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Justin Bieber stirred up controversy yet again, this time for trolling legendary musician Stevie Wonder on social media.

In a now-viral Instagram Story, Bieber posted a screenshot of an unanswered FaceTime call to Stevie Wonder, jokingly captioning it, “This fool never sees my FaceTimes.” While some fans found the joke lighthearted, many felt it was in poor taste, given that Stevie Wonder has been blind since birth. Though likely meant to be humorous, the timing and tone of the post rubbed people the wrong way. Online reactions were mixed; some laughed it off, while others criticized Bieber for being insensitive and using Wonder’s disability as the punchline.
One fan commented, “Even if Stevie could see, I doubt he’d be answering FaceTime from a crash-out king like Justin right now.” The trolling has also reignited concern about Bieber’s mental state. Over the past few weeks, fans have noticed strange behavior and erratic posts from the pop star, sparking speculation that he may be struggling behind the scenes. Many are now calling on Hailey Bieber to check in on him, with comments like, “Where’s Hailey? Someone needs to make sure he’s good,” appearing across platforms.

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While Bieber has always walked a line between being goofy and controversial, this latest moment has fans wondering if his trolling is masking deeper issues. Whether it was a harmless joke or something more, one thing is clear—people are paying attention, and not all of it is positive.

Mariah Carey has officially been free for two decades — and to celebrate, she’s dropping an expansive collection of music packaged in a five-disc The Emancipation of Mimi (20th Anniversary Edition).
As announced on Instagram Friday (April 11) — one day shy of the exact 20-year anniversary of the vocalist’s enduring 2005 record — Carey has personally compiled a suite of songs from the Emancipation era into one sleek five-LP vinyl box set arriving May 30 via Def Jam Records/UMe. Featuring the original tracklist of hits including “It’s Like That,” “We Belong Together,” “Shake It Off,” “Say Somethin,’” “Fly Like a Bird” and “Get Your Number,” the special edition will also house dozens of bonus tracks, past remixes and collaborations with other artists, instrumentals, a capella takes, live recordings and more.

The Emancipation of Mimi (20th Anniversary Edition) will also include tracks from the previously released Ultra Platinum Edition — including “Don’t Forget About Us,” “Makin’ It Last All Night (What It Do),” “Secret Love” and “Sprung” — as well as brand new remixes and collaborations. One of those remixes, Kaytranada’s version of “Don’t Forget About Us,” dropped Friday as part of the anniversary project’s announcement.

Trending on Billboard

“I’m really happy to celebrate ‘Mimi’s Emancipation’ with this special anniversary re-release,” Carey said in a statement. “While working on this edition, I got to relive all the memories from this pivotal moment in my personal and professional life.”

Released April 12, 2005, The Emancipation of Mimi marked Carey’s 10th studio album, and a pivotal comeback moment in her career. Spending two weeks atop the Billboard 200, the project won three Grammys and spawned one of the longest-running Billboard Hot 100 No. 1 hits of all time, the 14-week leader “We Belong Together.”

The new anniversary edition will further celebrate that era of the vocalist’s career with a 28-page booklet of photos of Mimi, along with a personal letter she penned to her Lambs. A deluxe 2-LP vinyl set will also be available. An extended digital deluxe version of the suite will also be available on May 30 featuring additional tracks exclusive to streaming services.

“This album has some of my biggest hits to date, as well as some personal favorites that are very special to me,” Carey added. “Forgotten gems, unreleased bonus tracks and different remixes with incredible collaborators — all of these and more are now available in one place for the first time ever!”

See the star’s announcement and listen to the Kaytranada remix of “Don’t Forget About Us” below.

Shaboozey still hasn’t gotten where he’s going. The “A Bar Song (Tipsy)” hitmaker announced an expanded version of his breakthrough album on Friday (April 11), dubbed Where I’ve Been, It’s Where I’m Going: The Complete Edition, which will add six new tracks to the original 12-track LP Where I’ve Been, Isn’t Where I’m Going.
The revamp due out on April 25 via Empire will feature the just-released Myles Smith collaboration “Blink Twice,” as well as “Amen” featuring Jelly Roll, the Sierra Ferrell team-up “Hail Mary” and the fresh tracks “Fire and Gasoline” and “Chrome,” as well as previously released single “Good News.”

Shaboozey’s big year will roll on this weekend when performs on Sunday (April 13) at the Coachella Festival and then returns to Indio, CA on April 26 for night two of this year’s Stagecoach Festival, where he’ll share the stage with Jelly Roll, Sturgill Simpson, Nelly, Ashley McBryde and Koe Wetzel.

Trending on Billboard

He kicked off the year with “Blink Twice,” following a jam-packed 2024 in which he appeared on Beyoncé‘s three-time Grammy-winning Cowboy Carter LP and also scored the longest-running solo Billboard Hot 100 No. 1 single of all time with “A Bar Song (Tipsy)”; the track spent an eye-popping 17 weeks at the top of the tally. Nearly a year into its run, “A Bar Song” continues to tear it up, dropping to No. 4 from No. 3 in the most recent chart frame dated April 12, while “Good News” is hanging out at No. 51 after previously peaking at No. 47.

Check out the full track listing for Where I’ve Been, Isn’t Where I’m Going: Complete Edition below:

1. “Horses & Hellcats”

2. “A Bar Song (Tipsy)”

3. “Last Of My Kind” (feat. Paul Cauthen)

4. “Anabelle”

5. “East Of The Massanutten”

6. “Highway”

7. “Let It Burn”

8. “My Fault” (feat. Noah Cyrus)

9. “Vegas”

10. “Drink Don’t Need No Mix” (feat. BigXthaPlug)

11. “Steal Her From Me”

12. “Finally Over”

13. “Amen” (feat. Jelly Roll)

14. “Hail Mary” (feat. Sierra Ferrell)

15. “Fire And Gasoline”

16. “Blink Twice” (feat. Myles Smith)

17. “Good News”

18. “Chrome”

HipHopWired Featured Video

CRT FRSH, Hip-Hop Wired’s playlist where we attempt to showcase music we believe is “Certified Fresh,” is back again! With our latest update after too many weeks away. We’ve had a lot of catching up to do, so let’s get to the newness!

Disclaimer:

The CRT FRSH playlist is a labor of love. We don’t take payments, nor do we do favors. We only add joints to our playlist that fit the theme and vision we’re going for and don’t seek to waste the listener’s time. Further, we don’t stick to one lane of Hip-Hop. We believe that all aspects of the music should get some light, whether it’s young lions in the trenches or those hoping for that one shot to blow up to grizzled veterans puffing out their chests with lots more to say.

I want to explain how I approach curating the CRT FRSH playlist. Most importantly, I don’t segregate my Hip-Hop. Every form of music from the main cultural tree deserves a listen and a look. When I construct the playlist, I want to include all regions across the States and, when applicable, across the globe. I also want to entertain every fan of Hip-Hop, not just those who enjoy one segment of it. Now that we’ve got that out of the way, let’s get to it. — D.L. Chandler, lead curator for CRT FRSH

What up, Hip-Hop Wired nation?! We’re back with our latest Certified Fresh playlist, and we hope to add to your weekend vibes. This week, we open up the playlist with “EVIL JORDAN” from Playboi Carti’s latest album, MUSIC. We follow that up with “GRITS” from Erick The Architect’s excellent I’ve Never Been Here Before: Director’s Cut project.

$ome $exy $ongs 4 U is still moving on the charts and “BRIAN STEEL” features Drake in big sh*t talk mode, and that gets followed up by Atlanta’s MARCO PLUS and his “omm” single. Texas spitter BigXThaPlug delivered his Take Care (Deluxe) set earlier this year, and we include the “Life Of A Boss” track. PremRock, one half of the dynamic ShrapKnel duo, dropped off his latest work, Did You Enjoy Your Time Here…?, and the track “Doubt Mountain,” produced by CRT FRSH fave YUNGMORPHEUS, is a standout from the release.

Salute to the rest of the CRT FRSH entrants KenTheMan, Goya Gumbani, SALIMATA, Ken Carson, Niontay, Lil Durk, Future, Young Dro, Zaytoven, Trouble (RIP), Turbo, Gunna, P-Lo, Ovrkast., Micheal Sneed, demahjiae, Lil Tecca, Falamoun, SIDESHOW, Wiz Khalifa, Smoke DZA, Lil Yachty, Veeze, Raz Fresco, and Futurewave.

Salute to all of the artists we’ve included in this week’s update. Tune in in two more weeks and we’ll be back with 20, ahem, Certified Fresh joints for the people.To be considered for inclusion, please contact D.L. Chandler via email here – dchandler@bhmdigital.com in case the link doesn’t open.

—Photo: Getty

HipHopWired Featured Video

CRT FRSH, Hip-Hop Wired’s playlist where we attempt to showcase music we believe is “Certified Fresh,” is back again! With our latest update after too many weeks away. We’ve had a lot of catching up to do, so let’s get to the newness!

Disclaimer:

The CRT FRSH playlist is a labor of love. We don’t take payments, nor do we do favors. We only add joints to our playlist that fit the theme and vision we’re going for and don’t seek to waste the listener’s time. Further, we don’t stick to one lane of Hip-Hop. We believe that all aspects of the music should get some light, whether it’s young lions in the trenches or those hoping for that one shot to blow up to grizzled veterans puffing out their chests with lots more to say.

I want to explain how I approach curating the CRT FRSH playlist. Most importantly, I don’t segregate my Hip-Hop. Every form of music from the main cultural tree deserves a listen and a look. When I construct the playlist, I want to include all regions across the States and, when applicable, across the globe. I also want to entertain every fan of Hip-Hop, not just those who enjoy one segment of it. Now that we’ve got that out of the way, let’s get to it. — D.L. Chandler, lead curator for CRT FRSH

What up, Hip-Hop Wired nation?! We’re back with our latest Certified Fresh playlist, and we hope to add to your weekend vibes. This week, we open up the playlist with “EVIL JORDAN” from Playboi Carti’s latest album, MUSIC. We follow that up with “GRITS” from Erick The Architect’s excellent I’ve Never Been Here Before: Director’s Cut project.

$ome $exy $ongs 4 U is still moving on the charts and “BRIAN STEEL” features Drake in big sh*t talk mode, and that gets followed up by Atlanta’s MARCO PLUS and his “omm” single. Texas spitter BigXThaPlug delivered his Take Care (Deluxe) set earlier this year, and we include the “Life Of A Boss” track. PremRock, one half of the dynamic ShrapKnel duo, dropped off his latest work, Did You Enjoy Your Time Here…?, and the track “Doubt Mountain,” produced by CRT FRSH fave YUNGMORPHEUS, is a standout from the release.

Salute to the rest of the CRT FRSH entrants KenTheMan, Goya Gumbani, SALIMATA, Ken Carson, Niontay, Lil Durk, Future, Young Dro, Zaytoven, Trouble (RIP), Turbo, Gunna, P-Lo, Ovrkast., Micheal Sneed, demahjiae, Lil Tecca, Falamoun, SIDESHOW, Wiz Khalifa, Smoke DZA, Lil Yachty, Veeze, Raz Fresco, and Futurewave.

Salute to all of the artists we’ve included in this week’s update. Tune in in two more weeks and we’ll be back with 20, ahem, Certified Fresh joints for the people.To be considered for inclusion, please contact D.L. Chandler via email here – dchandler@bhmdigital.com in case the link doesn’t open.

—Photo: Getty

American Idol returns to Hawaii this week as one of the show’s newest traditions continues: the top 24 finalists are flown to the island to perform for an audience at Aulani, a Disney resort and spa in Ko Olina on the island of Oahu, and work with celebrity mentors before facing the judges. (The season 23 panel features returning judges Lionel Richie and Luke Bryan as well as new judge — and season 4 winner — Carrie Underwood). Once again, Billboard was on location to observe the on-camera events as well as what goes on behind the scenes. During that four-day visit, Billboard sat down with host Ryan Seacrest, the judges and the mentors to talk all things Idol.

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Over breakfast in Hawaii, executive producer and showrunner Megan Michaels Wolflick explained why Idol continues to bring the contestants to the 50th state. “It’s the most aspirational round of the show and it is a Disney dream for all these families to be here. Hollywood Week and the auditions are stressful. This is a celebration and the crowd that comes to the Aulani stage is unlike any other. In Los Angeles, you get the studio audience but in Hawaii people are so excited. They have the energy and every round has a separate feeling. Never again [on the show] are they going to play in front of such a big crowd, so it’s a good experience where they get to engage the audience. They’re working so hard and there’s so much on the line. America is voting. It’s a nice celebration before things get super intense for the final stretch.”

Trending on Billboard

On day three of a four-day stay at Aulani, Billboard spent the afternoon with Seacrest and the latest incarnation of the judging panel.

How has being connected to American Idol changed you?

Lionel Richie: I can answer that. Now when I’m in restaurants or walking the streets or in a mall I hear screaming and “eeking” and “mom, mom, mom, there’s Lionel!’” And I’m being attacked by the 9- to 12-year-olds. It’s the coolest thing ever. And, of course, they don’t know anything about me except I’m a judge on American Idol.

They don’t know “Three Times A Lady”?

Richie: They know “Dancing On The Ceiling.” “All Night Long.” But it’s a wonderful addition to my life.

Luke Bryan: It’s like having a looking glass into America’s youth. Without American Idol, I wouldn’t have a front row seat to the ups and the downs of America’s youth growing up in a new wave of social media, with all the positives and the negatives. I’ve developed a new appreciation for what our youth go through. It’s taught me to come from a small town in South Georgia and see the melting pot that America is. For me to be able to witness that through the youth and their stories and their differences and watching music bringing us all together, it’s been very enlightening for me.

Carrie Underwood: It’s pretty obvious how Idol has changed me and changed my life. I came from obscurity in a small town in Oklahoma. I loved to sing but didn’t really know how to get from point A to point B. From that first Idol moment on, my life was on a completely different path.

Your first time on an airplane.

Underwood: A lot of firsts. It was a launching pad and I owe it all to this show.

You’ve never forgotten it.

Underwood: No. I’ve always been a supporter and champion for Idol and consider myself blessed every single day that this is how I got my start and I’m glad to be a part of this legacy. It’s a monster show. It’s still going. It’s still changing lives. It’s incredible just to be a part of that.

Ryan Seacrest: It’s afforded me to have a long-term relationship with families across America. I take it seriously but with all the fun that I get to be in people’s living rooms over these generations now of the show and I love that. I love that companionship. I love the fact that when I see people, they feel like we’ve been friends. I love that they will walk up and shake my hand or ask me a question. They’re not starstruck. They really feel like you’re part of their crew in a way and it’s afforded me the opportunity to forge more shows and more connections with people in this country and I’ve had a chance to step back and watch people like Carrie excel and live out their dreams.

How has Carrie joining the judging panel impacted the rest of you?

Richie: We kept hearing, “She’s so sweet, so cute,” and we thought we might have a problem with her, because where’s that vicious side? And then she finally had to say no to someone. The first time, we almost had to stop the show. She said to Luke, “Do I have to do this some more?” I said, “You’ve got about a hundred more to go.” She brings a certain compassion to the show that I’m loving because she’s very caring. I always love to tell this story – she brought us a basket of goodies. Stewed okra, pickles. And I thought to myself, “That’s so sweet. She stopped by a market and she picked up one of these baskets.” No, everything in that basket was homemade. That was kind of different for us.

Bryan: Well, I think…you know, it’s funny bragging on you with you sitting right here.

Underwood: (Laughing) I’m okay with it.

Bryan: When you look at what she embodies with American Idol, she’s a big time representative of what America’s sweetheart is supposed to be and she maintains that so amazingly and she does it by caring like she does and having the kindness with the kids. It’s been fun watching her learn this role. Until now, it’s probably been a lot of scripted stuff where you come in knowing exactly what you’re going to do, but Idol makes you really work on the fly. Lionel and I had seven years to learn how to work on the fly. Carrie rolled right in here and just started picking up the role of what it is. It was always really endearing when I’d say, “Sing ‘Happy Birthday’ to a kid” and Carrie would say, “Wait, we can just start telling them what to do and requesting songs?” I’m like, “Listen, you can do whatever you want to do.” I’ll tell you another thing. She’s never shied away from her spirituality and her Christian beliefs and she’s done it through music and it’s been a part of her artistry and the kids this year have showed up with more of that maybe than in years past, and that’s been something really, really special to watch. I’m sure she probably thinks, “Am I making a difference?” but it showed this year. A couple of episodes ago she asked, “Historically have people done so much gospel?” And I said, “You may be having a little something to do with that.”

Underwood: It wasn’t just gospel. They usually say something before they sing about why they want to be the next American Idol and so many of them said, “Because God put me here” and they’re leaning into that and I asked, “Has it always been like this? This is awesome.”

Seacrest: I echo everything they said and one thing she and I are very aligned on, she is punctual. She can keep a schedule and it’s a great symbiotic relationship. She likes a schedule and I love a schedule. She’s ready early. Carrie and I are standing there tapping our feet ready to go. I say it for fun, but it’s part of why she’s successful. She runs a tight ship.

Carrie, how do you feel about going from contestant to judge?

Underwood: I’m just so happy to be here. It’s definitely different, but it’s difficult. I mean, when we’re discussing contestants, “Are they going to make the top 24?” It’s a show, but it’s people’s lives and I’m like, “I was on these [contestant] boards 20 years ago and they were moving my picture around trying to see what board I was going to fit into,” so I take it really seriously.

Bryan: You said you found out after the fact where you really were [on the judges’ boards].

Underwood: They told me in one of the rounds in Hollywood Week that it was said out loud that this is not a unanimous decision, but I went through. I didn’t really care. I still got through. I don’t know who [said no] and I still don’t know who.

Bryan: It stuck with you forever.

Many of the idols who have talked to Billboard over the years are still carrying something that the judges said to them.

Underwood: Absolutely. It’s a taste of what you’re going to get afterward. In such a condensed amount of time, you learn how to sink or swim. You learn how to take those good or bad things and learn from them or make them be your motivation because you’re going to get it from everywhere else.

We are here in the middle of production on season 23. Back at the beginning, how long did you think Idol was going to run?

Seacrest: I remember when it premiered, I was getting calls from people saying, “This is different.” This is something that was standing out and after two weeks that the show was on the air, people would recognize me. I’d never been recognized in my life. I’m a DJ behind the walls and people would say, “That singing show with the judges, our family watches that. My daughter and I, we bonded over a show that we can finally watch together.” And it felt like every week that went by, something was snowballing. I didn’t know how long it would go, but certainly out of the gate, it had an impact, and it resonated with people. I was impressed with how fast it happened.

Underwood: I remember during my season, [executive producers] Ken [Warwick] and Nigel [Lythgoe] were talking to us about the show and they said, “It’s season 4. The ratings probably aren’t going to be that great. It’s not your fault. It’s irrelevant. It’s season 4,” and then that was the biggest season. And then the next one was bigger and the next one and it became a juggernaut.

Seacrest: I remember hearing when we were going on the air, “It’s a great thing you’re in primetime, but music doesn’t work on TV.” That was a comment from the business at the time, a common thought in the industry at that time. So it was a bit of a risk to go with a music show, but that’s why it worked.

Bryan: When Lionel and I came in, we remembered the years where some of the show’s identity may have gotten lost a little bit. We wanted to give Idol a new deal and a new look. Our biggest compliment we get from people is, “We can sit down and watch this with our families and not have to earmuff our kids or hold our ears.” It’s just a great family show that has heart and soul. It feels like family behind the scenes thanks to everybody who works on the show. I think that’s why we’re eight years into this next round.

Billboard also spent time with the show’s first artist in residence, Jelly Roll, and this season’s celebrity mentors, Josh Groban and Ashanti, who both mentored 12 finalists each.

Josh, when did you first watch American Idol?

Josh Groban: I’ve been watching since the first season. I remember Kelly [Clarkson] and Justin [Guarini] and this crazy idea. It was such a novel thing for TV. I came up in such an old school way, being discovered by a big-time producer who discovered a tape of mine through a friend while I was in high school – pre-Internet, pre-competition television. When American Idol started, we couldn’t keep our eyes off of it because it was new and because of that newness, there was a lot of excitement and a lot of skepticism. But there was an enormous amount of talent and it was really fun to see so many dreams on stage. So many young singers who at that point were my age that were giving it their all and leaving it up to America. I have followed it off and on throughout the entire time.

So you were watching it at the beginning of your own journey.

Groban: I really was. And so to sing with Kelly 20 years later on an album was a very full circle.

What were your first thoughts when they asked you to mentor this year?

Groban: They didn’t even mention Hawaii before I said yes. I’ve done it before, whether it’s on Idol or through my foundation, working with after school programs or kids that are just in need of that push and advice. My favorite thing about having a platform is being able to impart some small amounts of wisdom that maybe will help them escape some of the trappings that I had to learn the hard way. Even though here we’re making TV and there’s a lot of production, a lot of cameras and a huge performance element about it, the stories are genuine. The talent is genuine and the notes we give are genuine. I wish that audiences could see us when the cameras aren’t rolling – working with Jelly and the way we’re talking about what the contestants need to do. Jelly would pull me aside and say, “You’re going to see them at soundcheck tomorrow. Really watch that. Make sure he’s got that thing going on with the microphone. Just make sure he doesn’t…” We’re invested. We really care. It’s not just for TV. Because we’ve been there and we know how special this is for them and we also know that these are notes that will travel with them beyond the competition. Only one person’s going to win and the rest of them may still have careers. They may decide to not continue with music, but we can also note that having this experience will be a foundation of confidence for them for the rest of their lives and we want to make sure that the things we instill in them allow them to have that for whatever they do.

Who mentored you?

Groban: I’m very, very lucky that I had musical minds around me. I could easily say someone like David Foster, but also the late great Phil Quartararo, who really took me under his wing when he was the head of the label [I was signed to] and gave me great advice. David Foster gave me wonderful advice not just musically but also how to be. Because at 17 years old, you’re just not ready for the shot out of the cannon. Your ego is not ready. Your emotional maturity is not ready. And sometimes you need somebody to tell you the little things about how to conduct yourself in a meeting or a session, because learning the etiquette of this business is something that you don’t normally get. You get a record deal. You get a contract. You get money. You get accolades. You get criticism. You get a lot of things thrown at you that you’re not ready to handle and there is no school for how to handle all of the in-between stuff that nobody sees, which is vitally important for your success in this world. That’s another thing that Jelly and I wanted to make sure that a lot of these finalists had. The off-camera stuff. “Hey, this would be great when you’re doing this, it might be good for you to look in this direction” or “it might be good for you here.” Just giving them that, because they’re not getting that training. But I also want to give a huge shout out to my teachers. The unsung heroes were my choir teachers in junior high and high school, when I was at my most insecure. They were essential in helping me find my voice, find myself. And it just so happens that I went into it professionally, but even if I hadn’t – and this is what I love to impart with our foundation Find Your Light – it helped me as a human being. It helped me as somebody who was a little lost inside myself to realize that my voice had a place in this world and if I’d gone into veterinary medicine, which was my other dream, it still would’ve followed me.

Tell me a little more about the foundation.

Groban: Find Your Light – we are grant givers. We give grants to hundreds of organizations in school, out of school, especially in cities that really need it, communities that are under served. The first thing to get cut is the arts and more will be cut, and so we feel we have a call to action right now with this administration that we have to work harder than ever to make sure that we can help the programs that get left behind. We have raised millions over the last 10-plus years to make sure that those programs stay around. I’ll always give my time and my money to programs to help organizations find treatments and cures for ailments and other giant charities that need our help. I’ll always give that time, but my silver bullet is the arts because I’ve been there. I understand it and also because it’s fun because a little bit goes a long way. These grants, they’re asking for $5,000. Please keep our program alive for $8,000 and they’re still needing it because the government is not helping them with what they need. To be able to say yes to a hundred of those and to know that so many lightbulbs are going to be turned on because of that is the greatest passion that I have.

In 2023 you starred in a revival of Sweeney Todd on Broadway and in 2016 you played in Natasha, Pierre & The Great Comet of 1812. Any more Broadway coming up?

Groban: There’s always going to be Broadway. It’s in my blood. It was my original dream and it is now a community I feel like I’m most part of it. I feel like the music community is always going to be family to me. I am so grateful and I will always continue to make friends as I have these last couple days and continue to make music and will always enjoy doing that, but I have felt a kinship with the Broadway and theatrical community at large that has felt very, very special. But I have to take a breather when I do it, because I really commit. I’m not interested in doing the three-month stunt casting. When I go in, I go all in. Each show that I’ve done, I’ve done over 300 performances and I’m spent and then I have to go and do my day job for a little bit. But whenever I come back, I want it to be something that challenges me, challenges the audience and pushes boundaries. I don’t just want to jump from one thing to another. I really want to not take for granted the platform that I have and make sure that the things I present are at a certain level that is worthy of everybody’s hard-earned money.

Billboard also spoke with this season’s second celebrity mentor for the Hawaii shows, Ashanti.

Ashanti, have you watched American Idol over the years?

Ashanti: I never got a chance to sit down and watch every single season or every single episode, but early on I got a chance to experience it.

Do you remember who was on it when you first started watching?

Ashanti: I remember the Kelly Clarkson era. And Ruben Studdard. And Fantasia. The cool part was hearing about them performing and then watching their success in the industry. Right from the beginning with Kelly, they were off and running.

You’re here to mentor the contestants, but who mentored you as you were coming up in the industry?

Ashanti: When I was coming up, we didn’t have American Idol, so I didn’t actually have a mentor. For me, I was really just surrounded by an amazing family and a great team and obviously there were a lot of artists that I loved, but we didn’t get that American Idol springboard.

Who were the people that were most influential in your life?

Ashanti: One of my favorites is Diane Warren. With me being a writer, I witnessed some of the huge, huge records that she has written and been a part of. And one thing that was really cool about her, she wouldn’t allow people to write with her. She wrote a song called “Shine” on one of my albums and I respected it and her being a female in this very male-dominated industry.

What are some of the highlights of your mentoring sessions with this year’s top 24?

Ashanti: I had an awesome welcome. The cast sang “Foolish” as I walked on set. Who could not be excited about that intro? That was super cool. And so many of their stories were very touching and some of them were a little heavy. I was really proud that they had made it this far despite some of their environments and upbringings. Some of them were the youngest sibling or the youngest in the family, trying to provide, coming from very challenging backgrounds. It was really good to see their determination and their passion and I was proud of all of them.

Did you see any reflections of yourself in them?

Ashanti: There was one girl who told me she sang with her father and that he got her singing. I thought, “Oh my gosh, me and my dad used to sing. I got my singing from my dad.” That was a very touching moment.

Was any of the mentoring emotional for you?

Ashanti: Absolutely. Some of the song choices reflect where they came from and why. There were definitely tears. I had to hold mine back a lot because I had makeup on and it was hot. But I absolutely had to pat some tears, away from some of the contestants. And again, watching someone be so passionate and determined and pleasant after dealing with real life and understanding that this moment could change their lives and the lives of their family, it’s a lot of pressure. So it got emotional.

When you saw the contestants performing, did you notice them taking some of your advice?

Ashanti: Let me see – who took good old Ashanti’s advice? Here’s what I’ll say. Most of them attacked their performances with confidence and determination. Whether it was advice from me or Jelly, it was after having that day with us. Once they hit the stage, you saw the fearlessness and that was really important. I was happy about that.

How did you work with Jelly Roll when you were mentoring?

Ashanti: So well. Me and Jelly have great chemistry. We took the flight together from Los Angeles to Hawaii and Jelly was singing the ABCs with my baby. We had met last year backstage at one of his shows. He told me, “I’m such a big fan and I love your music. This is so cool.” He had asked my husband [Nelly] to perform, so we were backstage and he’s just the sweetest, coolest guy. So down to earth and so humble. I’m really happy for Jelly. His career is just going up above.

Finally, Billboard sat down with Jelly Roll for the second year in a row, this time to discuss his new role as the series’ first artist-in-residence.

We last talked here in Hawaii in 2024 when you were one of the celebrity mentors for season 22. What were your thoughts after working with last year’s top 24?

Jelly Roll: I immediately told my publicist, “We’ve got to go back. We’ve got to figure this out. We’ve got to do that again.” I already hated that I only got to work with half of them, so I was watching the show all year thinking, “I wished I worked with that kid. I might’ve been able to…” Don’t get me wrong, Tori [Kelly] did great with them. I love Idol. I’ve been an Idol fan my whole life. Who doesn’t love watching a kid’s dream come true on national TV and that’s what we get to watch on this. It’s Disneyland every day. To come back this year and have a full-time position with the cast is really great.

What is your role as artist in residence?

Jelly Roll: I’m glad we’re talking about this, because I look at my role probably different than anybody else does. I think that I am the bridge from these young artists to the people’s living room. I think that sometimes I am a bridge between them and the judges. I’m a constant mentor. I’m a constant source of advice, but more than anything, my job is to try to make these kids feel as good as I know they sound.

Are you working with this season’s celebrity mentors as well?

Jelly Roll: This is even cooler, man. They let me come in and work with the mentors this year to mentor the kids and it gave a leg up because instead of them reading a sheet of paper about what’s going on with these kids, I was able to introduce every kid to each mentor and say, “Hey, this is what they’re doing. This is what they’ve been doing. This is what their Hollywood Week looked like. This is what they’re struggling with behind closed doors. This is what they told the producers. This is what they’ve only told me.” I call them my little babies. They all love me. They listen to me. I listen to them too. We spend as much time talking off camera as we do on.

I’ve heard people talking about “The Jelly & Josh Show.” What’s up with you and Josh Groban?

Jelly Roll: The Jelly & Josh Show should be a show. You’re talking about an unlikely couple. You know what I’m saying? We instantly had a bromance. It was really cool. I knew who Josh was. Who doesn’t? What an iconic voice. All the Broadway stuff. Just what a big deal. But I didn’t know at which intersection we would meet and it happened immediately, dude. We were great mentoring together because Josh is a true classically trained musician. I mean his instrument, his voice, is one of the best ever. He hears things totally different. His ability of range singing, how to get people in and out of stuff with that is great. That’s a skill set I don’t have. I’m an energy guy. I’m a story guy. I know these kids’ stories. I feel like I’m in their backyard with them where they grew up, I’ve talked to them about that so much. It added a really cool thing for him and me. There were moments that probably won’t make the air where we just laugh uncontrollably for a few minutes. We would start feeding off each other and doing bad jokes and they kept getting worse and worse. He’s a really fun guy.

How about working with Ashanti?

Jelly Roll: Ashanti was cool. It was the opposite of Josh, because I didn’t know Josh walking in, so we met each other and started working. Ashanti’s my friend. Me and her husband Nelly are really close. She was on the same flight I was on here, so we got to hang out and sing to the baby. She brought her six-month-old with her and I hope she lets you print this, but the cutest thing about that story was that six-month-old baby for six hours didn’t make nothing but an occasional happy noise. It was awesome. It was the quietest baby I’ve ever seen. No crying on the plane at all. That’s the first thing you say when you see a baby on a plane: “It’s going to be a great flight,” but this little boy was awesome.

The top 24 finalists will perform on the next two episodes of American Idol, airing Sunday (April 13) and Monday (April 14) on ABC. Twelve contestants will sing on each show and then viewers decide who stays and who is eliminated. After the public vote, four finalists will leave the following week as Idol begins its run of live shows.

HipHopWired Featured Video

Source: Andy Wenstrand / Getty

Our “Forever FLOTUS” is addressing rumors that she and former President Barack Obama are divorcing. 

In a new interview on the podcast Work in Progress with Sophia Bush, Mrs. Obama acknowledged that the rumors were largely fueled by her decision to miss both Jimmy Carter’s funeral and Donald Trump’s inauguration earlier this year.

Rumors varied from the beloved former first couple divorcing to even questions whether or not Mrs. Obama was ill.

Per Buzzfeed, Mrs. Obama explained that she looked at her calendar and in the case of a “real big example,” chose not to do something she was “supposed” to. “I chose to do what was best for me. Not what I had to do, not what I thought other people wanted me to do. And between you and me, it was an important test for me as a woman, as an independent person. Because like all women and a lot of people, I operate from guilt,” she continued. “What should I do? What is the best thing for everybody else?”

She did not address what the specific event was that she opted out, but explained that she is reclaiming her time. 

She explains that as her daughters Sasha and Malia have reached adulthood and her husband is no longer president, she is living life on her own terms. “It’s the first time in my life all of my choices are for me.”

“But it’s also a little scary. Because as a mom and a busy person, it was always somebody else’s excuse — Why didn’t I do this? Why haven’t I gone there? Well, I have to make sure the girls are okay, or my husband’s president, so I can’t do that,” she continued.

“Now, I can’t blame my decisions and indecisions on anyone other than me,” she continued. “As a woman, I think if I’m honest with myself, I could have made a lot of these decisions years ago. But I didn’t give myself that freedom. Maybe, even as much as I let my kids lead their own lives, I used their lives as an excuse for why I couldn’t do something. And now that’s wrong.”

She added, “But the interesting thing is that when I say no, for the most part, people are like, ‘I get it.’ That’s the thing that we as women struggle with: disappointing people. So much so that this year, people couldn’t even fathom that I was making a choice for myself. They had to assume that my husband and I are divorcing,” she explained. “This couldn’t be a grown woman just making a set of decisions herself, right? But that’s what society does to us.”

Mrs. Obama is currently hosting a podcast IMO with Michelle Obama and Craig Robinson where she and her brother take questions about life challenges. 

HipHopWired Featured Video

Source: Andy Wenstrand / Getty

Our “Forever FLOTUS” is addressing rumors that she and former President Barack Obama are divorcing. 

In a new interview on the podcast Work in Progress with Sophia Bush, Mrs. Obama acknowledged that the rumors were largely fueled by her decision to miss both Jimmy Carter’s funeral and Donald Trump’s inauguration earlier this year.

Rumors varied from the beloved former first couple divorcing to even questions whether or not Mrs. Obama was ill.

Per Buzzfeed, Mrs. Obama explained that she looked at her calendar and in the case of a “real big example,” chose not to do something she was “supposed” to. “I chose to do what was best for me. Not what I had to do, not what I thought other people wanted me to do. And between you and me, it was an important test for me as a woman, as an independent person. Because like all women and a lot of people, I operate from guilt,” she continued. “What should I do? What is the best thing for everybody else?”

She did not address what the specific event was that she opted out, but explained that she is reclaiming her time. 

She explains that as her daughters Sasha and Malia have reached adulthood and her husband is no longer president, she is living life on her own terms. “It’s the first time in my life all of my choices are for me.”

“But it’s also a little scary. Because as a mom and a busy person, it was always somebody else’s excuse — Why didn’t I do this? Why haven’t I gone there? Well, I have to make sure the girls are okay, or my husband’s president, so I can’t do that,” she continued.

“Now, I can’t blame my decisions and indecisions on anyone other than me,” she continued. “As a woman, I think if I’m honest with myself, I could have made a lot of these decisions years ago. But I didn’t give myself that freedom. Maybe, even as much as I let my kids lead their own lives, I used their lives as an excuse for why I couldn’t do something. And now that’s wrong.”

She added, “But the interesting thing is that when I say no, for the most part, people are like, ‘I get it.’ That’s the thing that we as women struggle with: disappointing people. So much so that this year, people couldn’t even fathom that I was making a choice for myself. They had to assume that my husband and I are divorcing,” she explained. “This couldn’t be a grown woman just making a set of decisions herself, right? But that’s what society does to us.”

Mrs. Obama is currently hosting a podcast IMO with Michelle Obama and Craig Robinson where she and her brother take questions about life challenges. 

Are we having fun yet? It’s time to rally for another spin ’round the Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business. There’s been a whole mess of news this week, so let’s get to it.
Madison Square Garden Entertainment appointed David Collins as executive vice president and chief financial officer, effective April 14. Collins will oversee all financial functions at MSG Entertainment, including financial planning and analysis, controllership, treasury, investor relations, tax and procurement, reporting directly to executive chairman and CEO James L. Dolan. MSG Entertainment’s portfolio includes Madison Square Garden, Radio City Music Hall and the Beacon Theatre in NYC, and the Chicago Theatre in take-a-guess. With over 30 years of experience, Collins brings expertise across live entertainment, sports, energy, transportation and restaurant industries. He previously served as CFO and EVP at Harris Blitzer Sports and Entertainment, managing finance, accounting, analytics, and ticket operations for the Prudential Center, Philadelphia 76ers, and New Jersey Devils. Collins also held c-suite roles at Base Entertainment and began his career as a CPA at Ernst & Young. Dolan expressed confidence in Collins’s broad financial experience, particularly in live entertainment and sports, as MSG Entertainment advances key initiatives and long-term goals.

Danny Buch, a promo veteran with decades under his belt who helped break artists from Stone Temple Pilots to Brandi Carlile plus a fair share of “hair” (bands), announced he has departed Sony Music after a 20-year run at two of the label’s indie distribution arms and is launching his own shop, Danny Buch Promotion. Until recently, Buch was senior vp of promotion at Sony’s The Orchard, where he worked artists like BTS, Kelsea Ballerini, Walk off the Earth, Jack White and Bad Bunny at radio. Pre-Orchard, he helped pioneer independent artist promotion by launching RED Distribution’s promo arm in 2005 and stayed there until Sony merged RED into Orchard, starting in 2017. (The RED name was retired later.) During his RED days, Buch helped break Phoenix, Ingrid Michaelson, Alabama Shakes and more indie darlings. But before he saw RED, Buch clocked 25 years at Warner, where he played an integral role in Atlantic Records’ promotion department between 1980 and 2004. Co-heading promo for much of his tenure, Buch lead efforts on behalf of Atlantic giants like AC/DC, INXS, Rush, Genesis, Led Zeppelin, CSNY, Hootie & the Blowfish, STP and more. In the mid-to-late 1980s he broke a chunk of hair/glam metal hits of the day, given Atlantic was home to RATT, Skid Row, White Lion, Winger, Twisted Sister and more. On his next chapter, Buch said: “In launching my new venture, I recognize the opportunity to tap into my years of relationships, in helping both artists & labels. I’m excited about the incredible prospects that lie ahead.” Contact: dbuchmail@gmail.com

Trending on Billboard

Sarah Gabrielli has been promoted to head of A&R at Sony Music Publishing UK, where she will lead the UK A&R team, strengthen creative strategies, and create new opportunities for songwriters. Based in London, she continues to report to president and co-managing director David Ventura. Over her eight years at SMP, Gabrielli has signed and worked with artists including Artemas, Beabadoobee, Cian Ducrot, Jordan Rakei, Arlo Parks and Two Inch Punch, and her most recent wins include Charli XCX’s 2024 album BRAT. Ventura praised Gabrielli’s passion, leadership, and deep commitment to artist development, calling her promotion a natural next step. Co-managing director Tim Major echoed the sentiment, saying “she is someone who leads with heart, empathy, passion and dedication.”

Michelle Bower joined The Neal Agency as president of strategic partnerships. Bower most recently served as associate sr. vp at LaForce, leading campaigns for companies/brands including Madewell, YSL Beauty, Motorola and Tinder. Bower previously held roles at Jonesworks, Dittoe Public Relations and Fleishman-Hillard. The Neal Agency’s roster includes Morgan Wallen, HARDY, Ernest and more. –Jessica Nicholson

Paul Dworkis is poised to become Berklee‘s new executive vp and chief financial officer, starting next Tuesday (April 15). In this role, he’ll oversee finance, accounting, budgeting, real estate, facilities, risk management and more business matters. Dworkis brings extensive experience in higher education, having served as CFO at Emerson College, the University of Maryland, and in senior roles at Columbia University. At Emerson, he supported academic initiatives, managed public safety and launched the unCommon Stage in Boston Common. Dworkis also spent part of his early career at Newsweek. Berklee president Jim Lucchese praised Dworkis for his “unparalleled” credentials and commitment to student-focused operations. “We share the philosophy that everything we do comes back to our students and how to best meet their needs,” he said. Dworkis expressed enthusiasm for joining Berklee, calling it a “truly special—an institution whose mission, creativity, and global impact are unmatched.”

Electric Feel Entertainment appointed Chandler Nicole Sherrill as senior director of creative, reporting to company founder and CEO Austin Rosen. Based in Nashville, Sherrill brings a strong background in music publishing, beginning her career at Little Extra Music in 2015 and later joining MV2 Entertainment, where she helped contribute to over 20 No. 1s for major artists like Morgan Wallen and Jason Aldean. In her new role, she’ll lead creative strategy and collaboration among artists, producers and songwriters. Rosen, who just joined the board of Outback Presents, praised Sherrill’s passion and vision, calling her a valuable addition to the team. “We look forward to seeing the impact she will have as we continue to push boundaries and shape the future of entertainment,” he said.

NASHVILLE NOTES: Big Loud promoted Brianne Deslippe to head of marketing from senior vp of global marketing and strategy. She fills the vacancy left by the recent departure of senior vp of marketing Candice Watkins … Megan Wise was named vp of new business at Anotherland Agency, a music label and marketing startup. With over 15 years of industry experience, including roles at the Country Music Association and Creative Artists Agency, she’ll lead brand collaborations, sales strategies and partnership initiatives to drive growth.

Amigo Records appointed Carina Petrillo as product manager / marketing director and promoted Jillian Rutstein to head of digital. Petrillo, with experience at Elektra Records, MTV and Hulu, brings strategic marketing expertise and a strong background in digital engagement, including launching MTV’s TikTok presence. At Amigo, she’ll focus on building artist-fan connections through comprehensive campaigns. Rutstein, who previously split her time between Amigo and Prescription Songs, brings over a decade of experience in digital strategy, contributing to the success of tracks like LU KALA’s “Pretty Girl Era.” Amigo is home to artists such as Scoot Teasley, SNOW WIFE, Kim Petras and Ethel Cain. Petrillo and Rutstein both expressed enthusiasm about working together to shape a new era at the imprint. “Together we are ushering in a new era of Amigo Records while focusing on building comprehensive marketing campaigns for our roster that meet fans where they are – both online and in person,” said Petrillo.

Audible Treats, a New York-based independent music publicity firm, appointed major label veteran Cheyenne Beam as their new director of public relations. Beam was previously the director of PR at Interscope Records and has over ten years of experience in the music, entertainment, fashion and lifestyle industries. He has worked with artists such as Erykah Badu, Toni Braxton, Chaka Khan, Sean Paul, Swae Lee, Juice WRLD and more. Audible Treats’ current clients include artists like Sexyy Red, Chief Keef, Key Glock and events such as Baja Beach Fest and Sueños. Co-founder Michelle McDevitt praised Beam’s deep network, highlighting his ability to address client needs and manage teams effectively, adding, his “broad experience across both agency and major label systems makes him the ideal fit to usher Audible Treats into its next chapter.”

Oak View Group elevated Nick Vaerewyck to senior vp of programming and hired Danny Cohen as director of programming at Seattle’s Climate Pledge Arena, home of the NHL’s Kraken. Vaerewyck will lead strategic content development across the Pacific Northwest and oversee programming, private event sales, service and ticketing. He joins the executive leadership team and brings experience from roles at Brooklyn Sports and Entertainment and Nassau Coliseum on Long Island, NY. Vaerewyck has managed over 200 events annually and aims to further elevate Seattle as a premier entertainment market. Cohen, with 15 years in the industry, will support all event programming. Previously, he led programming at Colorado Chautauqua in Boulder. Vaerewyck expressed excitement for the arena’s continued growth, highlighting Seattle’s rise as a top-tier venue and welcoming Cohen to help expand their world-class programming and industry impact.

Big Machine Music named Preston Berger as senior manager of publishing. Berger will join the publishing creative team in representing the BMM catalog and management of the company’s roster of songwriters. Berger previously spent three years at Black River Entertainment’s publishing arm. Prior to Black River, he spent time as an agent assistant at CAA. At the 2025 NSAI Member Awards, he was honored with the friend of NSAI award. –J.N.

BOARD SHORTS: The Nashville Songwriters Association International recently completed its board of directors elections and held the first meeting of the new term. New members Deric Ruttan, Lydia Vaughn and Dan Wilson joined the board, with Jimmy Yeary returning. Eight current members were re-elected, including Kelly Archer and Jessie Jo Dillon. Roger Brown was re-appointed legislative chair, with Rhett Akins and Caitlyn Smith as artist writer board members and Brett James as industry liaison. Officers for the year include Lee Thomas Miller as president and Jenn Schott as vice president.

Select Management Group, a top management firm for next-gen digital creators, announced several strategic promotions and new hires to enhance its services for digital creators. Lauren Fisher has been promoted to director of strategic partnerships, where she will work with top brands like Disney, Uber, Netflix, and Google. Emily Rifanburg joined as a talent manager, bringing over a decade of experience from ICM Partners and Strand Entertainment. Payton Booker and Natasha Trepel have also been promoted to talent managers, focusing on supporting clients across various verticals. Additionally, Katie Josiah has been promoted to talent coordinator, and Madison Dailey and Daisy Wright have been hired as talent coordinators.

Beatchain, an AI-powered A&R and artist services platform, appointed Holly Hutchison, Umesh Luthria and Nick Hamman as regional brand ambassadors for North America, Asia and Africa, respectively. They’ll support Beatchain’s global expansion by strengthening partnerships and driving business development in their regions. Beatchain’s tech helps artists retain their music rights while offering insights into audience growth and performance. Hutchison brings over 35 years of A&R experience; Luthria, based in Mumbai, has over three decades of business expertise and helped launch Muzartdisco Arena; and Hamman, a digital strategist and radio presenter in Johannesburg, has significantly impacted South Africa’s music scene. Said Beatchain CEO Ben Mendoza: “This expansion will help build stronger connections between artists and the global music ecosystem, making it easier for the industry to discover, develop and monetize talent on a global scale.”

The Zach Sang Show appointed Allie Gold as its new social media director, strengthening its digital and multi-platform presence. In her new role, Allie will lead content creation, community management, and multi-platform strategy to further engage fans with the show. Gold brings valuable experience in content creation and audience engagement, having previously served as social media strategy director at iHeartRadio LA and digital marketing strategist at Live Nation. She also played a key role in social media strategy for The Elvis Duran Show and Z100 New York.

ICYMI:

David Massey

Danny Hayes is stepping down from his role as chief executive and partner at Danny Wimmer Presents after more than ten years … Marshall Nolan has been promoted to executive vp and head of commercial strategy at Island Records … Sony Music announced that David Massey, who has served as president of Arista Records since its relaunch in 2018, will retire at the end of June. The company has not yet named his successor. [Keep Reading]

Last Week’s Turntable: Board Buildups at ASCAP and iHeart

On Dec. 20, 1984, Harry Belafonte placed a call to nonprofit consultant/music manager Ken Kragen in hopes of staging a concert to raise funds to fight hunger in Africa — specifically Ethiopia, where famine killed nearly 1 million people in 1983-84.Kragen, who managed Lionel Richie and Kenny Rogers at the time, thought that a supergroup charity single would make more of an impact.
Kragen initially planned to recruit a dozen artists for the song, but industry response was so enthusiastic (seemingly inspired by the success of the then-current “Do They Know It’s Christmas?,” a similar charity single by British and Irish stars that would soon hit No. 13 on the Billboard Hot 100) that 50 artists ended up in the group, dubbed USA for Africa (with the “USA” officially short for United Support of Artists).

Richie and Michael Jackson wrote the song, producer Quincy Jones assembled the artists at Hollywood’s A&M Studios in early 1985, and “We Are the World” was born.
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On April 13, 1985, the superstar-spangled single, released on Columbia Records, topped the Hot 100 in just its fourth week, becoming the chart’s fastest-flying No. 1 in nine years (since Elton John’s “Island Girl” also needed just four frames). It additionally ruled Billboard‘s Hot R&B/Hip-Hop Songs, Adult Contemporary and Dance Singles Sales charts and dented Mainstream Rock Airplay and Hot Country Songs.
As impressive as its chart performances were, “World” has also helped raise more than $100 million to fight famine. Decades later, the USA for Africa foundation continues to raise funds and awareness for multiple African causes.
The week that “World” took over the Hot 100, Billboard noted that the song was touching not only consumers, but Capitol Hill, as the Recording Industry Association of America had mailed 12-inch copies of the single to each member of Congress that March 29. “Three working days later,” Billboard reported, “the [RIAA] had received 51 letters and personal notes of congratulations and appreciation from the nation’s legislators, including a number of Senate and House leaders.”
One congressman “even enclosed a personal check to help in the all-star effort.”