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How to Make Taylor Swift-Inspired ‘Lavender Haze’ Lemonade at Home

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It’s a Taylor Swift takeover! Swifties have been on cloud nine since The Eras Tour officially kicked off last week and will resume in Las Vegas on Friday (March 24).

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Several photos from the tour went viral, including a cup of “Lavender Haze” lemonade sold during Swift’s Eras Tour kickoff at the State Farm Stadium in Glendale, Ariz. The “Bad Blood” Sangria made its rounds on social media as well, but the Swift-inspired specialty lemonade seems to be a fan favorite — and it also happens to be a great beverage for spring.

How do you make lavender lemonade? It’s easier than you might think. To start, you’ll need around 3/4 ounce to one ounce of lavender syrup, a cup or more of lemonade (fresh or store-bought) and roughly half a cup to a cup of sugar. You can also substitute sugar with honey.

A Swiftie apparently shared the “official” Purple Haze Lemonade recipe from The Eras Tour on TikTok earlier in the week. The ingredients include, Empress gin, lemon juice, Falernum liqueur, rhubarb bitters and Elderflower tonic water.

We searched TikTok and Reddit to find other lavender lemonade recipes such as the “Lavender Haze” lemonade cocktail that was posted last October after Swift dropped her Midnights album.

The cocktail is made with dried lavender, fresh lemon juice, lemonade, lavender syrup, club soda and Empress 1908 Gin.

lavender lemonade

Liudmyla Yaremenko/GI

To make a non-alcoholic lavender lemonade, simply mix lavender simple syrup with lemonade, water and sugar (you can also add a non-alcoholic gin or vodka to make into a mocktail).

While there are plenty of lavender syrups in stores and online, such as Torani Lavender Syrup and Monin Lavender Syrup, you can also make your own at home. To do so, boil 1-2 cups of dried lavender flowers in a pot of with sugar and water (1:1 ratio). Once the lavender steeps, use a strainer to pour it in a cup, so the lavender buds don’t get into the liquid. Next, mix the lavender simple syrup with 1-2 cups of lemonade or more, depending on how much you’re making, add 1-2 cups of cold water, stir and refrigerate or serve over ice (you can also add a lavender flower as garnish).

Want more Swift-inspired recommendations? Read our roundup of outfits inspired by The Eras tour.

Raphael Saadiq Announces Long-Awaited Tony! Toni! Toné! Tour

Tony! Toni! Toné! will reunite for a tour in 2023.

The announcement came by way of Instagram posts from members Raphael Saadiq, D’wayne Wiggins and Timothy Christian Riley that read, “Raphael Saadiq revisits Tony! Toni! Toné! Just Me And You Tour 2023” — with an influx of fans including John Legend, Questlove, Keri Hilson, Common and Bun B commenting their excitement on Saadiq’s post.

While no dates have been announced yet, Saadiq included a phone number for fans to reach him via Instagram Stories, linking to his Community.com texting list, which will presumably include more information about the tour.

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Tony! Toni! Toné! is comprised of brothers Saadiq and Wiggins and their cousin Riley, who joined together in 1986 and had a monumental run. Their first album, Who?, was RIAA-certified gold and produced hit singles including “Little Walter,” which reached No. 1 on Billboard‘s Hot R&B/Hip-Hop Songs chart. The group’s second album, The Revival, was met with critical and commercial acclaim, spending 64 weeks on the Billboard 200 chart and going platinum, in addition to boasting a slew of hits, including the Billboard Hot 100 top 10 “Feels Good.”

The “Anniversary” group went their separate ways following the 1996 album House of Music, with Saadiq going on to produce music for Stevie Wonder, Mary J. Blige, En Vogue, D’Angelo, Jill Scott, Erykah Badu, Whitney Houston, John Legend and Beyonce. This year, he won his second Grammy for best R&B song for his work on Beyoncé’s “Cuff It.” Wiggins, who helped develop R&B supergroup Destiny’s Child, entered the film world following the group’s hiatus, working as an executive producer and actor.

Coi Leray ‘Players’ Wins No. 1 Race on Hot Rap Songs Chart

Coi Leray claims her first No. 1 on Billboard’s Hot Rap Songs chart as “Players” advances to the summit of the list dated March 25. The song jumps from No. 3 as it simultaneously strengthens its radio airplay reach and maintains its steady hand in the streaming sector.

As “Players” tops Hot Rap Songs, it dislodges Nicki Minaj’s “Red Ruby Da Sleeze,” after the latter’s one week in charge. With the replacement, Nicki Minaj and Coi Leray combine to give two women rappers successive No. 1s on the chart for the first time since 2014, when Minaj’s “Anaconda” yielded to Iggy Azalea’s “Black Widow,” featuring Rita Ora, on Oct. 18, 2014. (Between the eight-year gap, the switch occurred twice involving a featured artist, with the same pair of songs: On the chart dated Oct. 10, 2020, Travis Scott’s “Franchise,” featuring Young Thug and British rapper M.I.A., ousted Cardi B’s “WAP,” featuring Megan Thee Stallion; the latter rebounded the next week.)

“Players” conquers Hot Rap Songs, which blends streaming, radio airplay and sales into its rankings, with 10.2 million official U.S. streams in the week ending March 16, according to Luminate, a 2% slip from the prior week. Still, the song recovers 7-6 on the Rap Streaming Songs chart, where it previously peaked at No. 4 in February. On the Rap Digital Song Sales chart, “Players” climbs 4-3 despite a 9% weekly drop in sales to 4,000 in the latest tracking week. The track has posted seven weeks at No. 1 on Rap Digital Song Sales since its release – one of only five songs since Jan. 1, 2020, to lead for as long.

Radio airplay, however, is where “Players” cements its growth. The single wins a second term at No. 1 on the Rhythmic Airplay chart as the most-played song on U.S. monitored rhythmic radio stations after it gained 7% in plays in the most recent tracking week compared with the previous frame. Leray’s hit also gets a second radio chart crown on Rap Airplay, where it lifts 2-1 for her first career champ there. In addition to those victories, “Players” continues to flex on Mainstream R&B/Hip-Hop Airplay, where it repeats at its No. 5 high thus far, but increased 7% in weekly plays at the format and Pop Airplay, with a 16-13 boost thanks to an 11% improvement in weekly plays. Strength at the many formats pushes “Players” 10-8 on the all-genre Radio Songs chart. There, it registered 52.5 million in total audience in the last tracking week.

Elsewhere, “Players” rises 6-4 on the Hot R&B/Hip-Hop Songs chart and, notably, matches the chart peak of its sampled tune. “Players” borrows from the hip-hop classic “The Message” by Grandmaster Flash & The Furious Five, which peaked at No. 4 in September 1982. On the all-genre Billboard Hot 100, the track rallies 24-12 for a new high after having reached No. 16 two weeks ago. The yo-yo of its rise, fall and rise again traces to several high debuts from Morgan Wallen’s, One Thing at a Time album, including five tunes in the top 10 for the country superstar.

SZA’s Star-studded ‘SOS’ Show, Nine Things You Didn’t Know About TWICE & More | Billboard News

From Justin Bieber to Adele, the stars showed up for SZA’s first of two final shows at Los Angeles’ The Forum. Lola Brooke chatted with Billboard News at SXSW and talked about some of her favorite New York slang! Fans are pushing for Cardi & Offset to recreate Michael Jackson and Janet Jackson’s iconic ‘Scream’ music video. The women of TWICE reveal 9 things you didn’t know about them and more!

Arista Shuts Down: Sony Music Nashville Chief Randy Goodman Explains Why (Exclusive)

Sony Music Nashville (SMN) has shuttered its Arista imprint, shifting the artist roster to SMN’s Columbia and RCA labels. 

Old Dominion and Megan Moroney move to Columbia while Nate Smith goes to RCA. The other artists on Arista — including Brooks & Dunn, Ryan Hurd, Seaforth, Morgan Wade and Adam Doleac — will be reassigned when they have projects headed to radio. No acts are being dropped. Country Aircheck broke the news of Sony dissolving Arista Thursday morning (March 23). 

In an exclusive interview, SMN CEO/chairman Randy Goodman tells Billboard the move was to realign better with radio’s needs. 

“RCA, Columbia and Arista are really imprint names that we use for three different promotion teams because that gives you multiple calendars. We’re now targeting our approach to radio to be more strategic,” Goodman says. 

That means bringing songs to radio that already have a story in terms of fan engagement and at digital service providers, so they don’t “languish in overnights” at radio, he continued. “What we said to radio is, ‘Give us dayparts immediately,’ and if it works, great. If it doesn’t, then we’ll move on because we’re going to be moving on things quicker in the DSP landscape as well. So based upon our more targeted approach, we just felt like this was a more efficient way to do it.”

Goodman has been vocal about the tremendous amount of time, expense and manpower it takes for songs to climb the country airplay chart, with some tunes taking as long as 52 weeks to reach No. 1.

“That’s not a model that is an efficient or effective artist development model and so we thought, ‘How do we approach this with a better model in mind?’” he says. “Let’s not go to radio until we know we’ve got something that we can go to the major chains with and show them there is momentum and there is a reason other than us just saying, ‘We want you to play it.’”

Goodman stressed that SMN will not be sending fewer songs to radio and that the realignment strengthens Columbia and RCA by increasing the number of regionals on each team by one. 

In the restructuring, Arista’s senior director of promotion and artist development, Lyndsay Church, has left the company. Ali O’Connell, director of promotion and artist development, is moving to RCA, as is specialist/promotion & artist development Amy MenzNicole Walden, former RCA specialist/promotion & artist development, moves to the national team. Lisa Owen, also an Arista director of promotion and artist development, shifts to Columbia.

Steve Hodges, SMN executive vp of promotion and artist development, called the managers of the artists on Arista’s roster on Wednesday to give them the news. In addition to his other duties, Hodges has been running Arista Nashvhille since Chris Schuler left his post as vp of promotion at the imprint in November after a seven-month stint at the label. 

The moves come as SMN is having a banner year at radio. So far in 2023, Smith’s “Whiskey On You,” Kane Brown and Katelyn Brown’s “Thank God,” and Luke Combs’ “Going, Going, Gone,” have reached the top of Billboard’s Country Airplay chart, with both “Whiskey” and “Going” spending two weeks at the summit.

Goodman adds that the move is really business as usual. “Our job is artist development, our job is to break new artists, our job is to expand careers of the artists that have already broken through,” Goodman says. “And so, in this new world as things continue to change, we’re constantly evaluating what’s the best way to do that.”

The move comes a week after Miranda Lambert announced she was leaving SMN, her home for 20 years. Goodman declined to comment on her departure other than to “wish her well.”

Gerard Piqué Breaks His Silence on Shakira Split: ‘I Want to Be Faithful to Myself’

Gerard Piqué spoke out publicly for the first time about his high-profile breakup with Shakira after more than a decade together.

“I won’t say, I don’t want to,” the soccer star said when pressed in a profile by Spanish media outlet El Pais about how the split had affected him. Instead, he chose to speak about the former couple’s two sons, 9-year-old Milan and 7-year-old Sasha.

“Everyone has their responsibility to do what’s best for their kids,” he continued. “It’s about protecting them. That’s the job of all parents with their kids. That’s what I’m focused on and that’s my role as a father.”

Piqué also clapped back at media coverage surrounding the split and his new relationship with Barcelona college student Clara Chia, saying, “The problem is how people perceive things or how the press packages it. I’m still doing what I want. I want to be faithful to myself. I’m not gonna waste money on cleaning up my image.

“The people that I love and worry about are the people that know me. The rest, I don’t care,” he maintained. “I’m putting my energy on the people that are closest to me and giving them what I have. I’m very happy. There’s been changes in my life and I’ve known how to preserve that happiness.”

Meanwhile, Shakira has been outspoken on her side of the breakup, taking hard-hitting aim at Piqué on her Bizarrap collab “BZRP Music Sessions #53,” which rocketed to No. 1 on the Hot Latin Songs chart and ultimately broke 14 Guinness World Records.

Lil Nas X Criticized for ‘Gays in Africa’ Tweet After Passage of Uganda’s New Anti-LGBTQ Law

Lil Nas X may be known for his no-holds-barred online personality, but even his fans are letting him know to pump the breaks following a recent tweet.

On Wednesday (March 22), Lil Nas tweeted out a simple message to his followers: “where do the gays be in africa,” he wrote. “i wanna come there.”

Fans quickly pointed out that the timing of the rapper’s tweet wasn’t great, especially considering a new law in Uganda punishing homosexuality.

The Ugandan parliament passed a sweeping anti-LGBTQ law on Wednesday, criminalizing “identifying as LGBTQ+, or the so-called promotion of gay identity,” according to a report from NPR. Performing sexual acts with a person of the same sex was already illegal in Uganda, but the new law would punish the mere act of identifying as queer with up to 20 years in prison, or the death penalty in cases of “aggravated homosexuality” — a broad definition that includes “repeat offenders,” having sex with an HIV-positive person and more.

A number of users responded to Lil Nas’ tweet pointing to the new Ugandan law. “The Uganda gays need love and solidarity today,” wrote singer-songwriter Simon Curtis, while another person wrote, “nah bro. stay home, be safe.” Others called out the “Industry Baby” rapper’s statement through quote tweets, with one fan asking that he “read the room,” while another pointed out his “terrible timing.”

The latest backlash comes shortly after Lil Nas X published an apology for another tweet he posted joking that he had transitioned. “apologies to the trans community i def handled that situation with anger instead of considering why it was not cool,” he wrote. “much love to you guys. sorry.”

Check out Lil Nas X’s tweet below:

Lizzy McAlpine Earns First Billboard No. 1 With ‘Ceilings’

Lizzy McAlpine’s “Ceilings” reigns on Billboard’s Alternative Streaming Songs chart for the first time, lifting to the top of the March 25-dated survey.

It’s McAlpine’s first Billboard No. 1.

In the March 10-16 tracking week, “Ceilings” earned 8.8 million official U.S. streams, a jump of 9%, according to Luminate.

The track rules Alternative Streaming Songs in its sixth week on the chart after debuting at No. 23 on the Feb. 18-dated list.

But the story of “Ceilings” didn’t start there. The song was initially released in April 2022 on McAlpine’s second studio album, Five Seconds Flat.

“Ceilings” grew on such shortform video services as TikTok in late 2022, eventually debuting at No. 26 on the Hot Rock & Alternative Songs tally dated Jan. 28, 2023.

The song reaches a new No. 5 high on that chart’s latest edition, with its U.S. streams joined by 1.3 million radio audience impressions (up 111%) and 1,000 downloads sold (up 5%).

Being promoted to radio, “Ceilings” is drawing airplay on pop, adult pop, alternative and adult alternative formats.

Concurrently, “Ceilings” returns to the all-format Streaming Songs chart at No. 39 and leaps 80-54 on the Billboard Hot 100, both new best ranks.

Five Seconds Flat places at No. 6 on Americana/Folk Albums and No. 15 on Top Alternative Albums and has earned 133,000 equivalent album units to date.

Ryan Hadlock Tops Rock & Alternative Producers Chart for First Time Thanks to Zach Bryan Songs

Ryan Hadlock, Dan Darmawan and Tyler Smyth are Billboard’s No. 1 rock producers on the latest March 25-dated rankings, thanks to various hits on the Hot Rock & Alternative Songs, Hot Alternative Songs and Hot Hard Rock Songs charts.

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Ryan Hadlock Leads Rock & Alternative Producers

Hadlock tops the all-rock-genre Rock & Alternative Producers chart for the first time, thanks to his work on Zach Bryan’s “Something in the Orange,” of which he’s the sole credited producer.

“Orange” stands at No. 2 on Hot Rock & Alternative Songs after spending six weeks at No. 1. The song marks Hadlock’s second leader on the chart, after The Lumineers’ 18-week No. 1 “Ho Hey” in 2012-13. He’s also produced chart hits for Blond Redhead and Vance Joy.

“Orange” hit No. 10 on the all-genre Billboard Hot 100 in January.

Dan Darmawan Rules Alternative Producers

Darmawan hits No. 1 on the Alternative Producers chart for the first time, thanks to two production hits on Hot Alternative Songs, both of which are by newcomer d4vd. The tracks, “Romantic Homicide” and “Here With Me,” rank at Nos. 4 and 5, respectively, and mark Darmawan’s first chart appearances as a producer.

“Romantic Homicide” reached No. 33 on the Hot 100 in October, while “Here With Me” reached No. 60 in February.

Tyler Smyth Continues Run Atop Hard Rock Producers

On Hard Rock Producers, Smyth scores a 25th week at No. 1, thanks to two production credits on the latest Hot Hard Rock Songs chart, both of which are by Falling in Reverse: “Watch the World Burn” (No. 3) and “Voices in My Head” (No. 7).

Dating to the Hard Rock Producers chart’s launch, only Greg Kurstin has spent more weeks on top (34 weeks).

Billboard launched its Hot 100 Songwriters and Hot 100 Producers charts, as well as genre-specific rankings for country, rock & alternative, R&B/hip-hop, R&B, rap, Latin, Christian, gospel and dance/electronic, in June 2019; alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022. The charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot 100. The genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).

The full Hot 100 Songwriters and Hot 100 Producers charts, in addition to the full genre rankings, can be found on Billboard.com.

‘BackStory With Colby Colb Podcast’ – The Notorious B.I.G.

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BackStory with Colby Colb: The Notorious B.I.G.

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On this episode of BackStory with Colby Colb, legendary radio host Colby ‘Colb’ Tyner chronicles the thriving Hip-Hop renaissance of the ‘90s—a time when Nas, the Wu-Tang Clan, Mary J. Blige, A Tribe Called Quest and Busta Rhymes, to name a few, were emerging on the scene representing East Coast Hip-Hop.’

This was the perfect environment for a young Christopher Wallace to break out on the scene. The young Biggie Smalls studied the Hip-Hop greats, growing up on Word Up! Magazine and listening to Rap Attack on the radio. His mother, Voletta Wallace, tells Colb that young Christopher excelled in English class. “So I wasn’t shocked that he was such a great writer,” she says.

Raised in the Clinton Hill neighborhood of Brooklyn, New York, bordering Bedford-Stuyvesant, young Christopher would pass the time between drug deals by performing verses on the street. In the video below, you can feel the undeniable presence that he had at just 17 years old, rapping on Fulton Street in Brooklyn.



In 1991, Christopher was arrested and jailed for cocaine in North Carolina. While behind bars, he focused on writing and dropped his first demo tape upon his release. Biggie Smalls was born.

DJ Mister Cee is credited with discovering the young rapper, after being introduced through his first DJ, DJ 50 Grand. Biggie soon caught the eye of a young Sean ‘Puff Daddy’ Combs, who was doing A&R for Uptown Records at the time. The two met up, and the rest is history.

Puff was the mastermind behind Biggie’s rise to fame. He was strategic in where he placed Biggie in features alongside artists like Super Cat, Mary J. Blige, and Craig Mack. Colb goes in-depth here, documenting in detail the progression of singles and collaborations that further propelled Biggie to stardom.

Biggie’s momentum continued to build upon the success of his song Party and Bullshit off the Who’s The Man? soundtrack in the spring of 1993. In this next video, Puff and Biggie perform at the OutKast picnic in Atlanta in 1994, just months prior to the release of Biggie’s iconic debut album Ready to Die.



Colb plays a clip from his first interview with Biggie in July of 1994, two months leading up to the release of Ready to Die. By this point, Biggie had changed his stage name to The Notorious B.I.G. due to a lawsuit filed against him by actor Calvin Lockhart, whose character in the 1975 film Let’s Do It Again inspired the rapper to adopt the name Biggie Smalls.

Two months after the release of Ready to Die, Biggie tells Colb in a second interview that the album was a chance to showcase another side to his artistry, a darker side, following the release of the mainstream hit Juicy, which told his life story and introduced The Notorious B.I.G. to the world.

Colb delves into the series of unfortunate events that caused the friction between Biggie and Tupac, and led to their untimely deaths. Tupac was making his mark on the West Coast Hip-Hop scene at the time. The two rappers were successful and thriving, yet the tension between them grew, fueling the rivalry between East Coast and West Coast Hip-Hop.

The iconic MCs were fatally shot within six months of each other, following one of the greatest years of Hip-Hop (1996), as Colb tells it. Their deaths sent shockwaves throughout the music world, but their impact on Hip-Hop lives on.

Listen to BackStory with Colby Colb: The Notorious B.I.G. for exclusive clips of Colb’s past interviews with Biggie Smalls, his mother Voletta Wallace, DJ Mister Cee and Craig Mack.