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Chris Martin is known for being a super-chill dude. The Coldplay singer seems perpetually at ease, consistently radiating a positive energy and a “let’s hug it out” vibe that has helped fill stadiums around the world (usually for three or more nights) for the past two years on his band’s record-setting Music of the Spheres tour.
And in a new Rolling Stone cover story, Martin seems, for the most part, completely unbothered, leaning into radical acceptance of what his band’s music means and how the world hears their operating thesis: peace and love are the answer.
“When I’m saying these things about world peace, I’m also talking about my own inside,” he told the magazine. “It’s a daily thing not to hate yourself. Forget about outside critics — it’s the inside ones, too. That’s really our mission right now: We are consciously trying to fly the flag for love being an approach to all things. There aren’t that many [groups] that get to champion that philosophy to that many people. So we do it. And I need to hear that too, so that I don’t give up and just become bitter and twisted and hidden away, and hate everybody. I don’t want to do that, but it’s so tempting.”
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Much of the profile runs around a familiar topic: Coldplay not being cool. But after 28 years, 100 million albums and more than 10 million tickets sold on their tour to date , Martin, once again, said that he’s 100% okay with leaning into the Coldplay-ness of it all and not worrying what people say, or think, about his band.
“There’ve been times where we [were like], ‘Well, we should probably try and look a bit like this or talk a bit like that,’” Martin said about the constant pressure to change up from the group’s signature happy global peace warrior vibe. “And now, it’s just like, ‘No.’ Just follow whatever’s being sent. And that’s a very liberating place to be. If you want a puppet to sing a bit of a song, well, some people might not like this — my mum being one of them, for example. But my point is, that’s part of my journey to be like, ‘Well, I love you, and this is what we’re doing.”
Sure, they sing with puppets and wear themed outfits on their tours, and popped into QVC to hawk their latest album, Moon Music. But for Martin, the sometimes derisive slings and arrows are part of the “you do you, I’ll do me” game, something the preternaturally chill singer said he’s come to accept. “It would be terrible if we lived in a society where everyone had to [like the same thing]. We’re a very, very easy, safe target,” Martin said. “We’re not going to bite back. We are four white, middle-class men from England. We deserve to take some s–t for what our people have done. There’s a reason we get to play all around the world, and part of it is not necessarily very healthy.”
The Music of the Spheres tour is an overwhelming visual extravaganza, full of confetti, dancing aliens, four blasts of fireworks, kinetic dance floors, exercise bikes that power the satellite stage and enough unassailably sweet, moving moments that it can sometimes feel like Mickey Mouse’s Starlight Parade. Which, by the way, Martin is also totally fine with.
“Maybe the theatrics are all part of that. It’s a bit Disneyland-ish in terms of ‘OK, let’s exist for a couple of hours in this place where no one hates each other,’” he said. “The second-happiest place on Earth. Copyright, Coldplay.”
Martin appears open to speak about just about any topic — including his incessant teasing of son Moses, 18, and his endless love for daughter Apple, 20 — except his relationship with longtime love (and reported fiancée) actress Dakota Johnson. In the wake of tabloid rumors questioning whether their love light has faded, Martin told RS it is not his story to tell.
“It is important to say that [romantic love] is such a big factor in everything, even though it feels right to keep it precious and private; I’m not denying its power,” he said, though the writer noted that the singer mentioned Johnson in passing several times during their chats, including that they had listened to Kacey Musgraves’ Golden Hour album together recently. He also revealed that among his “handful” of best friends are Later, he says he has only a handful of best friends, among them Coldplay’s manager, his bandmates, his kids and Johnson.
Martin is also keenly aware of the boom-bust cycle of pop stardom and the toll it can take, noting that every year there’s a new artist that comes along, or releases an album that “puts you in your place,” leaving fellow musicians humbled and inspired. For him, that was Chappell Roan this year. “I hope she’s OK,” he said of the “Pink Pony Club” singer who has been frank about her struggles managing the suddenly intense spotlight.
“It’s hard for the younger ones, especially when they’re on their own,” he added, giving thanks that he’s had his three longtime friends/bandmates bassist Guy Berryman, guitarist Jonny Buckland and drummer Will Champion, along for the ride.
In the end, Martin summed up the tension of being both one of the most beloved and one of the most critically dunked-on bands on the planet. “It’s like you start off as a band with three fans and one guy at the bar who thinks you’re s–t. And then you get to a band with 3,000 fans and 10 guys on the internet who think you’re s–t,” he said. “And then as you become the biggest band in the world, you also become the least popular band in the world. You can never escape. You can never win, if you’re looking for just winning. The stronger the light, the darker the shadow.”
He also once again leaned into the notion that his band has only two more albums in the tank, an animated musical based on a story he and manager Phil Harvey are writing together, as well as a final, self-titled LP that will bring it back to the start. “The cover of the album I’ve known it since 1999,” he said of the image that harkens back to Coldplay’s very earliest days.
Oh, but also he’d love to release a compendium of all the songs that never made it onto a Coldplay album called Alphabetica, which will go through the alphabet thanks to outtakes and orphans that never made the cut. “We don’t have any spare songs with Q,” he lamented. “That’s the one I’m stuck with.”
Lady Gaga fans are going to learn a lot more about the pop star’s life once her seventh studio album drops in February.
In a new interview with the Los Angeles Times published Thursday (Dec. 19), Gaga spilled details about the highly anticipated LP, a life-spanning project that she says is “full of [her] love of music” and contains “so many different genres, so many different styles, so many different dreams.”
“It leaps around genre in a way that’s almost corrupt,” the 13-time Grammy winner told the publication. “And it ends with love. That’s the answer to all the chaos in my life is that I find peace with love. Every song that I wrote, I just kept getting kind of swept away in these different dreams I was having about the past — almost like a recollection of all these bad decisions that I made in my life.”
She added, “But it ends in this very happy place.”
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The A Star Is Born actress first revealed in a September interview with Vogue that her long-awaited seventh album would arrive at the beginning of next year, just a couple months before she headlines Coachella 2025. She also shared at the time that her fiancé, tech businessman Michael Polansky, was the person who convinced her it was time to return to pop music following 2020’s Chromatica.
Gaga has since dropped LG7’s lead single, November’s “Disease,” a dark dance-pop track that reached No. 27 on the Billboard Hot 100. Three months prior, she and Bruno Mars teamed up for cinematic duet “Die With a Smile,” which the “Rain on Me” singer confirmed to the Times is definitely on her new album’s tracklist.
“It’s a huge part of my album,” she told the publication of the ballad, which spent eight weeks atop the Billboard Global 200. “It was like this missing piece.”
“It was the lyrics — this idea of a song that was about what we would do if the world was ending,” Gaga added of making “Die With a Smile” with the Silk Sonic star. “I just remember feeling like it was a song that people needed to hear. I write music all the time, and sometimes you feel like you’re making something that some people will like. But there’s other times that you work on something and you just know it’s gonna deeply speak to all different kinds of people. I knew it right away.”
Alicia Keys is set to receive the 2025 Dr. Dre Global Impact Award at the fourth annual Recording Academy Honors Presented by the Black Music Collective, to be held at the Fairmont Century Plaza in Los Angeles on Thursday, Jan. 30. The award was established in 2023 to recognize artists whose influence extends far beyond music. It also takes into account entrepreneurial achievements, philanthropic efforts and global impact.
Dre received the inaugural award on the Grammy telecast in 2023. Jay-Z received on the telecast earlier this year, where he memorably called out Grammy voters for not yet honoring his wife, Beyoncé, in the album of the year category.
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Keys is a current Grammy nominee for best musical theater album for Hell’s Kitchen. The musical, based on Keys’ early career story and featuring her songs, opened at the Shubert Theatre in New York on April 20 and is still playing. It received 13 Tony nominations and won two – best performance by an actress in a leading role in a musical (Maleah Joi Moon) and best performance by an actor in a featured role in a musical (Kecia Lewis).
“From her timeless music to her unwavering dedication to uplifting others, Alicia has made an indelible impact on the world,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “Alicia embodies everything the Dr. Dre Global Impact Award represents – her artistry knows no bounds, her advocacy inspires meaningful change, and her influence has profoundly shaped culture. We are honored to celebrate her extraordinary legacy and the transformative contributions she continues to make in music and beyond.”
Keys is a 16-time Grammy-winner. She won five Grammys in 2002, including best new artist and song of the year for “Fallin’.” She was just 21, which made her the youngest song of the year winner to that point.
Keys has amassed four No. 1 hits on the Billboard Hot 100 and five No. 1 albums on the Billboard 200.
Returning for the fourth consecutive year to produce the Recording Academy Honors event is MVD Inc, with Adam Blackstone also returning as music supervisor for the evening. Blackstone won a Primetime Emmy in 2022 as the music director of The Pepsi Super Bowl LVI Halftime Show Starring Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar, 50 Cent. He has received five Grammy nods, including one this year for working with Keys on the Hell’s Kitchen cast album.
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When it comes to superhero flicks and the DCEU, their track record is spotty. But the teaser trailer for James Gunn’s highly anticipated turn at the helm of’ Superman is going to get the fanboys salivating.
Krypto, Superman’s pet dog of Kryptonian ancestry, makes an early appearance, so you already know it’s going to be lit. Besides Kal-El (portrayed by David Corenswet) being bloodied after catching a fade, we get images of Clark Kent, Lois Lane (Rachel Brosnahan) Lex Luthor (Nicholas Hoult) and even Mr. Terrific (Edi Gathegi). It’s not like DC ever lacked in characters, it’s about getting the most out of them on the big screen.
Did we mention Jimmy Olsen makes an appearance, too.
Gunn directed Marvel’s Guardians of the Galaxy trilogy and the same sense style looks, at least initially, like it will translate well for the Big Blue Boy Scout. Here’s hoping. And yeah, that’s electric guitar version of John Williams’ classic “Superman Theme” heard throughout,
Superman is due in theaters July 11, 2025. Watch the teaser trailer below.
In North Miami’s Electric Air Studios, surrounded by a collection of Gibson guitars, a grand piano and various percussion instruments, Edgar Barrera earlier in December found himself in an unusual position: in the spotlight.
“I’m not used to this,” Barrera admits, dressed in Prada shoes and a Chanel jacket. His voice carries a hint of vulnerability as he debates whether to smile or maintain a serious demeanor for the camera. This rare moment of hesitation from a man who is usually so sure-footed in the recording studio underscores the paradox of Edgar Barrera: a towering figure in Latin music who is most often behind the scenes.
This year, the 34-year-old further cemented his formidable impact in the music industry. He ends 2024 with 23 song credits as a songwriter and 19 as a producer on the Billboard Hot 100, with tracks ranging from pop stars like Maluma, Shakira and Karol G to música mexicana mavericks like Peso Pluma, Grupo Frontera and Carín León. He just secured his second consecutive nomination for the Grammy Awards’ songwriter of the year, standing out as the only Latino and only producer to achieve this distinction for two straight years. He also garnered three Latin Grammys, which included consecutive wins for songwriter of the year and producer of the year. Barrera, who topped Billboard’s Hot Latin Songs Producers year-end chart in 2023 and finishes 2024 at No. 2, is a key player designing the sound of modern-day Latin music.
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“Edgar is someone who knows what he wants, and that, to me, is something that sets him apart from all other songwriters,” says Peso Pluma, who is with Barrera in the studio the day of this photo shoot. Barrera has collaborated with the música mexicana hit-maker on several tracks, including “14-14” and “Santal 33,” from Peso’s groundbreaking album Éxodo (2024), which debuted at No. 5 on the Billboard 200. “He is someone very dedicated with a lot of values, a very educated person who respects you musically as an artist,” adds the “Vino Tinto” hit-maker.
Peso is one of the many artists who have praised Barrera’s steadfast work ethic and humility. “He is one of the most important producers of our time and yet he is one of the most humble human beings,” Maluma says. “He is the same person as the day he started and that’s an amazing quality to have.” The Colombian superstar attributed many of his hits to his collaboration with Barrera, including “Según Quién” with Carín León, “Por Qué Será” with Grupo Frontera and most recently “Cosas Pendientes.”
Over a decade into his career, Barrera’s adeptness in straddling diverse musical genres has rendered him one of the most coveted songwriters and producers in Latin music. His portfolio boasts extensive work with household names like Shakira (“Soltera”), Christian Nodal (“No Te Contaron Mal”), Grupo Firme (“Ya Supérame”), Camilo (“Vida de Rico”), Becky G (“Chanel”) and Marc Anthony (“De Vuelta Pa’ la Vuelta”), in addition to non-Latin stars such as Ariana Grande (“Boyfriend” with Social House), Madonna (“Medellín” with Maluma), XXXTentacion and Lil Pump (“Arms Around You” with Maluma and Swae Lee) and Shawn Mendes (his “KESI” remix with Camilo). In January 2021, he made history by topping four Billboard genre charts — pop, rhythm, tropical and regional Mexican airplay — with four different tracks, an unprecedented feat for a Latin songwriter.
But how did this “border kid” raised between Roma, Texas, and Miguel Allende, Tamaulipas, Mexico, harness his unique cross-cultural experiences to rise as one of the most in-demand songwriters and producers in Latin music?
Barrera grew up in a home filled with music. His father, a member of the 1970s grupera band Mister Chivo from San Miguel Allende, instilled in him a deep passion for music; and discovering his uncle’s songwriting credits on an Elvis Crespo album further fueled Barrera’s musical ambitions.
“In my house, there was always music playing all the time. All those nights I would see my dad listening and listening to vinyl because his band recorded a lot of covers,” Barrera says. “One time, my uncle bought an Elvis Crespo record that had one of his songs in the credits, and I realized that there is a part in music where you don’t have to be the artist but part of the artist’s career.”
Mary Beth Koeth
While he was raised in Mexico, he regularly crossed back into the United States for schooling — a common occurrence in border towns. However, Barrera’s passion for Latin music often put him at odds with the school’s more rigid musical curriculum. “I remember that in school I was scolded all the time. It was forbidden to play grupera songs or any other type of music other than the classical music they taught us, or jazz,” he recalls. Yet, this didn’t deter him, and together with like-minded classmates, they indulged in the joys of playing songs like the Mexican ska-punk track “Pachuco” from Maldita Vecindad y Los Hijos del 5to Patio, “Carnavalito” or the Mexican cumbia of “Juana La Cubana” by Fito Olivares y Su Grupo. During these school years, he played the saxophone. (As a preteen, he had already learned both bass and guitar.)
“All these young musicians from across the Rio Grande Valley would gather to compete and form a unified band made up of the most talented musicians from each school,” recalls Marco Roel Rangel, a fellow bandmate from McAllen, Texas, who remembers Barrera as a standout musician nearly 20 years ago. “Once a year you’d get to play in a band comprised of all the other top musicians from other schools for one weekend. The Roma [Edgar’s school] kids, who were formidable competitors, would walk into the rehearsal space playing a synchronized song they had prepared called ‘Carnavalito.’ Almost like [saying], ‘Hey, we’re from Roma and we’ve entered the building,’ ” Roel Rangel says. “It was unusual to hear this Latin tribal sound. But Roma brought that Latin flavor; going from Tchaikovsky and Pavel to ‘El Humahuaqueño’ is a vibe.”
“I remember we were the rebels at school when we played those,” Barrera says. “We felt like we were playing the forbidden, and at the end of the day it was what I liked to play.”
When it came to college, Barrera initially enrolled as an electronic engineering student and took a classical guitar class. “That’s when I started studying music more seriously.” His guitar teacher urged him to audition for the Berklee College of Music. Instead, he took a detour to the Miami music studio of Colombian songwriter-producer Andrés Castro, a revered figure in Latin music known for penning some of Carlos Vives’ greatest hits.
“I met Edgar through a friend of mine, Luigi, who worked with A.B. Quintanilla. He was 18, 19 years old and was studying electronic engineering. He wanted to do an internship because it was going to be worth it for his career. They were deciding whether he should study that or music,” Castro recalls.
Castro, almost offhand, told Barrera he was welcome to come work in his studio. Barrera took him at his word and drove from Texas to Miami. “Obviously, it was a life change to come to live here. He was committed to his career to the fullest. And the first thing I can highlight about him was his attitude of service.
“He arrived and instead of thinking, ‘Well, it’s an internship, I’m not getting paid, I’m going to stay put,’ he was looking to see who he could make a coffee for. If he had to take an artist and pick them up at the airport, he would pick them up,” Castro continues. This eagerness to serve, learn and genuinely connect with others in the industry rapidly transformed Barrera from a hopeful intern to a respected collaborator.
“I started from the bottom, being the one who went and brought everyone’s food, the one who served the coffee,” Barrera says. “But thanks to that I also learned to never look down on anyone’s work, much less the one who serves me coffee, because maybe tomorrow he could be the next producer of the year, or songwriter of the year, as it happened to me. I had the opportunity to meet many artists and industry executives.”
Mary Beth Koeth
Castro remembers the bonds that were nurtured in the studio. “When an artist like Carlos Vives came to the studio, we would do more than just make music. We discussed life, what he desired, what he was searching for, his thoughts, the moment he was living, the music he was listening to and things that had caught his attention. That’s where the creative process began. Edgar saw a lot of that in the studio.”
The Colombian producer also vividly recalls a defining moment early in Barrera’s career. During a session with the renowned Panamanian singer-songwriter Omar Alfanno, the young Barrera, who was typically expected to just observe, proposed an idea for a song that Castro and Alfanno were struggling with. Initially surprised, Alfanno cautioned him, “Young man, that’s not how things are done,” Castro remembers, highlighting the respect required during songwriting sessions. However, impressed by Barrera’s insight, Alfanno gave him a chance, marking Barrera’s official entry into the world of professional songwriting.
As Barrera’s career flourished, Latin music also underwent dynamic shifts. In the late 2010s, while música urbana’s popularity soared — with reggaetón’s commercial growth eclipsing other Latin genres — regional Mexican music began to carve out a new and thrilling identity. While the south-of-the-U.S.-Mexico border genre had remained an enduring force within Spanish-speaking communities in the United States and Mexico for decades, a regional Mexican-urbano hybrid began to ascend Billboard’s U.S. Latin charts, led by Natanael Cano, Junior H and Fuerza Regida, followed by Peso Pluma.
Parallel to this movement was the music of Christian Nodal, a Sonoran superstar who innovates within the confines of música mexicana with his unique blend known as “mariacheño,” a fusion of mariachi and norteño music. His groundbreaking approach reached a new height in 2021, when “Botella Tras Botella,” a collaboration with Mexican rapper Gera MX — co-written and co-produced by Barrera — became the first regional Mexican music track to enter the all-genre Hot 100 chart.
Nodal praises the creativity and connection present in his work with Barrera: “Working with Edgar was always a lot of fun. There was always an instant connection on the songs. He came from the urbano school, and bringing him into my world was always a challenge,” Nodal explains. “I think that’s why we were able to reach a middle ground between urbano and regional. We always had very good chemistry, and we found the lyrics and melodies that could touch the heart so that people could enjoy it and feel it. It was always genuine.”
Among Barrera’s major bets was the 2022 signing of Grupo Frontera, a popular six-piece band from Edinburg, Texas, to BorderKid Records — an imprint the songwriter had launched earlier that year. Grupo Frontera was fresh off its first major hit, “No Se Va,” which peaked at No. 3 on the Hot Latin Songs chart.
“He took a chance on us when we were just starting out,” Grupo Frontera says in a statement. “We didn’t even know what we were doing and he has been with us every step of the way. Our bond with Edgar is extra special because we are from the same town. We have similar values and traditions, and he really understands us. That’s reflected in the music we make together.” Barrera adds: “They share with me a very similar growth because we grew up on the border, we have many friends in common, they are from my town. We have the same values, and we understand each other very well when we work.”
Mary Beth Koeth
“Aside from being technically one of the best and very detail-oriented — everyone who works with me knows I am, and he is always up to the task — the amazing thing about Edgar is his ability to bring together artists, composers and producers and always make sure that things get done with the right team to achieve the best result,” says Shakira, who collaborated with Barrera on her latest hits such as “Soltera,” “El Jefe” with Fuerza Regida and “(Entre Paréntesis)” with Grupo Frontera. “Many songwriters do not combine all the elements and ensure the ideas are carried out, but he has as much of a business mind as he does an artistic one.”
“I’m a creative before I’m an executive, and I give a lot of freedom to artists,” Barrera adds, emphasizing his commitment to his relationships with them. “When it comes to business, I try to educate the songwriter,” he says. “I help them make their own publishing company, and then we make a business together — your publisher with my publisher. I try not to be their owner but partner. We [at BorderKid Records] are a tool for them, to help them make more money, and that they own their music always.”
Within this framework of mutual growth, Barrera continues to push musical boundaries. “A lot of new experiments with artists are coming; we’re experimenting with new things,” he says about upcoming music.
Barrera’s role fluctuates between mentor and musical collaborator and innovator. Recently, for example, he spent time with Shakira as she prepares for her 2025 Las Mujeres Ya No Lloran stadium tour, making new arrangements for her live band. He’s been working on new music with Peso Pluma, and, also, with Karol G. “The day after [working with Peso], I worked with Karol another three days in a row, and it’s always a breath of fresh air making corridos with Peso one day to then doing another kind of music with Karol,” Barrera says. “I like it because I don’t get to do the same thing with one artist and then the other.”
However, despite the exhilarating pace of his professional life, Barrera is embracing a new personal development: fatherhood. “I just became a dad,” he says proudly. “I’m in another stage for the first time in life looking for that balance.”
I asked Barrera if his songwriting process has changed since. “Yes, a lot,” he says. “Now I’m thinking, like when I write a lyric, ‘When my daughter hears it, she’s going to think this was her dad.’ You think twice. But I’ve always tried to give a good message in the songs.”
12/19/2024
From carefree pop bangers to tender ballads, there was plenty to obsess over in 2024.
12/19/2024
Earlier this week, Billboard revealed its year-end Boxscore charts, ranking the top tours, venues, and promoters of 2024. We’re breaking it down further, looking at the biggest live acts, genre by genre. Today, we continue with country. Country music has been around for more than a century, but that doesn’t mean that it is outdated. […]
Latin Grammy-winning songwriter and producer Edgar Barrera has left an indelible mark on Latin music through his genre-bending versatility and mastery of multiple instruments. He’s become the most in-demand songwriter, with 23 song credits as a songwriter and 19 as a producer on the Billboard Hot 100. From his collaborations with Peso Pluma and Grupo […]
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Luigi Mangione, the suspected shooter of the UnitedHealthcare CEO, was charged with terrorism for the act by Manhattan District Attorney Alvin Bragg.
Luigi Mangione, the man suspected of killing UnitedHealthcare CEO Brian Thompson in midtown Manhattan, was charged with first-degree murder and second-degree murder as an act of terrorism among the 11 counts in the indictment brought by Manhattan District Attorney Alvin Bragg. Bragg announced the indictment alongside New York Police Department Commissioner Jessica Tisch at a press conference Tuesday (Dec. 17). “This was a frightening, well-planned, targeted murder that was intended to cause shock and attention and intimidation,” he said. “It occurred in one of the most bustling parts of our city, threatened the safety of local residents and tourists alike, commuters and businesspeople just starting out on their day.”
Thompson, 50, was shot at point-blank range reportedly by Mangione outside of a hotel on the morning of Dec. 4. The 26-year-old Mangione was apprehended at a McDonald’s in Altoona, Pennsylvania, after a manhunt that captured the attention of Americans who expressed sympathy for him and cheered him on to avoid being captured by law enforcement. Officers on the scene recovered a 3D printed weapon that matched the one found at the scene of the shooting, a silencer, and fake IDs along with a letter written by Mangione. “I do apologize for any strife or traumas but it had to be done. Frankly, these parasites simply had it coming,” the letter said according to reports. Many took the moment as an opportunity to express their own frustrations with the American healthcare system and its insurance companies overall.
The charge of terrorism was merited, prosecutors claimed, because Mangione’s actions were “intended to intimidate or coerce a civilian population, influence the policies of a unit of government by intimidation or coercion and affect the conduct of a unit of government by murder, assassination or kidnapping.” Commissioner Tisch condemned Mangione as well as those who expressed support for him. “We don’t celebrate murders, and we don’t lionize the killing of anyone, and any attempt to rationalize this is vile, reckless, and offensive to our deeply held principles of justice,” she said at the press conference.
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It seems Kanye is going to Kanye wherever and wherever. He did the absolute most during a virtual lawsuit deposition.
As reported by TMZ, the rapper was recently featured on A&E’s Interrogation Raw: Celebrity Under Oath. The news series shows high-profile stars participating in legal proceedings. To promote the premiere the network released a promotional trailer, which captures Kanye being questioned regarding a lawsuit MyChannel. Inc. filed against the “Stronger” rapper for allegedly stealing their technology.
As soon as Kanye joins the virtual call he makes it clear he sees this very important matter as beneath him by wearing a cap and keeping his head down while using his phone. Naturally, the lawyers request he put away the device to which Yeezy responds defiantly. “Due to my mental geniuses-ness, in order to focus on this bullish*t I need to be on a phone.” Shortly after, his counsel asks about the device. Kanye volunteers to get off the phone but then proceeds to put on a mask. When asked why he put on the facial covering he said, “because you don’t have the right to see my face.”
In a second clip, Kanye is asked where he is located during interrogation and tells the plaintiff’s lawyer “I’m not going to tell you! You’re never going to see me again.” When prompted further on who else is he with and what other items he has in the room besides the phone he yells “Are you stupid? You are talking to the richest Black person in the history of America.”
You can watch the trailer for Interrogation Raw: Celebrity Under Oath below.