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Pharrell Says He Didn’t Care Drake Threatened To Meltdown His Old Jewelry

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We think it’s safe to say that 2024 wasn’t too kind to Drake as Kendrick Lamar basically turned a good portion of the culture against the Canadian crooner/rapper, but before that Drizzy was embroiled in a heated battle with Pusha T and his former producer, Pharrell caught a wild stray as a result.

In a recent interview with GQ magazine, Pharrell was asked about a 2023 Drake “diss” when the King of The North threatened to melt down some of Skateboard P’s fancy jewelry that he purchased after Pharrell sold off more than a million dollars worth of his personal belongings. In his guest appearance on Travis Scott’s 2023 cut “MELTDOWN,” Drake threatened to, well, meltdown some of Pharrell’s signature chains and pieces saying “Man, f*ck all that spinnin’ the narrative sh*t / I melt down the chains that I bought from yo’ boss / Give a f*ck about all of that heritage sh*t.”

While we Drake ever followed through with his threat at all, Pharrell doesn’t seem to care much for what might’ve happened to his old jewelry anyway. When asked if he was phased when he found out that Drake was buying his old iced out pieces, Pharrell gave an honest answer and explanation behind it.

Per GQ:

No, because I think beyond all of the on-goings, at the heart of all of it, he’s a fan of music. He’s a fan of the history of what it is, and I happen to be a part of that, and those artifacts are a part of it.

And then when he was rapping about melting the jewelry down and saying, “Come get his legacy out my house” and all that stuff, how did that strike you?

It didn’t.

That didn’t strike you?

No.

It’s interesting that these things are weighing on you, you get rid of them, somebody else takes them on, and what they mean to him—I guess that’s for him to decide?

Or not. I guess some things are not for me to understand. When you let things go, a huge part of it is actually letting go. Not just of the physical item, but letting go of your connection to what it’s supposed to mean, or the memory. You’re literally letting them go. That was the purpose. It’s like when people sell something and they go, “I just want to make sure you take care of it because this is my baby.” And I’m like, “No, no, no.” This is not my baby. That’s why I’m letting it go.

One can only hope to touch the level of zen that Pharrell has seemingly reached. Just sayin,’

Though Drake has rocked Pharrell’s pieces as recently as his video for “Family Matters,” he could’ve melted down a piece or two since then just to make a point. Then again, why would he? Could Drizzy be that petty? Guess we’ll have to wait and see.

Beyonce’s ‘Diva,’ Mariah Carey’s Holiday Classic Break Into TikTok Billboard Top 50’s Top 10

Yeah Yeah Yeahs’ “Maps” ties Mitski’s “My Love Mine All Mine” for the second-longest rule in the history of the TikTok Billboard Top 50 chart, while the lower half of the top 10 dated Nov. 16 features new blood, paced by Beyoncé‘s “Diva.”

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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Nov. 4-10. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.

With its sixth week at No. 1 (all consecutive), “Maps” takes over sole possession of the second-longest streak at No. 1 since the chart began in September 2023 (“My Love Mine All Mine,” which also led for six weeks overall, reigned for a pair of three-week periods). Tommy Richman’s “Million Dollar Baby,” with its 10-weeks-in-a-row streak, holds the all-time mark.

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“Maps,” released on Yeah Yeah Yeahs’ 2003 debut album Fever to Tell, remains driven by a pair of TikTok trends, one a dance challenge and the other using a filter where the user’s facial features are removed and then cascade back down onto their face. One of the utilized sounds is a sped-up version of the song.

For the fourth week in a row, “Maps,” Alphaville’s “Forever Young” and Akon’s “Akon’s Beautiful Day” rank as the chart’s top three, in that order. While No. 3 remains the latter’s peak, “Forever Young” reached No. 1 for a week in October.

From there, the ranking’s top 10 is far less static. Tyler, the Creator’s “Like Him,” featuring Lola Young,” breaks into the top five for the first time, lifting 6-4 in its second week. The song from the rapper’s new album Chromakopia (which tops the Billboard 200 for a second week, as previously reported) rises thanks to another week of the “do I look like him” trend, with creators using the clip to showcase complicated father-child relationships (fictional or real), comparisons to athletes and people past and present, and more.

“Like Him” jumps 10% to 13.7 million official U.S. streams in the week ending Nov. 7, according to Luminate. Concurrently, it vaults 45-29 on the multimetric Billboard Hot 100.

Aphex Twin’s “QKThr” rounds out the top five of the TikTok Billboard Top 50 (up 10-5, one spot away from its No. 4 best), while Beyoncé’s “Diva” follows at No. 6, its first time in the top 10. “Diva,” from the 2008 album I Am…Sasha Fierce, reached No. 19 on the Hot 100 back in 2009.

“Diva” has found new life on TikTok in 2024 via a trend where creators show off their diva-like behavior. It jumps 17% to 2.3 million streams in the Nov. 1-7 tracking week.

Two other songs appear in the TikTok Billboard Top 50’s top 10 for the first time: Gracie Abrams’ “That’s So True” at No. 8, and the live version of Michael Prince’s “Finesse,” featuring Koncept P, at No. 9.

Abrams’ “That’s So True,” released Oct. 18 on the deluxe version of her The Secret of Us album, has gone viral since, paced by lip-synching trends. It zooms to 18.9 million streams, up 26%, in the latest tracking week, good for a 25-13 rise on the Hot 100.

“Finesse,” meanwhile, was released in May on Prince’s Limitless – A Trap Symphony, with its recent gains tied to a trend using the song’s “do you not get the concept?” lyric, generally a two-person dance trend with one person mimicking playing a violin. It earned 437,000 streams in the tracking week ending Nov. 7, up 67%.

And returning to the top 10 after an 11-month respite is Mariah Carey’s “All I Want for Christmas Is You,” which shoots 17-7. It spend eight weeks in the top 10 during last holiday season, from the charts dated Nov. 18, 2023, to Jan. 6, 2024, sitting at No. 1 those final two frames.

“All I Want for Christmas Is You” paces holiday-related content on the latest tally, ahead of Wham!’s “Last Christmas” (No. 13, up from No. 48) and Brenda Lee’s “Rockin’ Around the Christmas Tree” (a re-entry at No. 22).

See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.

Salute: ‘The Guardian’ Cancels Elon Musk’s X Platform. Refuses To Post

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It’s no secret to anyone who is regularly on social media and is not from the land of MAGA Delulu that Elon Musk has not only eroded the value of X, the platform formerly known as Twitter, but he has turned it into a utopia of racial slurs, right-wing propaganda and shameless Trump-humping. Well, one media outlet is not about to pretend Musk hasn’t turned X into a MAGA fan page and it will no longer post on the platform because of it.

The Guardian is having none of Musk and his X-Klan (see what I did there?) shenanigans.

From Variety:

The Guardian made the announcement on Wednesday in a post on its website, writing that “the benefits of being on the platform formerly called Twitter” have now been “outweighed by the negatives.” The publication cited the “often disturbing content” found on the platform and said the way it handled last week’s U.S. presidential election — which saw Donald Trump win a second term — “crystallized” its decision.

“This is something we have been considering for a while given the often disturbing content promoted or found on the platform, including far-right conspiracy theories and racism,” the publication said. “The U.S. presidential election campaign served only to underline what we have considered for a long time: that X is a toxic media platform and that its owner, Elon Musk, has been able to use its influence to shape political discourse.”

Musk, of course, responded to the news on X by basically describing Trump but applying the definition to The Guardian, tweeting, “They are a laboriously vile propaganda machine.”

That’s rich coming from the guy who supports the guy who has been fact-checked and found to be lying more than any modern president — the same president who spent four years spreading factless and thoroughly debunked election fraud propaganda until he kicked and screamed his way back into the White House.

Shout out to The Guardian for refusing to normalize Musk, Trump and the rest of the white nationalist propagandists who are, indeed, relying on lies and bigotry to “shape political discourse.” That’s what integrity actually looks like, not that any of the aforementioned would know anything about that.

Ye Hit With Lawsuit Over Alleged ‘Vultures 1’ Sample From 1994 Track: ‘Deliberate Theft’

Ye (formerly Kanye West) is facing a new lawsuit over Vultures 1 from a group of Memphis rappers who claim the star and Ty Dolla $ign committed “brazen” copyright infringement by sampling a song after failing to secure a license.

The case – the latest in a long list of such lawsuits against Ye – claims the track “Fuk Sumn” is “riddled” with illegal samples from a 1994 song called “Drink a Yak (Part 2)” by the artists Criminal Manne (Vanda Watkins), DJ Squeeky (Hayward Ivy) and the late Kilo G (Robert L. Johnson Jr.)

Like several other previous cases against Ye, the lawsuit claims that the star’s reps reached out to clear the samples – but that he then just continued to use it without a license when talks broke down.

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“After numerous unsuccessful attempts at resolving this matter directly with the responsible parties, plaintiffs have been left with no other method of recourse than to bring this cause of action,” attorneys for the accusers write in a complaint filed Wednesday.

The use of the earlier song in “Fuk” is so “blatant” and “brazen” that the spots where samples were used in Ye’s track are “easily discernible,” the lawsuit claims. Near the start of Ye’s song, Criminal Manne can allegedly be heard rapping a lyric from “Yak” that stars with “smokin on a junt”; seconds later, Kilo G is allegedly heard rapping another line: “Stop off at the liquor store, get your yak, then we headed for the indo.”

The new lawsuit is one of more than a dozen such cases that have been filed against Ye over claims of unlicensed sampling or interpolating during his prolific career. The controversial rapper has faced nine such infringement cases since 2019 alone, including a high-profile battle with estate of Donna Summer that settled earlier this year.

Lawyers for the three accusers say that reps for Ye reached out to clear the sample in February, after “Fuk” had already been released. Those talks allegedly went on for months, but were terminated in June when the plaintiffs say they were were notified that “YE had fired his entire legal and business team leaving him without any legal representation.”

“Despite a much anticipated resolution resulting from several months of intense negotiations, Plaintiffs were informed they would need to wait to be contacted by Defendant YE’s new legal representation,” the lawsuit says.

Another Ye attorney then reached out to re-start the sample negotiations, the lawsuit says, but then were informed that he too was no longer working with Ye. The accusers say that no deal has been reached since.

“Plaintiffs have never given permission to Defendants for such use of their music,” attorneys for the three rappers write. “Meanwhile all Defendants have continued to profit from the illegal usage of the sampled [song] with over 150,000,000 Spotify streams to date.”

Reps for Ye and Ty Dolla did not immediately return a request for comment.

Ice Spice Teams Up With ‘Fortnite’ for Rap Princess Skins as Part of Chapter 2 Remix: ‘I Love Her Looks’

Ice Spice is now a playable character in Fortnite as part of Battle Royale’s Chapter 2 Remix. The Bronx rapper turned Shark Island into Ice Isle on Thursday (Nov. 14) as the abandoned shopping mall map takes on a nostalgic Y2K! theme.

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“I’m most excited to see how happy my fans are that they get to use my skins and just grateful to stand next to icons,” she tells Billboard. “I have a bunch of younger siblings that play the game and [I] also get to have big sister cool points.”

Ice Spice’s Grappler and Rifle are now available with a pair of Rap Princess skins coming to the Fortnite store on Thursday, which are inspired by her looks in the “Deli” and “Fisherrr (Remix)” videos.

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Players will be able to run around with Ice Spice skins featuring her furry pink jacket and Benny the Jeweler’s princess necklace.

“Not yet,” Ice says when asked if she’s been able to play with her character yet. “But I am excited to as soon as I wrap up tour. She’s super cute and I love her looks.”

Growing up with siblings in New York City, video games have long been in the 24-year-old’s orbit. “I grew up playing on consoles like the Wii and Nintendo. I’m obviously a huge Super Mario fan,” she adds.

Ice and Snoop Dogg lit the fuse to kick off the Chapter 2 Remix earlier in November with a Times Square NYC concert. In addition to the duo, Chapter 2 also includes rap stars such as Eminem and the late Juice WRLD, whose WRLD Point will be introduced on Nov. 21.

The chance to play with Ice Spice and other superstars won’t last forever as the Chapter 2 Remix is slated to run through Nov. 30.

Check out some gameplay footage of the Grammy-nominated rapper’s Fortnite character below.

Lizzo Joins Bluesky & Explains Her Reasoning: ‘I Hate the Internet’

Bluesky smiling at Lizzo, nothing but Bluesky does she see. As countless former X users have been flocking to the alternative social media platform following the results of the 2024 election, the “About Damn Time” hitmaker revealed Wednesday (Nov. 13) that she’s also made the switch — and shared why. 

Posting a mirror selfie showing off her white bathrobe on Instagram, Lizzo wrote frankly in her caption, “I hate the internet.” 

“Anyways I joined bluesky cus we’re leaving toxicity in 2024 ?,” added the Grammy winner, who also shared the news on her Story and wrote, “#TheGreatMigration.” 

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Lizzo — who hasn’t used X (formerly Twitter) since September 2023 — also pointed followers in the direction of her Bluesky profile, where she’s already fired off a string of posts. “I was out lizzo’d & I’ll never be out lizzo’d again,” reads her first message, shortly after which she wrote, “Wait… are we having fun on the internet again? ?” 

Bluesky has seen over a million new users in the week-plus since Donald Trump won the 2024 presidential election over Kamala Harris, whom Lizzo and several other musicians had backed emphatically. Elon Musk — who purchased Twitter for $44 billion from Bluesky founder Jack Dorsey and other investors in 2022 before rebranding the site as X — has been a longtime supporter of the president elect, and the twice-impeached politician recently appointed the Tesla billionaire and Vivek Ramaswamy as co-leaders of the newly created Department of Government Efficiency. 

Though she hasn’t been on X in two years, Lizzo has maintained her online presence on Instagram and TikTok. Two days after the election, she shared an IG video of herself writing on a piece of paper, “Sending LOVE to everyone in the WORLD.” And when, days later, former NFL star Antonio Brown quipped that she was holding her pen in the clip “like she hold her Ozempic shot,” the Yitty founder shared photos of herself in an array of swimsuits and clapped back, “Holding life like an ozempic pen.. ?” 

See Lizzo’s post below.

Celine Dion Rules Runway With Glittering Performance at Hits at Elie Saab Fashion Show in Riyadh

Celine Dion continued her slow re-emergence after a nearly two-year break from the public eye due to her battle with the debilitating Stiff-Person Syndrome to perform a dazzling two-song set on Wednesday (Nov. 13) at the “1001 Seasons of ELIE SAAB” event in Riyadh, Saudi Arabia.

The celebration of the Lebanese designer’s 45-year fashion career found Dion, 56, taking the stage among a parade of statuesque models while wearing a flowing pale pink floor-length sequined gown with a billowing cape and her hair pulled back in a bun. Dion walked slowly down a set of winding stairs at the back of the stage as a series of veiled models wearing similarly floor-sweeping glittery dresses paved her way.

After the models slow-sashayed out of her way, Dion commanded the stage, performing her titanic 1994 Billboard Hot 100 No. 1 hit “The Power of Love” as the stage behind her flashed with digital waves of golden light. Her signature power vocals sounding undiminished, Dion belted out the tune to the accompaniment of a piano and an orchestral track, punctuating the soaring lines with her trademark dramatic hand gestures in a performance that left no doubt that, despite her health struggles, the singer is still in full command of her unparalleled instrument.

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As if further proof were needed, Dion hit a series of extended notes with such force at the end that even she seemed pleasantly surprised and pleased, striking a defiant, forceful pose before bringing her hands up over her heart as the room burst into applause. Dion didn’t take much time to linger in the moment, as a polyrhythmic beat quickly bubbled up, accented by sprightly horns to set up the night’s big finale.

Clapping and bouncing in place as she encouraged the crowd to put their hands together, Dion then busted another fan favorite, 2002’s “I’m Alive,” as the final group of models walked by, with some extending their hands to greet the pop superstar. Moving around with ease and smiling broadly, Dion seemed energized by the group of white-clad dancers who joined her, shimmying her hips near the end and spreading her arms wide as a gospel choir rose up behind her singing the song’s inspiring chorus.

The singer put her hand over her heart, turned her back to the audience and then slowly spun around for a final hip-swiveling dance and a dramatic flourish, shooting her right hand over her head before accepting a pair of cheek kisses from the night’s honoree.

The night also featured sets from Jennifer Lopez (performing Gloria Gaynor’s “I Will Survive” and her hits “Waiting For Tonight,” “On the Floor” and “Let’s Get Loud”) Camila Cabello, Nancy Arjam and Amr Diab.

The Wednesday mini-set was just Dion’s second performance since her lauded comeback at the opening ceremony of this summer’s 2024 Summer Olympics in Paris, followed by a surprise set at the City of Hope’s 2024 Spirit of Life Gala in Los Angeles in October. Dion has largely been out of the public eye since Dec. 2022, when she revealed her Stiff-Person Syndrome diagnosis; the rare neurological disorder can cause uncontrolled muscle spasms that make it hard to move, with Dion saying that sometimes they were so intense that they caused broken ribs.

The singer was forced to postpone all of her 2023 and 2024 tour dates as a result, a painful decision she chronicled in this year’s Prime Video documentary I Am: Celine Dion.

Watch Dion’s performance below.

Former MNRK CEO Chris Taylor Opens Hall of Fame Artists Management Company

Former MNRK Music Group president/CEO Chris Taylor has officially opened the doors on his next venture, Hall of Fame Artists, which is currently managing artists with plans to expand into the recording, publishing and multimedia sectors.

Hall of Fame’s roster of approximately 30 acts includes much-sampled U.K. soul and funk legends Cymande, who are enjoying a resurgence in popularity, Canadian lo-fi rapper and streaming sensation, Powfu, who has 8.2 million monthly listeners on Spotify; jazz pianist and composer, Kiefer, electro pop star, Lights, and stand-up comic Brittany Brave.

Taylor, who resigned from Blackstone-owned MNRK this past summer and took its management division with him, technically opened Hall of Fame in July, but says he chose not to publicize it. Five months later, he told Billboard he has team members based in New York, Los Angeles, Miami, Vancouver and the United Kingdom. They include music and comedy industries veteran Keith Hagan, a longtime publicist and marketing strategist for acts like Kenny Rogers, Paul McCartney, TOTO and Paul Weller; touring and merchandise expert Sarah Osgoode (Tragically Hip, Arkells, Lights); radio promotion exec, Polo Brewster (Kendrick Lamar, J Cole, Tory Lanez); and marketing team members, Kultar “KC” Chohan and Kate Stronczer.

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“There has never been a better time to be an independent operator in the music industry,” Taylor says. “We are providing a full suite of services that clients can take full advantage of. Everybody is talking about how easy it is to do everything yourself, and I think there’s a lot of truth to that. But there are so many tools now to manage and having experience with those is vital, and I think it’s very difficult for artists to do it all on their own.”

Taylor compares navigating the music industry to negotiating tax regulations. You can master them, but they are changing all the time,” he says. ,n the music business you can master TikTok, Instagram, Spotify, Apple and all the other platforms out there, but they’re changing all the time. How does an artist stay on top of that? I don’t think they do without a team.  

The company is in the process of signing their first artists to the recording and publishing divisions. Expect many more exciting updates from the company as the road to the hall of fame gets constructed.

While at MNRK, Taylor’s team worked with The Lumineers, Pitbull, Chromeo, Zakk Wylde and the estate of Chuck Berry. Originally branded Entertainment One (eOne), the company was acquired for a reported $4 billion, and in 2021, Taylor led the sale of the eOne/Hasbro Music division — which he ran, to Blackstone for a reported $385 million. Prior to his work with those companies, Prior to MNRK, he was the music attorney for Drake, Kaytranada, Avril Lavigne, Three Days Grace, Sum 41 and Nelly Furtado.

Taylor says Hall of Fame is in the process of signing its first two artists to its recorded music and publishing divisions.  “For now we’re prepared to do this brick by brick,” he says. “Then we plan to scale up swiftly.”

Dwight Yoakam on Post Malone Collaboration and ‘Brighter Days,’ His First New Album in Nearly a Decade: ‘Brightness Is What We’re Hoping For’

Nearly a decade after the release of his 2016 album Swimmin’ Pools, Movie Stars, and four decades after he turned the Nashville establishment on its head with his distinct brand of West coast honky-tonk, punk and rockabilly, Dwight Yoakam isn’t erecting creative boundaries anytime soon.

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His new album Brighter Days, out Friday (Nov. 15), was forged by years of life shifts, both personal and professional, and finds him moving ahead musically with a new set of inspirations. In March 2020, he wed photographer Emily Joyce and in August of that year, the couple welcomed their first child, son Dalton Loren. Meanwhile, like the rest of the world, Yoakam and his family weathered the height of the COVID-19 pandemic.

His devotion to family is threaded through songs on the album, including the realistically romantic “I Spell Love,” and the title track “Brighter Days,” which developed from a tender moment with his son Dalton, whom Yoakam gave a co-writing credit on the song.

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“He had a little Fender Telecaster-shaped ukulele he would wear,” Yoakam recalls. “He came bouncing in the room one day and said, ‘Get your guitar.’ I picked it up and he would attempt to answer what I would play and I looked at him and said, ‘You know what? The future is you,’ and I started singing ‘Brighter Days,’ and he kind of sang it back to me. I came up with the first verse just watching him and singing and having him sing back to me.”

The new album also comes after Yoakam parted ways with Warner Records, instead releasing the album on his own label Via Records, in partnership with Thirty Tigers.

“Everything had changed at Warner Brothers where I’d been the last couple of studio albums and we were kind of in flux,” Yoakam tells Billboard. “I left and wasn’t sure where we were going to do the next record. After the chaos of 2020 and 2021, David [Macias] at Thirty Tigers approached me and said, ‘Would you be interested in doing a record here?’ And I said yes.”

Brighter Days also finds Yoakam with more co-writing credits on the project, unlike many previous albums which have featured mostly his solo writes. As the world was still reeling from the pandemic, Yoakam found himself collaborating with California native and fellow hit country songwriter Jeffrey Steele (“What Hurts the Most,” “These Days”) on Zoom co-writes, ultimately crafting six of the album’s songs together, including “California Sky” and “I’ll Pay the Price.”

“I don’t co-write a lot. The first one was a very auspicious beginning, with Roger Miller in 1990. Most albums, probably 70% or 80% is my own solo writing,” Yoakam says, adding, “We had such fun discussing [Steele’s] relationship to all things California music. He was raised in the Valley and his dad owned a garage blocks away from the famous Palomino Club, so he grew up in the shadow of that. ’I’ll Pay the Price’ was a bit of an homage to the late ‘60s, early ‘70s when Linda Ronstadt put her first band together.”

The project wraps in covers of Cake’s “Bound Away,” “Time Between” from the Byrds, and The Carter Family staple “Keep on the Sunny Side.”

“If you think about what brought California’s version of country music, it was the Dust Bowl. It was another mass event in the 1930s and it drove hundreds of thousands, if not millions of people to relocate to California from the Great Plains. And the Great Depression, so you had two events, driving this displacement of large segments of our society to California and they brought their version of their colloquial musical expressions…It’s a winding story, but all of these tracks are connected in various ways,” he says.

His willingness to filter a range of sounds and inspirations through his own musical lens is what led Yoakam to his breakthrough in the mid-1980s. He first tried his luck in Nashville, coming up against roadblocks due to his retro-progressive musical style. He decamped to California, refining his music and further soaking in the influence of Bakersfield and Buck Owens. In 1984, Yoakam independent project Guitars, Cadillacs, Etc., Etc. caught the attention of label execs, and he signed with Reprise Records. He re-released the project, earning acclaim with songs including a super-charged version of Johnny Horton’s “Honky-Tonk Man,” as well as the project’s title track.

Subsequent albums would yield success including top 10 Billboard Hot Country Songs hits with “Little Sister,” and “Please, Please Baby.” Three of his albums, 1986’s Guitars, Cadillacs, Etc., Etc., 1987’s Hillbilly Deluxe and 1988’s Buenas Noches From a Lonely Room,  reached No. 1 on Billboard’s Top Country Albums chart. The two-time Grammy Award winner was inducted into the Nashville Songwriters Hall of Fame in 2019.

Yoakam finished recording Brighter Days in 2023. Just as he and his team were gearing up for its release, Yoakam got an unexpected invitation from Teas native Post Malone, known for his swirl of pop songs such as 2019’s “Circles” and “Sunflower,” to collaborate.

When they were planning their collaboration performance of Yoakam’s “Little Ways” during the Stagecoach country music festival earlier this year, Post Malone asked if he could join Yoakam on his album. Yoakam and Post Malone’s friendship stretches back to 2018, when Post Malone joined Yoakam for an episode of Yoakam’s SiriusXM Greater Bakersfield show, where they performed songs including Merle Haggard’s “The Bottle Let Me Down.”

“I had literally just finished the album a week and a half earlier, and I was unaware that he had done the F-1 Trillion album at that time,” Yoakam says. “I knew he was doing stage shows and I knew something was afoot about duets he was doing, but I didn’t know how extensively what it was all about.”

Yoakam had already been toying with a song idea, and quickly wrote the Western swing- soaked “I Don’t Know How to Say Goodbye (Bang Bang Boom Boom),” and adjusted the album’s releases schedule to accommodate the Posty collaboration. It turns out Post Malone was working on not only his country-leaning F-1 Trillion, but collaborating with another superstar.

“We delayed the release of the album by about six months,” Yoakam says. “I didn’t realize Post came in [to record his vocal] between days of shooting the video he did with Taylor Swift [“Fortnight”] . We rescheduled the album release because we decided it was something we wanted to put on the album.”

Outside of music, Yoakam is known for a plethora of creative pursuits, notably his film and television career, which has included roles in Sling Blade and Wedding Crashers. His Sling Blade co-star Billy Bob Thornton “has agreed to work on a series I wrote, called ‘A Thousand Miles From Nowhere’ — it’s not about the song, though it sort of is. It’s a period piece that takes place in the 1870s. So that’s afoot, and there are a couple of film roles I’ve been approached about that we are seeing if they make sense to do.”

But currently, as evidenced by Brighter Days, Yoakam has set about crafting an album for those seeking an emotional uplift, as he was when he wrote the title track.

“I thought, ‘When the fog of all this rises, brightness is what we’re hoping for — the brighter days,” Yoakam says.

Composer Siddhartha Khosla Elected to Television Academy’s Board of Governors: Full List

Emmy-winning composer Siddhartha Khosla was elected to the Television Academy’s board of governors, representing the music branch. Khosla will serve a two-year term beginning Jan. 1, 2025.

Khosla has received seven Primetime Emmy nominations for his work on two hit series – NBC’s This Is Us andHulu’s Only Murders in the Building. He won his first Emmy – outstanding music composition for a series (original dramatic score) – in September for the latter show.

Khosla’s other credits include FOX comedy Grandfathered, Lionsgate/E!’s The Royals and Hulu’s Runaways, and feature films Fat Camp and Liv. He also composed original songs for the musical film Basmati Blues and ABC series The Neighbors. Khosla is also known for founding the New York-based band Goldspot, which released three albums from 2008-13.

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Khosla is one of 13 newly-elected governors, out of a total of 31 on the board. The Television Academy reports that its 2025 board of governors is the most inclusive in its history. For the second year in a row, the board reflects gender parity. In addition, 47% of its members are from what the academy calls “historically marginalized groups (based on racial and cultural identity, sexual orientation, et al.),” the highest in its history, surpassing last year’s record of 45%.

The 13 newly-elected governors who will serve a first-ever two-year term are: Kevin Blank (special visual effects); John Boyd (lighting, camera & technical arts); Allison Dorenbosch (children’s programming); Megan Galizia (television executives); Trayce Gigi Field (costume design & supervision); Phil Gurin (producers); Shana Hagan, ASC (cinematographers); Siddhartha Khosla (music); Vicki Lemar (sound); Joseph Litzinger (reality programming); Angela Moos (makeup artist/hairstylists); Sean Presant (writers) and Megan Sleeper (casting directors).

In addition, 15 governors were reelected to serve a second two-year term: Wendy Aylsworth (science & technology); Eva Basler (daytime programming); Bobbi Banks (sound editors); Mary Lou Belli (directors); Hillary Bibicoff (professional representatives); Megan Chao (documentary programming); Yvette Cobarrubias (commercials); David Hartle (production executives); Christina Lee (public relations); Kate Linder (performers); Robert M. Malachowski Jr., ACE (picture editors); Eddie Perez (stunts); Eric W. Shamlin (emerging media programming); Steve Viola (motion & title design) and Kimberly Wannop (art directors/set directors).

Three of the elected governors are returning to serve a new two-year term after an absence from the Television Academy’s governing body: Janet Dimon (animation), Mandy Moore (choreography) and Greg Taylor (Los Angeles area).