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Here’s Which Classic Country Duet Cody Johnson Wants to Sing With Lainey Wilson

“Dirt Cheap” hitmaker Cody Johnson has collaborated with artists like Jelly Roll (they recorded “Whiskey Bent” on Johnson’s album Leather album) and Terri Clark (the two performed “I Just Wanna Be Mad” on Clark’s Take Two album). But he has his sights set on a duet with the reigning CMA and ACM entertainer of the year winner.

During a recent interview with Country Countdown USA’s Lon Helton, Johnson said he’s long aimed at doing a collaboration with Lainey Wilson.

“I’m going duck hunting with her boyfriend Duck [Devlin “Duck” Hodges]. I guess that’s how he got his name, because he’s really into hunting,” he said. “I heard Loretta Lynn’s ‘Louisiana Woman, Mississippi Man.’ I called Lainey and said we should record that song together, and she agreed.  But we haven’t done it yet.”

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“Louisiana Woman, Mississippi Man,” a collab by Lynn and Conway Twitty, reached No. 1 on Hot Country Songs in August 1973 and received a Grammy nod for best country vocal performance by a duo or group.

It’s safe to say Wilson has been busy of late, having just released her new album, Whirlwind. Johnson, whose song “Dirt Cheap” is in the top 10 on Billboard’s Country Airplay chart, also revealed that another country music A-lister, Luke Combs, had been pitched “Dirt Cheap”– but Johnson got to it first.

Johnson said of Combs, “He didn’t click on it. So here’s to you Luke! He didn’t listen to it until I after released it. He thought the title looked familiar. I talked about it afterwards — had some choice words to say about ‘Dirt Cheap.’ I said, ‘Everything happens for a reason.’”

Recently Johnson headlined a rodeo in Brazil, at Cowboy Festival Barretos. “They called me, and we sold the thing out,” he said. “That’s pretty cool.” The festival has been around since the 1950s and has previously featured headliners including Garth Brooks, Alan Jackson, Shakira, Mariah Carey and Shania Twain.

‘New York Times’ Article On Trump And “Character” Gets Ripped On Social Media

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GLENDALE, AZ, AUGUST 23: Robert F. Kennedy Jr. speaks on stag

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The New York Times drew a considerable amount of scorn for an opinion article praising Donald Trump’s character, particularly among those on social media.

With the presidential election just a short time away, a section of the public has grown wary of some traditional media outlets seeming to praise Donald Trump. The New York Times added to that distrust with the recent publication of an op-ed from National Review editor-in-chief Rich Lowry. The article garnered some serious scorn and backlash due to its title – “Trump Can Win On Character” – as well as Lowry’s contentious history as a conservative. Lowry argues in the article that the Republican presidential nominee can win the election by attacking the character of Vice President Kamala Harris. “His nicknaming may be a schoolyard tactic, yet it has often been an effective tool,” he writes.

Lowry also alleges that Harris can be beaten in this fashion, citing her performance as a Democratic presidential primary candidate in 2020. “Everything has to be connected to the deeper case that Ms. Harris is weak and a phony and doesn’t truly care about the country or the middle class,” he writes. “The scattershot Trump attacks on Harris need to be refocused on these character attributes.” The article also cites how this particular strategy was effective on John Kerry’s run for president against George W. Bush, and that Trump’s predilection for repeating false claims might be an attribute.

The response to the op-ed was swift, making fun of the writer and Lowry for believing that Trump has displayed any proper character. Political contributor Bob Cesca shared his disdain in a post on X, formerly Twitter: “This was written by Rich Lowry who wrote that when Sarah Palin winked during her 2008 RNC speech, “little starbursts” flew out of the screen and ricocheted through every American living room.” One account, New York Times Pitchbot, which has gained popularity mocking the masthead’s fawning over Trump and other Republicans, simply wrote: “I think we may be nearing the end of civilization.”

Check out more responses to the New York Times article below.

2. Brian J. Karem

3. Ron März

4. Nancy Levine Stearns

5. Bill Madden

6. Frank Lesser

7. Helaine Olen

8. Conspiratorial Templates

9. John Stoehr

Lady Gaga’s Haus Labs Releases Eyeliner Inspired by a Calligraphy Pen: Here’s Why Beauty Lovers Are ‘Obsessed’ With It

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Haus Labs by Lady Gaga introduced a liquid eyeliner whose design was inspired by a calligraphy pen, and beauty lovers are already “obsessed” with it. Clear Cut Liquid Eyeliner earned a 4.9-star rating on the Haus Labs website from more than 170 customer reviews raving over the quality of the product, including its deep pigment, easy application and “one-swipe wing precision,” as one shopper wrote.  

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The $26 liquid eyeliner — which delivers a long-lasting, waterproof, matte finish with no smudging — debuted on Tuesday (Aug. 26) via Haus Labs and Sephora.

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Haus Labs

Haus Labs Clear Cut Liquid Eyeliner

Clear Cut Liquid Eyeliner is designed for all eye shapes, suitable for beginners and novices, and it’s only available in one shade: Black Onyx. Inspired by the design of Japanese calligraphy brushes, the eyeliner brush was constructed with more than 300 vegan fibers in different lengths and engineered in Korea.

Gaga teased the eyeliner on Instagram early in the month. “Say hello to Clear Cut Liquid Eyeliner: Haus Labs’ unique take on a highly-usable precision eyeliner. We’re really proud of this one. We’ve spent the last two years developing an ultra-black matte pigment that’s long wearing and won’t transfer or smudge with water or sweat,” Gaga shared with her 57 million followers. “And unlike most liquid liners, it is clean and completely free of carbon black. The brush is amazing. We were inspired by Japanese calligraphy and our design includes over 300 vegan fibers of varying lengths, resulting in effortless tug-free comfort and better control around the eye than anything else you’ll find. Whether you’re into fine lines or bold designs, I think you’ll love it and I can’t wait to see you use it very soon.” 

Keeping with its commitment to clean beauty, Clear Cut Liquid Eyeliner features a vegan formula fueled by the brand’s charcoal powder and herbal flower complex and free from carbon black, a known carcinogen, that has been used to pigment eye makeup.

“Our new Clear Cut Liquid Eyeliner is two years in the making, labs across three countries and more than 20 iterations to land the right formulation,” said Gloria Ryu, chief product officer for Haus Labs. “In addition to being HausTech Powered with our custom Charcoal Powder Complex, the eyeliner is also formulated with an herbal flower complex, which boosts longwear performance while protecting the skin, and panthenol, rich in Vitamin B5 and supports skin barrier function for comfort and a smooth application. I am incredibly proud of how we were able to push innovation in this competitive category.”

Clear Cut Liquid Eyeliner is available online at Sephora.com and Hauslab.com. It hits Sephora stores on Sept. 5.

In other Haus Labs news, Gaga’s popular beauty line has expanded into Kohl’s.

With One Week to Go, Will ‘I Had Some Help’ Hold Off ‘A Bar Song (Tipsy)’ for No. 1 on Billboard’s Songs of the Summer Chart?

What will be the No. 1 song of the summer of 2024? With one week of tracking remaining, Post Malone’s “I Had Some Help,” featuring Morgan Wallen, maintains its lead for the coronation, per Billboard’s Songs of the Summer chart.

The 20-position Songs of the Summer running tally tracks the most popular titles based on cumulative performance on the weekly streaming-, airplay- and sales-based Billboard Hot 100 chart from Memorial Day through Labor Day (this year encompassing charts dated June 8 through Sept. 7). This year’s warm-weather winner is set to be revealed on Billboard.com and Billboard’s social channels Tuesday, Sept. 3.

“I Had Some Help” has ruled Songs of the Summer all 13 weeks since the chart returned this season. It has also topped both the Hot 100 and Hot Country Songs surveys. Only one hit has earned season-ending No. 1 status on the Songs of the Summer chart after leading both the Hot 100 and Hot Country Songs – Wallen’s “Last Night” last year.

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Shaboozey’s “A Bar Song (Tipsy)” places at No. 2 on Songs of the Summer, with the last week of the chart’s tracking period potentially setting the stage for a photo finish between the song and Post Malone and Wallen’s team-up. “I Had Some Help” has ranked in the Hot 100’s top three, and at No. 1 for four weeks, over the past 13 weeks. “A Bar Song (Tipsy)” has placed in the top four, encompassing its seven weeks at No. 1, in that span.

Kendrick Lamar’s “Not Like Us” follows at No. 3 in the Songs of the Summer top five, with Tommy Richman’s “Million Dollar Baby” at No. 4 and Sabrina Carpenter’s “Espresso” at No. 5.

Carpenter is the only act with two songs in the Songs of the Summer top 10, as her “Please Please Please” ranks at No. 7.

Prior to “Last Night” in 2023, Harry Styles’ “As It Was” was the No. 1 hit on the season-closing 2022 Songs of the Summer chart, after BTS’ “Butter” led for 2021 and DaBaby’s “Rockstar,” featuring Roddy Ricch, wrapped on top in 2020.

Check out the top 10 summer songs every year throughout the Hot 100’s history (from the chart’s start in 1958), the top 500 Greatest of All Time Songs of the Summer and this season’s first weekly Songs of the Summer chart in its entirety.

OutKast Slaps EDM Group ATLiens With A Lawsuit, Claims The DUO Is Infringing Upon Song & Album Name

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OutKast Sues Atlanta-Based EDM Group Over

Source: Julia Beverly / Getty / OutKast

An EDM duo called ATLiens is legally feeling the wrath of OutKast for very obvious reasons.

Billboard reports that OutKast sued ATLiens, claiming their name is a blatant infringement on the iconic rap duo’s 1996 album of the same name.

Two lawyers representing Big Boi and André 3000 argued on August 20 that the EDM duo’s use of the name ATLiens, a term used by Atlanta residents, has caused confusion.

“The word ATLiens was invented by OutKast,” the lawsuit states, per Billboard. “Before OutKast created it, it was not used in the cultural lexicon and did not exist. Defendant’s use of the ATLiens mark is likely to cause confusion, to cause mistake or to deceive the public.”

The website notes that the EDM duo ATLiens began using their name in 2012. According to the lawsuit, Big Boi and Andre 3000 only became aware of this recently.

Lawyers for the rap group also claim that both groups are in “related musical genres” and that fans could mistake them for Big Boi and André 3000 because of the costumes they wear on stage.

“The duo comprising defendant performs with masks on, thereby concealing their identities such that consumers will mistakenly believe that the members of Defendant are one and the same with — or at least somehow connected to — plaintiff,” OutKast’s lawyers said.

ATLiens Are Leaving The Iconic Rap Duo & Their Lawyers On Read

The “Ms. Jackson” crafters also claim that they tried to “negotiate an amicable resolution to the dispute,” but the EDM group continues to use the name and allegedly made a poster similar to the one Outkast used.

“Management for OutKast has already received communications from third parties querying whether OutKast was affiliated with the defendant’s upcoming show,” OutKast’s lawyers said.

ATLiens has not responded to the lawsuit, but it would be in their best interest to do so.

Randall King Storms Country Radio With Heartbreak Single ‘I Could Be That Rain’

The primary question around Texas country singer Randall King for the last several years has not been if will he break through on a national stage, but when? The answer could well be 2024, as Warner Music Nashville releases a single to country radio. “I Could Be That Rain” has a classic sound that draws from his ‘90s-country influences, and a weather-beaten lyric that rings true to his Amarillo roots.

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“I just flat out love storms, man, being from West Texas, how open it is, how flat,” he says. “They say you can watch a dog run off for three days out there. And you can watch the thunderheads just rolling in, and it’s beautiful.”

The emotions in “I Could Be That Rain” aren’t nearly as beautiful, though, as they are twisted. The protagonist finds himself shut out by his ex, with no chance to get close to her again. If only he could take the place of a rain shower, he could manage to touch her once more. Morphing into a downpour might be a little sci-fi for country, but the broken heart behind it grounds the story.

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“It’s just so real,” King says. “That’s what country music should be.”

Songwriter Mason Thornley developed the title and concept circa 2021 when he heard Brit-pop artist Labrinth’s 2014 ballad “Jealous” on Spotify. That song goes through a list of people and natural elements that may be sharing space with an ex, leaving the singer frustrated that his love interest is moving on when he cannot.

Thornley focused specifically on the rain in the opening image of “Jealous,” believing that that smaller concept could be built into something much larger. “I always thought that was a whole country song in itself,” he says.

Thornley developed the chorus hook and opening line, “Wish I could be that rain,” and wrote the front half of the chorus, personifying a downpour. As raindrops, he fantasized, he could touch his ex’s skin or sing her a song through the rhythm of raindrops on a tin roof.

He pitched the idea in several writing appointments, but didn’t get any traction. Finally, he got a good reception for his rain song during a writing appointment at the office of his publisher, the aptly named Deluge Music. Artist-writer Brian Fuller, one of Thornley’s frequent writing partners, thought humanizing the rain was a bit of an outlier concept, but he saw that as a positive.

“The wackier or weirder the idea, the more interesting it is to me,” Fuller says. “I like being able to chase hooks like that and just see [what happens]. Sometimes they turn out great. Sometimes they don’t turn out at all. But I really loved it. I mean, it wasn’t anything that I hesitated on at all.”

They finished the back half of the chorus – the first line in that exercise, “Wish I could move some clouds into your sunshine,” might be the song’s best – then moved to the first verse, pitched significantly lower to create some drama in the chorus.

“I like to write those big, overarching choruses a lot of times, if you got a singer in the room who can do it,” Thornley says. “Brian’s got a great voice, and it’s not a problem for him to go up and hit those notes.”
Going low in the verse allowed for introspection. For that first stanza, they used a July shower to make the protagonist nostalgic, recalling the romantic moments the couple experienced in the rain. For the second verse, the singer contemplates how, if he had morphed into rain, he could affect her in ways he could not as a human.

“It’s not that I’m going to text her, or I’m going to go try to see where she’s at, if she’s at a bar that we used to hang out at, or she’s with her friends,” Fuller says. “I’m not going to drive by her house and see if she’s home. If there’d be a unique way to do this, if there’d be a way that I could get back to her and make her think about me, I know that the rain would be the way to do it.”

They didn’t cut a demo immediately, but when Thornley was on vacation months later, Fuller discovered that Parker McCollum was considering outside songs for a project. “I Could Be That Rain” seemed like a potential match to Fuller, so he asked Thornley if they could finish the demo. Thornley worked on it during his downtime, and when he got back to Nashville, Fuller put a vocal on it.

“Rain” didn’t land with McCollum, so Fuller recorded his own version with producer Joey Hyde. When Durango artist manager Scott Gunter was shopping for a producer for developing vocalist Jake Jacobson, Hyde sent that recording among several others to demonstrate his skills. Gunter listened steadily to “Rain” for weeks before he realized that the song might work for King. Indeed, King was instantly attracted to it, though he called Fuller to make sure it was cool.

Once he got a thumbs-up, King and co-producer Jared Conrad recorded it at Nashville’s Soundstage in July 2023, intent on balancing his ‘90s proclivities with 2020s touches. “I wanted it to still be the traditional country sound that I have, but with a little bit of that darker, modern edge,” King says. “I have a Gary Allan/Dierks Bentley influence in me, that’s kind of ‘Smoke Rings in the Dark.’ And that’s what we wanted on this record. I wanted to put some ‘Smoke’ on it.”

The band played it three times at a slightly faster tempo with okay results, but on the fourth go-round, King suggested steel guitarist Justin Schipper take a more prominent role, playing the opening signature lick and handling the instrumental solo.

“Production-wise, we did try to take it a little more sad,” Conrad says. “I mean, just adding a steel guitar to it helps that immediately.”

King also wanted to weave the feel of rain on a tin roof into the sound. Tim Galloway hinted at that with a pulsing rhythm on bouzouki, a tinny-sounding Greek stringed instrument, but King heightened the effect by asking drummer Evan Hutchings to play in tandem with Galloway, tapping the metallic side of the snare.

When King sang the final vocals for the album, Into the Neon, he held “Rain” back until the end, fearful that its range might destroy his voice for the rest of the songs. “This is by far the hardest record I’ve ever sang in my life,” he says. But he handled a couple full run-throughs well, then Conrad changed things up to focus on specific parts of the song.

“We just chopped it up into the sections so I could do all the low verses together and then move into the choruses,” Conrad says. “But I’m assuming he had practiced it a lot, because in the studio, it felt super natural.”

Warner Music Nashville released “Rain” to country radio via PlayMPE on July 10, making it his first single the label has worked nationally to primary stations. King is confident in its potential.

“It’s a song that people can relate to,” he says. “People understand when you’re hurting and missing somebody. You’re hoping that they hurt and miss you, too. That’s as straightforward as it could go.”



Dead & Company’s Co-Manager on How the Band ‘Found a New Gear’ at Sphere — and If They’d Do It Again

Surely many Deadheads took in multiple performances of Dead & Company’s 30-date residency at Las Vegas’ Sphere this past spring and summer. It’s unlikely, however, that many of them saw more than Bernie Cahill.

Cahill — who, as a partner at Activist Artists Management, co-manages Dead & Company with Irving Azoff and Steve Moir — caught 20 Dead Forever shows at the fantastical, $2.3 billion venue, with his box suite perch offering impeccable views of the band as it seemed to lift off from the Grateful Dead’s former house in San Francisco’s Haight Ashbury district and hurtle into deep space.

“This definitely was a work in progress,” Cahill tells Billboard. “We were adding new content as late as the final weekend. We feel like we had made a commitment to the fans that we would continue to evolve the show and deliver, and we did.“

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The run made Dead & Company the third group to play Sphere after U2 opened the venue last September and Phish put on a three-night run of shows this past April. Dead Forever grossed $121.5 million and sold 429,000 tickets over 27 shows from May 16-Aug. 3, according to numbers reported to Billboard Boxscore.

Here, Cahill talks about helping break in the cutting-edge venue, bringing Deadheads to Vegas and why, if asked, they’d likely do it all over again.  

Was there a sense of learning as the residency went on, and if so, what were those lessons? 

Getting in that room and dealing with the audio and some of the basics of not having amplified sound on stage, you learn a lot. Obviously, Irving had just gone through it with U2, so we definitely had a leg up and were lucky that U2 shared so much institutional knowledge with us.

But still, until you get in that room, you just don’t know what you’re in for, so it was a constant evolution. Every single night we were learning things about the room, the audio, the content. Sometimes we would see new content that we would have, and it would just pop and be remarkable, and other times it didn’t always work exactly as it was envisioned. That’s just part of the process of this new medium and new canvas. 

I imagine by the end, you have this performance that feels really fully formed, because you’ve developed it over the course of all these shows.

I feel like the guys were inspired as well. They found a new gear at the Sphere. Maybe part of it is the residency, part of it is the challenge of doing something new. I think that was huge for them. You’ve been doing this for particularly as long as Bob [Weir] and Mickey [Hart] have, and I think they were really fired up about the challenge of it. They leaned into all parts of it without ever losing sight of the songs. They were just knocking it out of the park. After the final tour, I didn’t think the band could get much tighter and better, and they pulled it off. 

Do you feel they were leveling up because they had to compete with this fantastical thing they were in? 

Yes, there’s some of that. But also, they were looking for ways to make this a complimentary integration of their visual storytelling and their music. With this immersive experience happening around you when you’re on that stage, I think they probably felt — and it shows — that they needed to deliver it at another level musically, and they did. I think the room invites that.

Were there unforeseen challenges that came up over the course of the residency? 

Lots. [Laughs] I think some of the bigger ones were just things Derek Featherstone, our tour director and front-of-house engineer, had to manage, which was we had less rehearsal than we probably would have liked. When we’re loading in after they show the [Darren] Aronofsky movie [during the daytime], for instance, and we can’t do a full tech run-through of new content, that can be scary and flying without a net a bit. But I think what we see in our granular understanding of the show and then the fan experience, I don’t think they felt any of that stress or worry.

Were you finding that fans were going again and again, or was it more of a one-off experience for people?

Definitely repeat. There were so many repeats, and I think people were really gratified that they were doing more than just a show or more than just one weekend. We had people that saw shows every weekend. Most people saw at least two or three shows. That’s kind of the magic of this band and this community. They know that at a minimum, Bob and John [Mayer] are going tell a story over the weekend and they’re not going to repeat any songs. That story would unfold Thursday, Friday, Saturday, almost like a three-act play. That really appealed to our community.

Having done this, what advice would you give to a manager whose group is about to play the Sphere?

Well, for one thing, learn as much as you can from folks like U2 and Dead & Co. and Phish that have done it. We’re an open book, we’ll share whatever we can. We made mistakes, and we learned a lot, and we’re happy to share that with other artists that are coming after us.

Being a band that has always had visuals as a prominent part of the storytelling helped us a lot. It was very natural for us to explore that and go much deeper at the Sphere. I think bands that come after us who have those visual elements as a part their story and their brand will have an easier time creating their show. I would just advise to get started as soon as you can and don’t stop pushing the margin, either. Keep going with it and keep exploring and experimenting throughout your run. 

The venue also really makes sense for a band with such a long a rich history, because the show so effectively leaned into that visually. Obviously, that’s not something a newer act can really do. 

True. We have this very rich palette to draw from, and it really clicked in this venue. Yes, there were the crazy moments when it felt very 3D and hurtling through space. Then there were the analog moments and, I think, important emotional moments where the band was just connecting, whether it was Bob playing while standing on the moon and the ballads that just brought everybody to a whisper. I guess the other advice would be to strike that balance of those emotional, analog-feeling moments and then playing with the technology and how big you can go.

It was touching, thinking about the life of Bob Weir and where he and Mickey are coming from and now, they’re effectively playing in a spaceship.

Yeah, exactly. But by the way, it’s very Bob Weir if you know him. He loves technology.  They’re all really technophiles. They love it. I think they love anything that allows them to go deeper with their storytelling and their exploration of this music. That is a gift to these artists, and I think is a big part of why the Sphere worked so well and was such a success.

Would they try it again? 

When asked in interviews they’ve done since, I think they’ve all said they would definitely entertain an invite and would love to come back and do some things. Bob wants to really lean into this idea of being able to affect the visuals in real time and synching them more with the music itself.

But there were already some interesting things happening in that room that I don’t know if people even realized. [One night] there was a full moon outside, and we beamed the actual live full moon into the Sphere. That wasn’t video. That was a Weir idea.

If you were to do another residency, is there anything you would change?

Jim Dolan, you have to give him so much credit. He nailed it with this venue, which is impeccable in almost every way, from the backstage where we all spent most of our time, to front of house. Maybe [it would be] having a bit more time to rehearse, more tech rehearsal, just getting comfortable in the Sphere, because it’s one of one. It’s the only one in the world.

Liz Norris, Partner and Head of Media & Brand Strategy, Activist Artists Management; Bernie Cahill, Founding Partner, Activist Artists Management; Kris “Red

Liz Norris, Partner and Head of Media & Brand Strategy, Activist Artists Management; Bernie Cahill, Founding Partner, Activist Artists Management; Kris “Red” Tanner, Partner and Head of Ticketing, Commerce & Sustainability, Activist Artists Management

Jay Blakesberg

I’m curious how everyone fared at not just a singular venue, but a singular city, and an extremely hot one in the summer. How did everyone deal with what seemed like it was perhaps a generally intense scenario?

Different band members dealt with it different ways, but I think what seemed to be the best way was staying put in Vegas, rent a house and not stay in a casino and make the most of what is a pretty beautiful place when you get a little bit outside of town, with the backdrop of the mountains.

The residency itself was great because — being in Vegas, it’s dry, it’s hot — but it’s still better than being on trains, planes and automobiles and what that does to your body when you’re on a routed tour and every day you’re off to a to a new city. The residency was great. The band loved it. The crew loved it. The reviews on Vegas were way better than we thought. The culinary scene there is incredible, obviously, and there’s a lot to love. If you’re an outdoorsy active person, there’s a lot to do in and around Vegas.

Was there anything remarkable to you about what felt to like a kind of strange juxtaposition of Deadheads in Vegas?

Totally. It’s so funny you mention that because, yes, it’s like any other time you go to Vegas, you don’t see a lot of tie-dye. There’s a lot of history, obviously, with Grateful Dead in Vegas, first of all. But what felt like maybe not a perfect fit for Deadheads in the community ended up being really quite wonderful. 

My partner, Red Tanner, produced a pop-up at the Venetian. It was amazing. It had a cinema built into it and a lounge. We were probably doing 4,000 or 5,000 people a day through the pop up, and they would hang out. Seeing these Deadheads, whether at the pop-up, or at the Sphere, or just walking around Vegas, it all started to make sense after a while. It really did. As odd as it is to say about Vegas, it felt like home.

TikTok’s Favorite ‘Dad’ Sweater Will Add a Vintage Vibe to Your Fall Looks (and It’s Already Selling Out)

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With August slipping away into a moment in time, as Taylor Swift would say, the time is coming for you to pack away your jean shorts and start breaking out your layering pieces. An oversized sweater has become the definition of cozy season, but one particular style has caught the attention of TikTok for its loose, baggy look that’ll keep you comfortable while giving off a vintage aesthetic — and it just got restocked.

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Grey Bandit’s Cool Vibe sweater has gone viral on the social media platform for its retro-inspired design that features the highly sought out “dad” pattern. At first glance, the geometric pattern will transport you to a wood cabin, cozied up in front of a fireplace with a mug of hot chocolate. Reviewers are also calling the design “perfect for the holidays,” as it can easily be paired with jeans or a classic pair of leggings.

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According to the brand, the sweater was released back in 2023, and after going viral, quickly sold out. Now, it’s been restocked just in time for the new fall season.

Keep reading to learn more and buy the sweater online.

Grey Bandit

Cool Vibes Sweater

When you throw on Grey Bandit’s Cool Vibes Sweater, you’ll be met with a soft polyester, wool and spandex material to keep you warm and comfy. The style is more oversized, which means you’ll want to size down if you don’t want a baggier fit. Reviewers also mention that drying the sweater will shrink it.

TikToker @bri.belanger posted a video showing off the oversized fall sweater, which has earned more than 16,000 views on the platform. Commenters were quick to gush over the Grey Bandit sweater, even claiming it gives off Rory Gilmore vibes from Gilmore Girls.

“I will not be taking this sweater off until next spring, thank you,” the caption for the video reads.

For more product recommendations, check out ShopBillboards roundups of the best shackets, oversized leather jackets and cropped puffer coats.

Twista, Vic Mensa, Dreezy & More Rank their Chicago Top 10 Get Up Anthems: See The List

Few songs withstand time, distinguished by their infectious beats, experimental sounds, poignant lyrics or enduring appeal, rendering them as classics. In partnership with Tres Generaciones Tequila, a brand that champions the journey and not just the destination, we’re on an exploration to roundup the top Get Up Anthems over this next year from these six cities: Houston, Atlanta, New York, Chicago, Miami and Los Angeles. Guided by curated panels, we delve deep into each city’s sonic history, spotlighting tracks that embody resilience, authenticity, and innovation and celebrate the power music has to inspire listeners to get up and chase their passions, in the spirit of perseverance.

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The Top 10 Get Up Anthems from Chicago were crafted through a blend of editorial expertise, data-driven analytics, social impact and personal sentiment, to create a ranked list of the songs which inspired, captivated, and energized the A. In a historical dive from 1973 to present day, the city’s playlist [click HERE to play] features hometown hits that are synonymous with the city’s rich history and culture, hand selected by Chicago’s very own, Twista, Vic Mensa and Dreezy, Billboard editor, Kyle Denis, and moderated by Rocsi Diaz.

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Did they get it right? Or were they off the mark?

Take a look at the Top 10 Get Up Anthems for Chicago:

10. “Kill S**t” – G Herbo and Lil Bibby (2012)

“Kill Shit” is a powerful embodiment of Chicago’s drill movement, a subgenre that captures the raw and often harsh realities of life in the city’s neighborhoods. The track, produced by DJ L, is more than just a song; it’s a declaration of resilience and survival. G Herbo and Lil Bibby’s aggressive delivery and vivid storytelling resonated with a generation of Chicago youth who saw their own lives reflected in the lyrics. While it didn’t chart on the Billboard Hot 100, its influence on the drill genre and the careers of both artists is undeniable. This track served as a catalyst, not just for G Herbo and Lil Bibby, but for the entire drill scene, which would go on to shape the sound of hip-hop for years to come.

9. “This Ain’t What You Want” – Lil Durk (2013)

“This Ain’t What You Want” marked a turning point for Lil Durk, both artistically and commercially. The track’s dark, menacing production, paired with Durk’s introspective lyrics, delves into the complexities of life in Chicago’s streets. It’s not just a song, but a reflection of the tension, struggles, and aspirations that define the drill music scene. By capturing these elements so effectively, Lil Durk solidified his role as one of the most influential voices in Chicago rap. The track also highlighted his ability to blend gritty street narratives with a more polished sound, a balance that would become a hallmark of his later work. It’s a song that helped put Lil Durk on the map nationally, while remaining deeply rooted in the city that shaped him.

8. “Percolator” – Cajmere (1992)

“Percolator” is a quintessential Chicago house track that exemplifies the city’s rich history in electronic music. Cajmere (aka Green Velvet) crafted a minimalistic yet infectious beat that became an instant classic on the dance floors of Chicago’s clubs. The repetitive, hypnotic nature of the track is a testament to the power of simplicity in music production. Though “Percolator” didn’t chart in the mainstream, its impact on the house music scene was profound, influencing countless DJs and producers around the world. The track’s enduring appeal lies in its ability to get people moving, a true “get up” anthem that speaks to the spirit of perseverance and joy that is at the heart of Chicago’s music culture.

7. “Kick, Push” – Lupe Fiasco (2006)

“Kick Push” is a breath of fresh air in the world of hip-hop, offering a narrative that was both unique and universally relatable. Lupe Fiasco’s debut single, produced by Soundtrakk, tells the story of a young skateboarder navigating life’s challenges, using his passion as a means of escape and expression. This was a stark departure from the prevailing themes in hip-hop at the time, and it showcased Lupe’s ability to bring new perspectives to the genre. The song’s smooth, jazzy production complements the storytelling perfectly, creating a track that feels both introspective and uplifting. “Kick Push” didn’t just introduce Lupe Fiasco to the world; it also expanded the boundaries of what hip-hop could be, resonating with listeners who found their own passions reflected in the lyrics.

6. “No Problems” – Chance the Rapper feat. Lil Wayne and 2 Chainz (2016)

“No Problems” is more than just a hit song; it’s an anthem of independence and celebration. Chance the Rapper’s collaboration with Lil Wayne and 2 Chainz on this track from his Coloring Book mixtape embodies the spirit of triumph over adversity. Produced by Brasstracks, the song’s upbeat energy and infectious hook made it an instant favorite, not just in Chicago but across the country. The track’s success—culminating in a Grammy win for Best Rap Performance—is a testament to Chance’s unique approach to music and business. As an independent artist, Chance’s success with “No Problems” sent a powerful message to the industry: you don’t need a major label to achieve greatness. The song resonates deeply with those who have faced obstacles and come out on top, making it a perfect addition to this list of Get Up Anthems.

6. “The Light” – Common (2000)

“The Light” is a beautiful example of how hip-hop can be both deeply personal and universally resonant. Produced by the legendary J Dilla, the track features a smooth, soulful beat that perfectly complements Common’s heartfelt lyrics about love and commitment. Released as part of his Like Water for Chocolate album, “The Light” stands out as a conscious, introspective track that showcases Common’s lyrical prowess. This song had a significant impact on Chicago’s hip-hop scene, as it highlighted a more thoughtful, positive side of the genre at a time when mainstream hip-hop was dominated by more aggressive content. “The Light” not only earned Common a Grammy nomination, but it also solidified his place as one of the most respected and influential voices in hip-hop. It’s a song that continues to inspire listeners to connect with their emotions and express themselves authentically.

5. “Hay” – Crucial Conflict (1996)

“Hay” is a track that encapsulates the eclectic nature of Chicago’s hip-hop scene. Crucial Conflict’s fusion of hip-hop with country vibes created a unique sound that was unlike anything else at the time. The song’s twangy production and catchy hook made it an instant hit in Chicago, and its success helped to shine a spotlight on the city’s West Side. Included in the group’s debut album The Final Tic, “Hay” played a crucial role in expanding the boundaries of hip-hop, showing that the genre could draw on a wide range of musical influences. The song’s success on the Billboard Hot 100, where it peaked at No. 18, is a testament to its broad appeal. 

4. “Po Pimp” – Do or Die feat. Twista (1996)

The seminal track from Chicago rap group Do or Die, featuring Twista and produced by The Legendary Traxster, “Po Pimp” is characterized by its smooth, melodic production and rapid-fire verses, epitomizing the Midwest’s unique twist on gangsta rap. The song became a massive hit in Chicago and beyond, reaching No. 22 on the Billboard Hot 100 and played a crucial role in popularizing the “speed rap” style and brought national attention to Chicago’s hip-hop scene.

3. “All Falls Down” – Kanye West feat. Syleena Johnson (2004)

The self-produced standout track from Kanye West’s debut album The College Dropout, “All Falls Down” blends soulful production with introspective, thought-provoking lyrics, featuring a sample of Lauryn Hill’s “Mystery of Iniquity,” reinterpreted with Syleena Johnson’s powerful vocals. Kanye’s commentary on materialism, self-consciousness, and societal pressures struck a chord with listeners, both in Chicago and beyond. The song’s success, peaking at No. 7 on the Billboard Hot 100, solidified Kanye’s place as a leading figure in hip-hop, known for pushing boundaries both musically and lyrically. “All Falls Down” is more than just a hit; it’s a cultural touchstone that continues to resonate with listeners who grapple with similar themes in their own lives

2. “Don’t Like” – Chief Keef (2012)

“Don’t Like” is a raw, unfiltered anthem that became the defining track of Chicago’s drill movement. Produced by Young Chop, the song’s minimalist production and aggressive lyrics capture the stark realities of life on Chicago’s South Side. Chief Keef’s delivery is unapologetically direct, and the song’s hook became a rallying cry for a generation of listeners. The impact of “Don’t Like” was immense, not only in Chicago but across the world, as it introduced drill music to a global audience. The song’s influence is evident in the countless artists who have adopted the drill sound, and its legacy continues to shape the trajectory of hip-hop. The remix by Kanye West and other artists on the G.O.O.D. Music compilation further cemented its status as a modern classic.

1. “Overnight Celebrity” – Twista (2004)

“Overnight Celebrity” is a masterclass in hip-hop production and lyrical delivery, showcasing Twista’s rapid-fire flow over a dramatic, orchestral beat produced by Kanye West. Released as part of Twista’s Kamikaze album, the song is a perfect blend of soulful samples and modern hip-hop, creating a sound that is both timeless and innovative. The track’s narrative of sudden fame and its pitfalls resonates with listeners, making it more than just a club hit. Peaking at No. 6 on the Billboard Hot 100, “Overnight Celebrity” played a significant role in elevating Twista’s status in the music industry, while also highlighting the unique style of rap that Chicago is known for. The song’s impact on the city’s music scene is profound, as it exemplifies the creativity and resilience that have always defined Chicago’s hip-hop culture.

Watch the full discussion HERE and recreate the cocktails that powered the conversation at home! And be sure to follow along on all content for the Get Up Anthems series HERE.

Selena Gomez Says Filming ‘Wizards of Waverly Place’ Reboot Was ‘Like a Dream’

Selena Gomez says that Wizards of Waverly Place is just as magical as it was when she left.

In a recent sit-down interview with People, the 32-year-old singer-songwriter opened up about the process of bringing her breakout Disney Channel series back to life via a reboot slated to arrive this fall. “It was like a dream,” she told the outlet in a video clip posted Tuesday (Aug. 27).

“I truly feel like it was the place I started, and I will always be grateful for that time,” the Rare Beauty founder added. “I just hope that this new chapter can bring a whole new audience joy the same way that we did when we were younger.”

The new Wizards will find Gomez reprising her role as Alex Russo, as well as serving as executive producer. David Henrie will lead the show alongside a cast of new characters, stepping back into his role as Justin Russo, Alex’s older brother.

Fans got their first look at the reboot in May, when photos arrived showing the “Single Soon” singer and her costars posing on set. In one photo, Gomez and Henrie hold up their magic wands in what appears to be the same wizard’s lair from the original Disney Channel series, which ran from 2007 to 2012; in another, the pair smiles in a new kitchen setup alongside the actors playing Justin’s family: Alkaio Thiele, Janice Leann Brown, Max Matenko and Mimi Gianopulos.

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The interview clip arrived on the same day as Only Murders in the Building‘s season four premiere on Hulu, with Gomez, Steve Martin and Martin Short returning to their roles as murder-mystery podcasters Mabel, Charles and Oliver. The “Lose You to Love Me” artist recently earned her first Emmy nomination in an acting category for her work on the show’s previous season.

Watch Gomez gush about the Wizards reboot below.