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Here Are 7 Hits You Didn’t Know Were Written by Muni Long

Did you know that Muni Long wrote these bangers?


While everyone may know Muni Long as the Grammy-award winning R&B star, she actually got her start in the music industry as a prominent songwriter.

As told in a sprawling interview with Billboard, the singer known as Priscilla Renea struggled to get her solo career off the ground when she started in 2009. She dropped her Jukebox debut that didn’t chart at all, and before returning to her own music for a second album in 2018, dipped heavily into her songwriting bag. While she’d eventually rebrand herself as Muni Long and strike gold with her swooning love song “Hrs and Hrs” in 2021, Grammy-winning executive producer Christopher “Tricky” Stewart described her as “a professional song assassin” during her time penning other people’s tracks.

“I started writing songs to make money because I bought into the [idea of] ‘Well, if you write enough hits, then you can be an artist,’ ” Muni Long told Billboard. “I gave it my all… I did so much free work, got stolen from and taken ­advantage of so many times, so many bad deals. I’d also been the only Black person in the room writing all these pop songs for years. So I quit to focus on me… keeping these songs for myself.”

It turns out, describing her as a writing “assassin” was putting it mildly. The truth is Muni Long is responsible for some seriously massive chart hits — one of which she admitted she wrote in a mere 10 minutes. From songwriting credits with Rihanna to Chris Brown to Pitbull, here are a few of the songs you may not have known were written by the great Priscilla Renea.


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Nicki Minaj Salutes Trump (Again), Seemingly Shades Jay-Z In The Process

Nicki Minaj
Source: Bernard Smalls / @PhotosByBeanz

Nicki Minaj has been making it clear who she rocks with and who she doesn’t.

The Beez In The Trap rapper salutes Donald Trump after she popped out at the United Nations. During her time there, she thanked the President and brought up her concerns about the safety of Christians in Nigeria. In her post, she also appeared to take another jab at Jay-Z, expressing gratitude toward Trump while shading Hov in the same message, saying:

“United Nations was a MAGA Flex. Trump on da text. Y’all should be afraid of what I’m gon do next.”

Hip-Hop heads know what she (allegedly) did in that post. That could have been taken as a flip off Jay’s “On To The Next One” verse where he says, “Obama on the text, y’all should be afraid of what I’m gon’ do next.” This would not be the first time the leader of the Barbz may have sneak dissed Hov.

Back in October, Minaj came at the Roc Nation mogul, saying the label has been begging for music and a tour:

“They came BEGGING the QUEEN for a tour & album & I said NOPE!!!!! LMFAO. Wanted to patch it up. They needed help from the QUEEN & the BARBZ. I called the Barbz on the secret BARB phone & it was resounding NOOOOOOOO. Just like the casinoooooooooo”.

She also noted that Hov was in the running for a casino deal but ended up losing the bid.

Watch Sabrina Carpenter Arrest Miss Piggy at Final Short n’ Sweet Show: ‘I’d Know That Face Anywhere’

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Sabrina Carpenter wrapped up her Short n’ Sweet Tour with a 70th show in Los Angeles on Sunday night (Nov. 23), as she took the Crypto.com Arena stage for a final time to close out her SNS era.

Carpenter has “arrested” an array of celebrities throughout the tour, but surprised fans attending night six in L.A. on Sunday by putting Miss Piggy under arrest, with the help of Bobo the Bear.

With SC set to star in and co-executive produce Seth Rogen’s The Muppets Show Disney+ reboot, the unlikely crossover does make sense.

“I’d know that face anywhere,” Carpenter told Miss Piggy, who was accompanied by her security guard, Bobo the Bear. “Excuse me, what is your name?”

Miss Piggy had some fun with the moment, even snapping some selfies with fans nearby. “There are so, so many people here tonight,” said the Muppet.

A surprised SC replied: “No one has prepared me for you being here, actually. Are you enjoying the show?” Miss Piggy looked as if she was having a blast, letting everyone know that she was “loving it,” but had a few suggestions for the pop star.

Carpenter continued: “You’re so funny, Miss Piggy, wow! You’re like the only celebrity I get nervous to be around. I’m getting really flustered … We’ve arrested so many beautiful individuals and I feel like tonight is your night.”

However, when Sabrina pulled out the fuzzy pink cuffs, Bobo took it upon himself to handcuff Miss Piggy and escort her out of Crypto.com Arena. “I brought my own, thanks. Let’s go, Pig … Tell it to the judge, sister,” the Muppet bear said.

Sunday was the sixth date in this final leg’s run for the Short n’ Sweet Tour, which came to a close with show No. 70. Before Ms. Piggy, L.A. was treated to arrests of SZA, Elle and Dakota Fanning as well as Maya Rudolph.

Watch the clip of Miss Piggy’s arrest below.


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Taylor Swift’s ‘The Life of a Showgirl’ Rules Billboard 200 for Seventh Week

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Taylor Swift’s The Life of a Showgirl rules the Billboard 200 chart (dated Nov. 29) for a seventh week in a row. The set earned 93,000 equivalent album units in the United States in the week ending Nov. 20 (down 15%), according to Luminate.

The Life of a Showgirl is only the second album in 2025 to spend its first seven weeks at No. 1, following Morgan Wallen’s I’m the Problem (which spent its first eight weeks atop the list, of its total 12 at No. 1). Swift’s last album, The Tortured Poets Department, spent its first 12 weeks at No. 1 in 2024, of its total 17 weeks atop the list. The Life of a Showgirl and The Tortured Poets Department are the only two of Swift’s No. 1 albums (of her 15 total leaders) to spend their first seven weeks or more at No. 1.

Also in the top 10 of the latest Billboard 200, Summer Walker’s Finally Over It debuts at No. 2, NF’s FEAR arrives at No. 4 and 5 Seconds of Summer’s EVERYONE’S A STAR! starts at No. 6.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multimetric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new, Nov. 29, 2025-dated chart will be posted in full on Billboard‘s website on Nov. 25. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of The Life of a Showgirl’s 93,000 equivalent album units earned in the latest tracking week, SEA units comprise 75,000 (down 15%, equaling 98.49 million on-demand official streams of the set’s tracks — it’s No. 1 on Top Streaming Albums for a seventh week), album sales comprise 17,000 (down 8%; it rises one spot to No. 3 on Top Album Sales) and TEA units comprise 1,000 (down 54%).

Summer Walker earns her fourth top 10-charted album as Finally Over It debuts at No. 2 with 77,000 equivalent album units earned. Of that sum, SEA units comprise 69,000 (equaling 91.88 million on-demand official streams of the set’s tracks; it debuts at No. 3 on Top Streaming Albums), album sales comprise 8,000 (it debuts at No. 12 on Top Album Sales) and TEA units comprise a negligible sum. Walker notches the largest debut for an R&B album by a woman in 2025, by equivalent album units earned. (R&B albums are defined as those that are eligible for, or have charted on, Billboard’s Top R&B Albums chart.)

Finally Over It was initially released on Nov. 14 as a standard 14-song widely available digital download album, an 18-song download and streaming edition (which added four tracks) and an 18-song physical edition on CD and vinyl (which added four other tracks). Later in the album’s first week, two deluxe editions arrived. On Nov. 18, there was an Apple-exclusive version with five bonus audio tracks. A day later, a widely available download/streaming deluxe version with three other bonus audio cuts arrived.

Finally Over It was also issued on four vinyl variants (including one signed), a widely available CD and a signed CD. She also sold four deluxe boxed sets containing a branded clothing item and a copy of the CD, exclusive to her webstore.

The new album was preceded by a pair of charting hits on the Hot R&B Songs chart: “Heart of a Woman” (which peaked at No. 3 in December 2024) and “Spend It” (No. 12 in May).

Morgan Wallen’s I’m the Problem falls 2-3 on the Billboard 200 with nearly 76,000 equivalent album units earned.

NF debuts at No. 4 with FEAR, bowing with almost 76,000 equivalent album units. It’s the fifth top 10-charted album for the artist, all earned consecutively. Of the set’s first-week units, album sales comprise 48,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 27,000 (equaling 36.76 million on-demand official streams of the set’s tracks; it debuts at No. 10 on Top Streaming Albums) and TEA units comprise less than 1,000 units.

FEAR was released as a widely available physical album with five songs, and a digital download and streaming album that added a track (“Who I Was,” with mgk). FEAR was issued on two CD variants (including one signed) and two vinyl variants. On Nov. 20, a new download version arrived that added a lyric booklet.

The chart-topping KPop Demon Hunters soundtrack drops 3-5 on the Billboard 200 with 68,000 equivalent album units (down 9%).

5 Seconds of Summer scores its seventh top 10-charted effort on the Billboard 200 as EVERYONE’S A STAR! enters at No. 6 with 51,000 equivalent album units earned. Of that sum, album sales comprise 41,000 (it debuts at No. 2 on Top Album Sales), SEA units comprise 9,000 (equaling 11.33 million on-demand official streams of the set’s songs) and TEA units comprise 1,000.

The album was issued as a 12-song standard set (at streamers and digital download services and on physical editions), seven CD variants (including four band member-specific editions with alternative cover art and a unique bonus track each, along with a signed CD), seven vinyl variants (including a signed edition) and a deluxe boxed set containing a branded T-shirt and a copy of the CD. Later in the set’s first week, a deluxe digital download version of the album was sold exclusively via the quartet’s webstore, which added the four songs that were initially only available on the member-specific CD variants, along with a fifth bonus cut exclusive to the download album.

Olivia Dean’s The Art of Loving gets pushed down two spots to No. 7 despite its 20% gain following her turn as the musical guest on NBC’s Saturday Night Live on Nov. 15. The set earned 50,000 equivalent album units in the week ending Nov. 20.

Three former No. 1s round out the top 10 of the latest Billboard 200: Sabrina Carpenter’s Man’s Best Friend dips 6-8 (35,000 equivalent album units, down 4%), SZA’s SOS slips 7-9 (33,000, up 4%) and Wallen’s One Thing at a Time falls 9-10 (29,000, down 2%).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.


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2025 CMA Touring Awards Nominees Revealed

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Keith Urban will return for a fourth consecutive year to help the Country Music Association celebrate those behind the year’s top country tours, when the 2025 CMA Touring Awards are held Jan. 27 in Nashville.

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The nominations were revealed Monday (Nov. 24) for the upcoming awards ceremony, which honors touring musicians, managers, touring managers, stage managers, backline technicians, lighting directors, production managers, performance venues and many other touring professionals.

Final round voting for the 2025 CMA Touring Awards opening Monday, Dec. 1, and closes Tuesday, Dec. 16, at 6 p.m. CT.

Veteran artist manager Jim Halsey will be honored with the CMA touring lifetime achievement award, which is presented to an individual who has positively impacted and contributed to the growth of country music touring. During the course of more than six decades, Halsey has guided the careers of artists including Roy Clark, Reba McEntire, Merle Haggard and The Oak Ridge Boys, and expanded country music’s international impact, helping the genre to rise to a global stage.

“Recognizing the incredible work of our touring community is one of the highlights of our year,” Sarah Trahern, CMA chief executive officer, said in a statement. “Our road warriors are the heart and soul of our business, bringing their spirit to audiences everywhere with creativity and passion. The growth of country music would not be possible without the dedication of each of our nominees, and we can’t wait to celebrate their achievements in January.”

“I love touring, always have, always will,” Urban shared in a statement. “And that only happens with so many people behind the scenes out there on the road making it happen every night. The CMA Touring Awards is where we turn the spotlight on our road families and celebrate the hard work they all do for all of us. It’s an honor to host, and I’m glad to be back.”

The CMA Touring Awards (originally called the Standing Room Only Awards) were launched in 1990 by the CMA Board of Directors to recognize outstanding professional achievements in the touring industry; the ceremony was renamed the CMA Touring Awards in 2016.

See the full list of nominees below:

Crew of the year
All-American Road Show Tour crew – Chris Stapleton
Am I Okay? Tour crew – Megan Moroney
Broken Branches Tour crew – Dierks Bentley
I’m the Problem Tour crew – Morgan Wallen
Jim Bob World Tour crew – HARDY
Live on Tour crew – Kelsea Ballerini
On the Road Tour crew – Tyler Childers
Whirlwind World Tour crew – Lainey Wilson

Backline technician of the year
Patrick Boyle – Tyler Childers
Dalton Ray Brown – Lainey Wilson
William Coats – Eric Church
Casey Ervin – Jelly Roll
Terry Fox – Kenny Chesney
Matt Kennedy – Morgan Wallen
Hunter Lamb – HARDY
Chris Miller – Keith Urban

Business manager of the year
Stephanie Alderman – Farris, Self & Moore, LLC
Renee Allen – Arnie Barn, Inc.
Legina Chaudoin – O’Neil Hagaman, LLC
Duane Clark – Flood, Bumstead, McCready & McCarthy, Inc.
Jen Conger – Flood, Bumstead, McCready & McCarthy, Inc.
Stephanie Mundy-Self – Farris, Self & Moore, LLC
Kris Wiatr – Wiatr & Associates, LLC
Dwight Wiles – Wiles + Taylor & Co., PC

Coach/truck driver of the year
Chad Allison – HARDY
Tim Barrett – Kane Brown
Dustin Bringham – Parker McCollum
Steve Carmack – Megan Moroney
Greg Cook – Riley Green
Caleb Garrett – Luke Bryan
Jason Humphrey – Jason Aldean
Nick Wagner – Morgan Wallen

Front of house engineer of the year
Ryan Dell – Lainey Wilson
Chris Diener – Kelsea Ballerini
David Loy – Kane Brown
James “Pugs” McDermott – Dierks Bentley
Jeff “Pig” Parsons – Blake Shelton
Robert Scovill – Kenny Chesney
Todd Wines – Miranda Lambert
Ian Zorbaugh – Old Dominion

Lighting director of the year
Ben Bearden – Chris Stapleton
Nick Chang – Kelsea Ballerini
Zac Coren – Morgan Wallen
Justin Kitchenman – Luke Bryan
Andy Knighton – Rascal Flatts/Jason Aldean
Kevin Lichty – Old Dominion
Alex Sanchez – Parker McCollum
Alec Takahashi – Thomas Rhett

Manager of the year
Narvel Blackstock – Starstruck Entertainment
Hayley Corbett – PunchBowl Entertainment
Enzo DeVincenzo – 377 Management
Kerri Edwards – KP Entertainment
Troy “Tracker” Johnson – TRACK Management
Chris Kappy – Make Wake Artists
Mandelyn Monchick – Red Light Management
Zach Sutton – Red Light Management

Monitor engineer of the year
Beau Alexander – Morgan Wallen
Curt Armstead – Lainey Wilson
Brad Baisley – Blake Shelton
Cory Benson – Tyler Childers
Chris Daniels – Luke Bryan
Logan Hanna – Brothers Osborne
Chris Newsom – Kelsea Ballerini
Phil Wilkey – Keith Urban

Production manager of the year
Chris Alderman – Blake Shelton
John Garriott – Chris Stapleton
Jeff “Goofy” Greeninger – Jon Pardi
Adam Groeninger – Dierks Bentley
Chad Guy – Morgan Wallen
Brent Maxon – Parker McCollum
Earl Neal – Jason Aldean
Ed Wannebo – Kenny Chesney

Publicist of the year
Janet Buck – Essential Broadcast Media
Zach Farnum – 117 Entertainment Group
Asha Goodman – Sacks & Co.
Olivia Hanceri – OH Creative
Tyne Parrish – The GreenRoom
Jessie Schmidt – Schmidt Relations
Wes Vause – Press On Publicity
Jennifer Vessio – 1220 Entertainment Publicity

Stage manager of the year
Shaun Carswell – Dierks Bentley
Alex Church – Megan Moroney
Sam “Sambo” Coats – Eric Church
Todd Green – Chris Stapleton
Matt Hornbeck – Luke Combs
Josh “Dude” Marcus – Jason Aldean
Allison Noah – Carly Pearce / Lainey Wilson
Lonnie Taylor – Jon Pardi

Support services company of the year
ASCOT Travel Services – Nashville
Bandit Lites – Nashville
Clair Global – Nashville
Crom Tidwell Merchandising – Nashville
Moo TV – Nashville
Pioneer Coach – Nashville
Richards & Southern – Goodlettsville, Tenn.
Sound Image – Nashville

Talent agent of the year
Becky Gardenhire – WME
Chad Kudelka – CAA
Keith Levy – Wasserman Music
Braeden Rountree – WME
Adi Sharma – The Neal Agency
Elisa Vazzana – UTA
Hunter Williams – CAA
Jay Williams – WME

Talent buyer/promoter of the year
Bridget Bauer – Messina Touring Group
Todd Boltin – Variety Attractions
Patrick McDill – Live Nation Nashville
Brian O’Connell – Live Nation Nashville
Rich Schaefer – AEG Presents
Aaron Spalding – Live Nation Nashville
Stacy Vee – Goldenvoice
Ed Warm – Joe’s Bar

Tour manager of the year
Matt Anderson – Old Dominion
Kyle Crownover – Tyler Childers
Dustin DeRosier – Kelsea Ballerini / Little Big Town
Jeff Gossett – Morgan Wallen
Mike McGrath – Keith Urban
Meg Miller – Lainey Wilson
Mark Oglesby – Post Malone
Chelsae Partosan – Megan Moroney

Touring musician of the year
Mark “Taco” Annino (Drums) – Morgan Wallen
Jody Bartula (Fiddle) – Cody Johnson
JT Cure (Bass Guitar) – Chris Stapleton
Jenee Fleenor (Fiddle) – George Strait
Aslan Freeman (Guitar) – Lainey Wilson
Kenny Greenberg (Guitar) – Kenny Chesney
Kurt Ozan (Multi-Instrumentalist) – Luke Combs
Jesse Welles (Multi-Instrumentalist) – Tyler Childers

Tour videographer/photographer of the year
Mason Allen – Old Dominion
Alex Alvga – Kane Brown
Zach Belcher – Dierks Bentley
Caleb Cockrell – Jordan Davis
Sam Crabtree – Riley Green
Tanner Gallagher – HARDY
Zack Massey – Luke Combs
Catherine Powell – Kelsea Ballerini

Tour video director of the year
Dave Bergfeld – Lainey Wilson
Houston Creswell – Dierks Bentley
Adam Cline – Morgan Wallen
Milojko Dobrijevich – Little Big Town
Ron Etters – Chris Stapleton
Jordan Karow – HARDY
Justin Stein – Parker McCollum
Jake Zobrist – Cody Johnson

Venue of the year
BankNH Pavilion – Gilford, N.H.
Bridgestone Arena – Nashville
Fenway Park – Boston
Grand Ole Opry House – Nashville
Greek Theatre – Los Angeles
Moody Center – Austin, Texas
The Pinnacle – Nashville
Red Rocks Amphitheatre – Morrison, Colo.

Unsung hero of the year
Holly Atherton (Production Assistant) – Chris Stapleton
Chase Butler (Road Manager) – Riley Green
Michael Corcoran (General Manager) – mtheory
Kayla Carter Greear (Production Assistant) – Luke Bryan
Jeff “Bean” Griffin (Road Manager) – HARDY
Lolo Kinser (Logistics Coordinator) – Post Malone
Diana “Lemonade” McBride (Backstage Hospitality) – Grand Ole Opry
Mel Murphy (Road Representative) – Live Nation Nashville


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Charli XCX Muses on ‘Realities of Being a Pop Star’ in Highs, Lows & Whoas Substack Essay: ‘All My Favorite Artists Are Absolutely Not Role Models’

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Charli xcx is not gonna lie: being a pop star is freakin’ awesome. The parties, the free stuff, meeting other famous people, swanning to the front of every line, hearing amazing new music from other pop stars before anyone else, thousands (or if you’re lucky) millions of dedicated fans, never having to book your own travel and did we mention the tons of free, fancy stuff?

But in a lengthy Substack post last week, the “360” singer also weighed in on some of the less glitzy “Realities of Being a Pop Star,” as she titled her essay. “Being a pop star has its pros and cons like most jobs in this world but before I state some of them I want to clarify that firstly I don’t view what I do as a ‘job’ and I secondly don’t really view myself as purely a pop star, I’m just using that terminology specifically for this piece of writing,” Charli wrote, noting that she’s always gone in-and-out of different creative zones “adjacent” to music, including her recent dive into movies and acting, but that for the purpose of the essay she is focused on her “original dream” of being a pop star.

“Because it’s the role in my life I have the most experience navigating and because it’s also the most ridiculous one,” she said. “One of the main realities of being a pop star is that at a certain level, it’s really f–king fun. You get to go to great parties in a black SUV and you can smoke cigarettes in the car and scream out of the sunroof and all that cliche s–t. At these parties you sometimes get to meet interesting people and those interesting people often actually want to meet you. You get to wear fabulous clothes and shoes and jewelry that sometimes comes with its own security guard who trails you around the party making sure you don’t lose the extortionate earrings sitting on your lobes or let some random person you’ve just met in the bathroom try on the necklace around your neck that is equivalent to the heart of the ocean.”

And then there is the free stuff: phones, laptops, vinyl, trips, shroom gummies, headphones, clothes and that killer electric bike that has been sitting untouched in her garage for nearly five years. Don’t forget entering restaurants through the back entrance and smiling at the sweat-drenched chef and waiters who are toiling away at their service sector job while you “strut through the kitchen with your 4 best friends who are tagging along for the ride.”

Being a pop star, she mused, means you get to feel special, but also sometimes embarrassed by “how stupid the whole thing is.” You also get to hear tons of incredible music that is likely to shift the culture and public perception way before anyone else, like that time Addison Rae played Charli “Diet Pepsi” for the first time while driving around New York after a posh dinner. “Sometimes you get to help out your other pop star friends by providing an opinion or lending an ear or a helping make a decision relating to their work which allows you to feel a part of a interconnected community of people you love and respect,” wrote Charli, who has worked with everyone from Troye Sivan to Billie Eilish, Ariana Grande, BTS, Iggy Pop and Selena Gomez, among many others.

“You also get to have fans and their dedication to your work makes you feel like they will be there for you until the end of time, even though in reality they won’t. You get to stand on stage and feel like a God. You get to make people cry with happiness, you soundtrack their break ups, their recovery, their crazy nights out, their revenge, their love, their lives,” Charlie said. “You get to travel the world and see all kinds of different places and you never even have to worry about booking a single element of the travel yourself because you have an amazing tour manager to do that for you. You get to call in sick whenever you want and you never have to worry about bailing on work last minute because you know for certain that there’s another pop star out there who’s actually way more unreliable and flakey than you. Thank God.”

But, of course, there is also the not so fun downside of global fame. Among the items Charli mentioned were the endless hours in “strange and soulless liminal spaces,” from holding areas at arenas, to airport lounges, visa offices, claustrophobic tour buses, greenrooms with no windows, the space under a stage or the set of your music video, all spaces she described as a soul-deadening “in-between.”

Those transit places are often where she depicted spending hours while on a journey that takes up most of the time of the experience. Most troubling, she wrote, was that when you are a pop star, some people are determined to prove to the world that you are stupid.

“I’ve always been completely fascinated by this and think it has something to do with self projection. Being a pop star has always been partially about being a fantasy and obviously the fantasy is decided mostly by the consumer,” she noted. “Marketing and strategy and packaging and presentation can do it’s best to guide a viewer to the desired outcome but at the end of the day the consumer gets to decide whether a pop star is a symbol of sex, or anarchy or intelligence or whatever else they wish to see. Sometimes people don’t like to be lumped in with general consensus, they like to go against the grain of public opinion and that’s when a totally opposite defiant stance is born.”

That’s when instead of being considered a “sex symbol,” Charli said, the artist is sometimes labeled “a whore,” or instead of “anarchic” they are dubbed a “f–king drug addict.” Intelligence becomes “pretentious,” prompting the singer and producer to wonder why one’s success triggers such “rage and anger” in other people.

“I think it probably all boils down to the fact that the patriarchal society we unfortunately live in has successfully brainwashed us all,” wrote the Grammy-award winner. “We are still trained to hate women, to hate ourselves and to be angry at women if they step out of the neat little box that public perception has put them in. I think subconsciously people still believe there is only room for women to be a certain type of way and once they claim to be one way they better not DARE grow or change or morph into something else. Also people obviously want the clicks and an opposite stance is more likely to get that.”

And if she’s really being honest, sometimes, Charlie wrote, being a pop star can be “really embarrassing, especially when you’re around old friends of family members who have known you since before you could talk.” The more success you notch, the more you notice the lifestyle discrepancy and the more paranoid you become. “As a British person the longer you stay in LA the more you lose touch with the realities of certain things, but that’s why being a pop star can also be seriously humbling too, especially when your old friends mock and ridicule you for caring about something absolutely pointless,” she wrote.

“In ways being a pop star makes me think about the person I used to be compared to the person I am now. How is that person different? Or is she still the same?” Charli asked, recalling a visit a few weeks ago from rapper Yung Lean, who came to her house and had a discussion about some “industry adjacent friends” of theirs and whether they had changed after some success.

“The next day my brain was stewing and so I text him to ask him whether he thought I had changed. I knew he would be honest because he always is and I know he sees through everything, all the persona and all the facade,” she said. “He is probably one of the wisest people I know. I’m sat there waiting for his response and the three speech bubble dots kept appearing and disappearing on my phone screen which was sending me into a total spiral. When he finally pressed send his message said that he thought I had not changed from the person he knew when we were younger and that he didn’t think I would in the future but also that I definitely do have ‘yes people’ around me that blow smoke up my a–. I said I could see the truth in that but luckily he went on to say that generally speaking I’m too British and self deprecating to actually believe any of the wild compliments the ‘yes people’ might pay me so I was probably safe.”

In conclusion, she wrote, being a pop star is about having an expectation that you will be “entirely truthful all the time.” But, again, if she’s being honest, that phantom thread between fame and moral responsibility has never made sense to her, especially considering that all her favorite artists were “absolutely” not role models, nor would she want them to be.

“I want hedonism, danger and a sense of anti establishment to come along with my artists because when I was younger I wanted to escape through them,” Charli said. “I don’t care if they tell the truth or lie or play a character or adopt a persona or fabricate entire scenarios and worlds. To me that’s the point, that’s the drama, that’s the fun, that’s the FANTASY.”

Naturally, then, she ended with a link to one of her favorite interviews with punk godfather Lou Reed, a 1974 Meet the Press chat in which the legendarily cantankerous Reed steadfastly refused to tell the truth the interviewer was desperate to foist onto him.


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Rihanna Hilariously Responds After Unflattering Photo of Her Resurfaces in Post About Male Preferences

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Rihanna is far from the only girl in the world — so why did she, of all people, become the face of what men prefer when it comes to “bad” photos of their girlfriends in a post on Instagram? That’s what she’d like to know.

In a hilarious exchange on Instagram on Saturday (Nov. 22), the mogul replied to a FemBase post claiming that men are more drawn to “candid or ‘imperfect’ photos” of their partners, favoring “natural expressions or unfiltered moments” that strengthen “feelings of closeness and affection.” The statement was paired with an unflattering picture of a younger Ri, who is caught making a derpy expression from a low angle.

In the comments, the singer replied, “How I catch this stray tho?”

Fans who came across her comment were in stitches over Ri’s interjection. “I love that you clocked this RIH,” one person wrote amid countless other people’s barrage of laughing emojis in the replies.

Rihanna is well known for having no filter on social media. She’s not shy about putting trolls in their place, at one point shutting down a commenter who demanded new music and referred to her as “forehead” earlier this year with, “You ain’t cute enough to be calling me by my black name you dizzy f–k!”

And during last year’s presidential election, Ri fired off a series of digs at MAGA conservatives flooding the comments of her post encouraging people to vote. In response to one person who wrote that she should “stick to music sis,” for instance, the Grammy winner quipped, “Where were you in Jan 6 sis? Stick to your discounted crotch. We out here fighting for its rights!”

Her latest clapback proves that she hasn’t lost her fire, even after welcoming her third baby with A$AP Rocky just two months ago. In September, the couple revealed that Ri had given birth to their daughter, Rocki Irish Mayers, who joins older brothers RZA and Riot Rose.

In one of the couple’s latest updates on parenthood, Rocky told Extra at the CFDA Fashion Awards, “Yo, being a girl dad is amazing … I mean, check me out — I’m glowing.”


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Futures Music Group & 8 More Labels Strike Sync Licensing Deal With Chordal

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Chordal has onboarded Futures Music Group and eight additional music companies to its sync licensing platform, the company tells Billboard. The new deals follow major alliances with TikTok and Kobalt Music Group, both of which became Chordal clients over the summer.

Futures, an indie label collective co-founded by Neon Gold’s Derek Davies and Avenue A’s Dave Wallace, has a roster that includes Mt. Joy, Phantogram, Cavetown, The Knocks and Barns Courtney. The other new label partners include Nice Life, Phoenix Music International, Jazz is Dead, Unity Group, Pravda Records, San Juan Music Group and In Real Life.

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Chordal’s technology, including its pre-cleared licensing system InstantClear, is designed to streamline sync licensing for songs with multiple rights holders — making it easier and quicker for rights holders to approve their respective shares while also easing the process for brands and producers.

“Futures was built from the ground up to empower our artists and labels with access to the most innovative technologies and partners across the music and music tech ecosystems,” said Davies, co-CEO of Futures Music Group and founder of Neon Gold, in a statement. “Chordal is bringing new clarity and connectivity to the licensing space, pushing the sync industry forward faster than any other company and we’re thrilled to be a part of the amazing work they’re doing to streamline and maximize sync opportunities for artists.”

“We’re proud to welcome these incredible new partners to Chordal,” added Tilo Dell’Oro Maini, co-founder and head of catalog at Chordal. “Each new company that joins our platform helps us move the industry closer to a smarter, more connected, and more creative licensing ecosystem.”


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$85K Timberlands? Pharrell Williams And Louis Vuitton Say Yes

Travis Scott’s Circus Maximus Tour Banks $265M & Becomes Highest Grossing Solo Rap Trek Ever

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Travis Scott wrapped up his Circus Maximus Tour on Nov. 19 and has broken the record for the highest grossing solo rap tour of all time, according to Live Nation.

According to figures reported to Billboard Boxscore, Scott’s global trek grossed $265.1 million and sold 2.1 million tickets. Circus Maximus kicked off with a North American leg in October 2023 and came to a close with a show in Mumbai, India.

Scott brought the rage all over the world, as the tour ended up invading six different continents, more than 20 countries, 50-plus cities with more than 80 shows total, and saw 475 “FE!N” performances rocking stadiums across the globe.

In addition to North America, the Cactus Jack boss brought Circus Maximus to Europe, Asia, the Middle East, Australia, Africa and Latin America.

The trek initially began in North American arenas before Scott sold out California’s SoFi Stadium and then took over stadiums in Europe.

Trav brought out plenty of special guests at shows with a star-studded list that includes Ye (formerly Kanye West), Teezo Touchdown, Yung Lean, Don Toliver, Sheck Wes, Babyface Ray, Skilla Baby, Veeze and Nav.

The Circus Maximus Tour came in support of Scott’s Utopia, which arrived in July 2023 and topped the Billboard 200 with 496,000 total album-equivalent units earned. All 19 songs from the LP debuted on the Billboard Hot 100.

2025 has been another jam-packed year for La Flame, who made his return to the desert to headline night two of Coachella in April. The Cactus Jack crew reunited for the JACKBOYS 2 label compilation in July.


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