on other tracks. The stadium concerts and arena tour were like a culmination of Fujii’s career to date, and fans are looking forward to experiencing his new mode of expression in the coming year.

This article by Tomonori Shiba first appeared on Billboard Japan. Fujii Kaze is stylized in Japanese order, surname first.

Inside Beyoncé’s Christmas Day Halftime Show: The Queen Is Home for the Holiday

Beyoncé turned NRG Stadium into the Beyoncé Bowl on Christmas Day, and Billboard was there to watch history in the making.

From the moment fans drove into the stadium’s parking lot, it was clear this wasn’t just any NFL game — it was the Beymas of our dreams. Even though the Houston Texans and Baltimore Ravens were battling for a spot in the AFC Championship, the real anticipation was for the mid-game Beyoncé concert.

The stadium felt like something out of a holiday movie. Holiday decorations were everywhere — Christmas trees, glowing lights and even the Grinch made a few appearances. Each concourse was a true seasonal scene, even featuring photo setups throughout for fans to snap pictures in their Cowboy Carter getups.

And the crowd? Outfits were split 50% NFL gear and 50% Cowboy Carter/Beyoncé merch. Rhinestone cowboy hats, custom denim jeans, fringe jackets, and lots of cowboy boots took over.

Music was everywhere. DJs posted across different levels of the stadium kept the Texans fans turnt up before, during and after the game. And let’s talk about the food: Bun B’s Trill Burgers were being served in custom Beymas and Trillmas boxes that felt more like collectibles than packaging. And on every seat, a Cowboy Carter-themed light-up wristband sat waiting, ready for what was to come at halftime.

The celebration of Houston pride extended beyond the performers. Throughout the day, some of Houston’s brightest stars were spotted in the crowd, including Liza Koshy, Tobe Nwigwe and Mo Amer.

Pentatonix kicked off the performances of the day with their stunning version of the national anthem. The Texas-born a cappella group nailed every note, giving the stadium a powerful and emotional moment. What made it even more special was that three of the group’s members — Kirstin Maldonado, Mitch Grassi and Scott Hoying — have their roots in Arlington, Texas, showcasing how the great state produces artists.

But when the lights dimmed for the halftime show, you could feel every single person freeze in place. The big screens came alive as Tanner Adell, Brittney Spencer, Reyna Roberts and Tiera Kennedy performed “Blackbiird” together. Their voices were soft and enchanting, echoing through the stadium as well as the big screens, but the crowd was anxious, looking around — scanning the field, all thinking the same thing: Where’s Beyoncé?

And then — BANG! — she appeared. The second she hit the field, the stadium erupted, Texas style. It wasn’t just loud; it was visceral. We get chills just thinking about it.

For 13 minutes, nobody moved. Sure, people screamed, clapped, maybe even cried, but mostly, everyone just stared. It felt like time had stopped. Beyoncé wasn’t just performing; she was commanding. Every look, every step, every note — it was all sharp, deliberate and locked in. It felt bigger than a halftime show. This wasn’t just another stadium stop. It wasn’t another performance to check off a list. It was home.

And then came Beyoncé and Jay-Z’s daughter Blue Ivy. The second the crowd noticed her on the field, the vibe shifted from excitement to being in awe. At age 12, she walked onto that field with purpose. Her focus was sharp, her steps confident and her presence undeniable. It was special because of how she carried herself. There wasn’t an ounce of hesitation in her movements. No nervous glances, no second-guessing, just confidence. Blue Ivy didn’t step onto that field to prove anything; she stepped onto it because she belonged there.

And this wasn’t about Beyoncé passing the torch because Blue Ivy is the torch. She’s not waiting for her moment; she’s already living it. Holding her own next to one of the greatest performers of all time, she isn’t following her mother; she’s walking alongside her, carving her own path. Blue Ivy isn’t next. She’s now.

One of the most powerful parts of the night came from the Texas Southern University’s Ocean of Soul Marching Band, one of the most respected HBCU bands in the country — and it’s Houston’s band. For Beyoncé to feature TSU on this stage, in this moment, in this city, wasn’t just meaningful. It was intentional. It felt like a tribute to her roots, to her community and to the legacy of HBCUs and the role they play in culture and music.

Then Shaboozey hit the stage, and it felt like the energy shifted again. His voice was deep and steady as it rolled through the stadium. Their collaborations on Cowboy Carter — “Spaghettii” and “Sweet Honey Buckiin” — are timeless at this point. And seeing him up there, standing next to Beyoncé, solidified that this wasn’t just an artist who got a lucky break. He is someone who deserves to be here.

The biggest Texas surprise was Post Malone coming out to perform “Levii’s Jeans,” and the crowd lost it all over again. Two Texas Titans — Beyoncé from Houston and Posty from Dallas-Fort Worth — standing side by side together. To be in Houston, it wasn’t like they were just performing together. They were representing being Texans in a way that couldn’t have happened anywhere else but here.

As “Texas Hold ’Em” marked the finale, Beyoncé rose above the stage on a platform before a massive “BANG!” banner dropped, and the wristbands across the stadium lit up in perfect unison.

As the show ended and the platform lowered, Beyoncé raised her fists in the air. She didn’t need to say anything. That moment said it all — pride, triumph and gratitude were written all over her face and the stadium did nothing but clap and cheer, unbelievably thinking about what they had just witnessed.

Beyoncé is more than just the greatest pop star of the 21st century. She creates experiences. And on Christmas night, in her hometown, she delivered what will go down as one of the greatest performances of her career.

Mind Ya Biz: Social Media Thinks There Is Beef With Punch Of TDE & SZA

HipHopWired Featured Video

CLOSE

2024 iHeartRadio Music Awards - Backstage

Terrence “Punch” Henderson, the president of Top Dawg Entertainment and, according to his bio, SZA‘s manager, found himself at the center of social media discussions regarding the talented songstress. Although we haven’t been able to determine all the fine points, fans on social media believe there is beef between SZA and Punch, but in typical TDE fashion, those on the outside aren’t privy to the facts.

SZA has been enjoying plenty of fanfare lately after the surprise drop of her SOS Deluxe: Lana project, a reissue of 2022’s SOS. The singer, real name Solána Rowe, posted and later deleted comments Punch reading, “And to be clear, I love Punch deeply! NO ONE should be attacking him or being cruel on my behalf. Sometimes people grow apart, and that’s okay.”

We’ve tried to find the original space where the CTRL singer wrote the comment but only the Hip-Hop screenshot accounts online are pushing this supposed split. However, upon deeper examination, Punch still has in his bio that he’s still SZA’s manager and eagle-eyed fans are slowly realizing that the beef is something they may have imagined, seizing upon the past creative rifts.

A quick scan of the (formerly?) feuding twosome’s social media accounts doesn’t seem to point to any issues. Punch’s timeline seems to give the most direct clues that whatever transpired is behind the two and that it’s all peace and love.

“Also, nothing real can be threatened. Relax ppl. lol,” read one X reply with another reading, “SMH. Change your bio and everything goes haywire. Sheesh. I’m beginning to suspect some of you guys don’t fancy me very much.”

Punch’s last reply on X featured him asking fans what their favorite songs from SOS Deluxe: Lana was, sharing a couple of his selections.

On X, fans are still trying to make this beef with SZA a thing. We’ve got reactions from all sides below.

Listen to SOS Deluxe: Lana below.

https://platform.twitter.com/widgets.js

Photo: Getty

Jay-Z Rape Accuser Can Remain Anonymous for Now, Judge Rules

The woman who accused Jay-Z and Sean “Diddy” Combs of drugging and raping her when she was 13 years old can remain anonymous for now, a judge ruled Thursday (Dec. 26), citing the “highly sensitive” nature of her accusations.

According to court documents obtained by Billboard, Judge Annalisa Torres wrote that “the weight of the factors” in the case “tips in favor of allowing Plaintiff to remain anonymous” for now. In justifying the decision, the judge cited the Jane Doe’s assertion that she continues to suffer from depression, post-traumatic stress disorder and other health effects due to the alleged rape, as well as a claim by the woman’s attorneys that Combs has threatened other alleged victims who have filed suits against him for speaking out. However, the judge acknowledges that “because the balance of these factors will certainly shift” as the case moves forward, she plans to revisit the question of anonymity at a later date.

Also in Thursday’s ruling, the judge turned down a request by Jay-Z’s legal team to fast-track a hearing on their motion to dismiss the case against him and criticized the rap mogul’s lawyer, Alex Spiro, for his “relentless filing of combative motions containing inflammatory language and ad hominem attacks” against the plaintiff’s attorney, Tony Buzbee, calling them “inappropriate, a waste of judicial resources, and a tactic unlikely to benefit his client.” The motion to expedite the hearing was tied to a Dec. 13 NBC News interview in which the Jane Doe admitted to inconsistencies and “mistakes” in her narrative of the alleged assault and was contradicted by her own father.

In the woman’s complaint, filed earlier this month, she accused Combs and Jay-Z (born Shawn Carter) of drugging and sexually assaulting her following an MTV Video Music Awards after-party in 2000. The case was an updated version of a previous complaint the woman had filed against Combs alone.

Since the updated case including Carter was filed on Dec. 8, the rap mogul and his attorneys have forcefully denied the allegations, with Carter calling the lawsuit a “blackmail attempt” and characterizing Buzbee as a “fraud” with an aim “to exploit people for personal gain.” Buzbee has filed a host of lawsuits against Combs over the last several months and has said he represents dozens more victims who have yet to file their own complaints.

In a statement sent to Billboard in response to Thursday’s court ruling, Buzbee said that “the coordinated and desperate efforts to attack me as counsel for alleged victims are falling flat.”

An attorney for Carter did not immediately respond to Billboard‘s request for comment.

The latest decision in the case comes as part of a mounting legal war between Jay-Z and Buzbee. On Dec. 18, Buzbee filed a lawsuit against Jay-Z’s company, Roc Nation, and its attorneys (including Marcy Croft and law firm Quinn Emanuel) accusing them of “engaging shadowy operatives” to derail his case against the rapper, including by allegedly offering money to one of his former clients (Gerardo Garcia) to convince him to file bogus lawsuits against his firm — an incident Buzbee claims was caught on tape. “Defendants have conspired to obstruct justice by engaging shadowy operatives to illegally seek out more than two dozen current and former clients of The Buzbee Law Firm to convince those clients to bring frivolous cases against [the firm],” Buzbee wrote.

In response, a Roc Nation spokesperson called Buzbee’s lawsuit “nothing but another sham” and “a pathetic attempt to distract and deflect attention,” while Croft reacted by calling the allegations in the lawsuit “false” and “a desperate attempt to distract from his mounting legal woes.”

Buzbee’s Dec. 18 lawsuit is actually the second he’s filed against Carter’s attorneys over the past month. The first, filed earlier in December, accused Quinn Emanuel of retaliatory behavior, including alleged harassment of Buzbee’s colleagues, clients and family. That came in response to a lawsuit Jay-Z secretly filed against Buzbee in November in which the rapper accused the Texas attorney of spearheading an effort to extract settlements from innocent celebrities after threatening to link them to Combs.

Inside Beyoncé’s ‘Cowboy Carter’ Halftime Show | All Access | Billboard News

It was a Beyoncé Bowl at her halftime show at the Ravens vs. Texans game, and we’re taking you inside the performance. Keep watching to see everything you missed from her show!

Tetris Kelly:

It was a merry Christmas for Beyoncé and a whole field of ‘Cowboy Carter’ special guests. Hey Blue. We take you behind the scenes to Houston for Beyoncé Bowl in Billboard All Access. Netflix and the NFL activated the Beyhive as the Ravens played the Texans before and after a Beyoncé concert, and she brought out her ‘Cowboy Carter’ friends, including all four “BLACKBIIRD” collaborators. Billboard record breaker Shaboozey and got her “LEVII’S JEANS” on with Post Malone. We also got to watch Blue Ivy join the field before “TEXAS HOLD ‘EM.” She floated high above Texas with her Hot 100 chart topper to close the set. Thank you, Beyoncé and the NFL.

Producer Jay David Saks Dies at 79

Record producer Jay David Saks, who died last month, left behind a rich and unique legacy, one that spanned the worlds of classical music and Broadway cast albums. But it all began a member of a “one-hit-wonder” group which had a top 40 hit on the Billboard Hot 100.

Saks died on Nov. 16 of Parkinsonism-related causes. He was 79. News of his death was confirmed by Peter Gelb of The Metropolitan Opera.

Saks won 13 Grammys between 1983 and 2014, eight for classical music and five for his work on Broadway cast albums.

He won best opera recording four times, all for work with the Metropolitan Opera Orchestra/The Metropolitan Opera Chorus. He won for Verdi: La Traviata Opera Recording; Adams: Doctor Atomic; Wagner: Der Ring Des Nibelungen and Adès: The Tempest.

Trending on Billboard

He won best musical show album five times for cast albums from Into the Woods and Jerome Robbins’ Broadway and revivals of Guys and Dolls, Chicago and Gypsy.

In addition, Saks won two Daytime Emmys, both for his work on Great Performances at the Met. He won outstanding individual achievement in any area of the performing arts – audio (1983) and outstanding individual achievement in the performing arts – audio (1984).

Born in New York City, Saks grew up in The Bronx. His older sister was the cellist Toby Saks.

During the 1960’s, Saks played bass guitar with The Balloon Farm, which had a top 40 hit on the Billboard Hot 100 in March 1968 with the psychedelic pop/rock song “A Question of Temperature.” Saks wasn’t the only member of The Balloon Farm who went on to success in the industry. Fellow member Mike Appel managed Bruce Springsteen from 1972-75 and co-produced his first three albums. Their sole hit was produced by Peter Schekeryk, who went on to produce hits for his wife, Melanie, including the Hot 100-topping “Brand New Key.”

Saks studied at the Juilliard School, and later continued his studies at the Mannes College of Music, from which he graduated in 1970.

As an audio producer for CBS Masterworks, RCA Red Seal (RCA Records), Bertelsmann Music Group (BMG), and Sony BMG Music Entertainment, Saks was responsible for engineering and master recording hundreds of titles.

Beginning in 1980, Saks worked with the Metropolitan Opera in New York City to record and produce more than 1,600 of its telecasts, radio broadcasts and live HD transmissions.

Saks was nominated for 53 Grammys between 1977 and 2018. He received at least one Grammy nomination in 30 different years. He was nominated 10 times for classical producer of the year, but he never won in that category.

Saks’ other cast show album nominations (in addition to his five wins) were for Starting Here, Starting Now, Anything Goes, Assassins, Sondheim: A Celebration at Carnegie Hall, How to Succeed in Business Without Really Trying!, Ragtime the Musical (for two different recordings), Cabaret, Fosse, Thoroughly Modern Millie, Man of La Mancha, Avenue Q—The Musical and The Color Purple.

Saks was also nominated for best compilation soundtrack album for a motion picture, television or other visual media for Fantasia/2000.

Saks was nominated for a Primetime Emmy in 2007 – outstanding sound mixing for a variety or music series or special – as audio producer for PBS’ The Magic Flute (Great Performances at the Met).

An avid runner, Saks completed one of the earliest New York City marathons.

Saks is survived by his wife, Linda Saks; their two sons, Jeremy Saks and Greg Saks; and three grandchildren, Bo Saks, May Li Saks, and Ben Saks.

Here’s Why Fans Think ‘Taylor Swift (Taylor’s Version)’ Will Feature Dolly Parton

Taylor Swift and Dolly Parton have fans working 9 to 5 trying to figure out if a collaboration between the two blonde countrypop crossover superstars is in the works.

That’s because the “Jolene” singer appears to have given the Eras Tour headliner a “follow” on Instagram, as reported by Uproxx and a number of fan accounts on social media. That tiny movement alone has sparked a wave of speculation that Parton may be gearing up to get in the studio with Swift — or, better yet, that the former might just be featured on the latter’s highly anticipated Taylor Swift (Taylor’s Version).

“I’ll never shut up if Queen Dolly is on Debut TV,” one Swiftie tweeted Wednesday (Dec. 25), while another person commented, “IF DOLLY IS ON DEBUT TV I WILL NEVER RECOVER IT WILL BE THE BEST THING THATS EVER HAPPENED.”

Trending on Billboard

“IF DOLLY IS ON DEBUT TV IM NOT RESPONSIBLE FOR THE PERSON I’LL BECOME,” wrote a third fan.

Taylor Swift (Taylor’s Version) is one of two re-records — the other being 2017’s Reputation — that Swift has left to release in her Taylor’s Version series, which has found the star dropping revamped versions of her first six albums since 2021. So far, she’s unveiled re-recordings of 2008’s Fearless, 2010’s Speak Now, 2012’s Red and 2014’s 1989.

Released in 2006, the 14-time Grammy winner’s self-titled debut LP marks the most distinctly country-sounding album in her discography — so it only makes sense that she would enlist Parton, one of the genre’s biggest legends, to help out. Swift has previously tapped other stars to duet on From the Vault tracks for her Taylor’s Version projects, including Keith Urban for “That’s When” from Fearless (Taylor’s Version), Phoebe Bridgers for “Nothing New” from Red (Taylor’s Version) and Paramore’s Hayley Williams for “Castles Crumbling” from Speak Now (Taylor’s Version).

Plus, Parton and Swift are openly fans of each other. In November 2023, the “Anti-Hero” singer told The Hollywood Reporter, “Dolly is a force of evolution and transformation in our industry, but she does it with such playful levity it almost looks effortless. Her sense of humor and mischief are easily my favorite things about her, because I think it forces the world to reconcile that a woman can be a serious artist and writer who also has raucous fun with it, can make people laugh and be in on every joke.”

“Taylor Swift is amazing what she has done with her career,” Parton said of Swift in an interview with Variety the following September. “I just admire her very much and how she’s handled her business, her personal life and what all she has meant to so many young people. [She’s] been a great inspiration.”

Wham!’s ‘Last Christmas’ Makes a Comeback in Top 10 of TikTok Billboard Top 50 | Billboard News

The No. 1 spot has a new ruler, but who could it be? Does a Christmas classic take the throne? Keep watching to find out!

Tetris Kelly:

Christmas continues to take over the charts but a classic takes the top spot. M.I.A.’s “Paper Planes” comes in at number one on the TikTok Billboard Top 50 for the chart posting December 26th. The 2008 hit has found new life on the platform thanks to a new dance trend. Mariah Carey climbs back up to No. 2. “All I Want for Christmas” bounds back from number 8. Another Christmas classic returns to the top 10. Wham’s “Last Christmas” jumps from 20 to 7. And our only new track in the top ten this week is “Peggy” by CeeChynaa. Every Thursday, Billboard will bring you the verified list of the hottest songs on TikTok by monitoring music discovery and engagement on the platform in the United States. To find the TikTok Billboard Top 50 each week, users can simply go to any sound detail page and tap the top right button to access the charts page.

Jim Jones ft. SUZI “This Sh!t Still In Harlem,” Hit-Boy “Letter To My Mentors” & More | Daily Visuals 12.26.24

HipHopWired Featured Video
Jim Jones

Source: Bernard Beanz Smalls / Bernard Beanz Smalls,

Say what you will about Jim Jones, but the man went from Cam’ron’s hypeman to his partner-in-rhyme to the last member of Dip Set constantly repping Harlem on the regular and the Dip Set Capo is looking to close out the year on a high note for the hood he so obviously loves.

Linking up with SUZI for his latest visuals to “This Sh!t Still In Harlem,” Jones takes it back to the projects where he styles out in some fancy clothes, iced out pieces and a automobile so expensive that’ll leave most men in debt for the rest of their lives. Gotta give it to Jim, a lot of rappers wish they could go back to they hood balling like this.

Hit-Boy meanwhile looks to give some flowers to the people that inspired him and in his clip to “Letter To My Mentors,” Hit shows love to some of his friends and peers who helped him become the famous man he is today. Props.

Check out the rest of today’s drops including work from Nature, Grafh featuring Peedi Crakk, Neek Bucks, Young Chris, and more.

JIM JONES FT. SUZI – “THIS SH!T STILL IN HARLEM”

HIT-BOY – “LETTER TO MY MENTORS”

NATURE – “SOME FAKE SOME REAL”

GRAFH FT. PEEDI CRAKK, NEEF BUCK & YOUNG CHRIS – “ROCAFELLA CHAIN”

JAY ROYAL FT. TEK – “THE POOKIE BELT BUCKLE”

ZEDDY WILL – “TWERKIN WIT YA FRIENDS”

HADDY RACKS – “I’M FAMILIAR”

BIZZY BANKS – “FACTORY”