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Let’s open the latest mailbag.
Hi Gary,
“20 Cigarettes” by Morgan Wallen has debuted at No. 20 on the latest Billboard Hot 100. If that’s its high, it will join the list of songs whose titles include the number where they peaked, such as Prince and the New Power Generation’s “7” and so many others.
I also see that Wallen has a Hot 100 tune titled “Jack and Jill,” marking the latest chart appearance for the couple.
Thanks,
Pablo NelsonOakland, Calif.
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Hi Pablo,
Let’s start with “Jack and Jill,” since they have seniority, as they are believed to date, in nursery rhyme form, to the 17th century. As clumsy as they may be, they’ve managed to roll up the Hot 100 three times via “Jack and Jill” song titles. Wallen’s debuts at No. 60 on the May 31 chart, after Raydio’s became a top 10 hit, rising to No. 8, in 1978 and Tommy Roe’s reached No. 53 in 1969. Like the latter two songs, Wallen’s will go tumbling after its peak, though maybe he won’t yet break his crown on the Hot 100.
As for fun with song titles and their peaks, along with “20 Cigarettes,” let’s look at a dozen more releases below whose titles have synched up to their Billboard chart runs.
(Sadly, “9 to 5” doesn’t make the cut, as Dolly Parton’s classic never worked its way from No. 9 to No. 5 on any chart in a single week. Plus, Taylor Swift’s “22” just had to become a bigger hit than its name, rising two more spots to a No. 20 Hot 100 high; neither Albert Hammond’s “99 Miles From L.A.” Toto’s “99,” Nena’s “99 Luftballoons” nor Jay-Z’s “99 Problems” peaked, or even ever ranked, at No. 99, with Hammond’s skipping directly over it, from No. 100 to No. 98; and Drake’s “Started From the Bottom” debuted at No. 63, or 37 spots from there.)
“One Week,” Barenaked LadiesThe lyrically random rundown spent exactly one week at No. 1 on the Hot 100 dated Oct. 17, 1998. The band was “big like LeAnn Rimes” that week — even bigger, as her smash “How Do I Live” simultaneously fell off the chart after a then-record run.
“Fortnight,” Taylor Swift feat. Post MaloneLikewise fittingly, the song claimed two weeks atop the Hot 100, on the charts dated May 4 and 11, 2024.
1, The BeatlesThe collection includes each of the Beatles’ record 20 No. 1s on the Hot 100. It became their most recent Billboard 200 leader in 2000.
#1s, Destiny’s ChildSimilarly, Destiny’s Child’s hits package topped the Billboard 200 in 2005. It houses all four of the group’s Hot 100 No. 1s.
“1-2-3,” Gloria Estefan & Miami Sound MachineIn 1988, the flirty anthem peaked at No. 1 (for one week) on Adult Contemporary — No. 2 on the then-active Hot Crossover 30 — and No. 3 on the Hot 100.
“Just the Two of Us,” Grover Washington, Jr. with Bill WithersThe R&B favorite hit No. 2 on the Hot 100 in 1981. Plus, Seduction’s “Two to Make It Right” peaked at No. 2 in 1990. Songs with “two” in their names aren’t jinxed, though, as two “two”-titled tracks have hit No. 1: Mary MacGregor’s “Torn Between Two Lovers,” in 1977, and Phil Collins’ “Two Hearts,” in 1989.
“3 AM,” matchbox 20The band’s 1997 single hit No. 3 on Alternative Airplay. Similarly, Maluma’s “11 PM” clocked a No. 11 peak on Hot Latin Songs in 2019. (Music director radio tip: Scheduling “3 AM” at 3 a.m. is a good way to perk up overnight air talent with something playful to talk about, and help keep them from falling asleep.)
“25 or 6 to 4,” ChicagoIf you have to pick among peaking at Nos. 25, 6 or 4, 4 is the best, and that’s how high this hit reached on the Hot 100 in 1970. While it never ranked at No. 25, it did rise 6 to 4.
“7,” Prince and the New Power GenerationThe track reached a No. 7 peak on the Hot 100 in 1993. (On Hot R&B/Hip-Hop Songs, it stopped at No. 61, but at least those numbers add up to 7.)
“#9 Dream,” John LennonThe song hit No. 9 on the Hot 100 in 1975. It’s the only one of the late legend’s eight solo top 10s or the Beatles’ 35 top 10s to have peaked at that rank.
“21 Questions (Again),” DebrecaIn 2003, the track by the singer reached No. 42 on Hot R&B/Hip-Hop Songs. Maybe “21 Questions (Again)” would’ve peaked at No. 21 if she didn’t add its subtitle?
“Eighteen With a Bullet,” Pete WingfieldPerhaps the best example of a song related to a trip up Billboard’s rankings, the single was its title on the Nov. 22, 1975-dated Hot 100, climbing four spots to No. 18 with a “*” award, or bullet, reflecting its positive chart momentum. The song, which hit a No. 15 best the following week, has fun with several industry shoutouts. Wingfield sings in the doo-wop-flavored track, “I’m high on the chart, I’m tipped for the top … but ‘til I’m in your heart, I ain’t never gonna stop!”
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Interest rates are historically high — this is bad news if you carry a credit card balance, but if you’re saving money right now, interest rates can help you reach your goal even faster.
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That’s why it’s important to be smart about where you stash your cash while you’re saving for something big, like a new piece of music equipment or studio space. A cash sweep program can be a great option for this money. It’s available when you need it, but earns way more than it would if it were sitting in a traditional bank account — or as crumpled twenties in a cash box (IYKYK). Here’s how to make sure your cash sweep program works for you — and why Robinhood Gold is a smart fit for whatever your financial strategy may be.
Not All Cash Sweep Programs Are Created Equal
A cash sweep program can offer more interest on your savings than a traditional savings account. But it’s important to compare your options. Some cash sweep programs require an account minimum, or else you might have to pay a fee. Others might make it tough to withdraw your money, or offer limited additional financial products. All of these barriers can make it tough to use your uninvested brokerage cash.
Robinhood, the investment and trading platform, offers Robinhood Gold, which provides a full suite of financial products you need, with the flexibility you require. And most importantly, it offers 4.5% APY on cash deposits — one of the highest interest rates available.
Interest That Adds Up
Interest rate matters because interest compounds, meaning that you earn interest on interest. Over time, that can help supercharge your savings. This is in addition to the interest you’re earning on your savings. You’ll get a boost from money you deposit, a direct deposit, wires, and even a Zelle or PayPal transfer.
Utilizing Robinhood Gold can help you know the money you earn — whether it’s from your day job, your gig work, or a combination of everything — is working as hard as you are.
Growing Your Money With Robinhood Gold
When it comes to your money, where you place it makes a huge difference. Investing can be great for longer-term goals, like finally buying a house or saving for retirement. But when you need money in the short term, it’s a good idea to park it somewhere it’s easily accessible. Utilizing a cash sweep program through Robinhood Gold allows you to keep your savings with other accounts you use, like for investing, so you have your money in one place.
Robinhood Gold differs from other cash sweep programs because the platform is also an investing app, with the flexibility you need to ensure your money is where it can grow the most. Beyond saving, you can also use Robinhood Gold to invest and even maximize your retirement goals with extra money from Robinhood Retirement — the only IRA with a boost on every eligible dollar. All of these tools can help you make the most of your money now, and for the future. Because, when you’re cobbling together gigs and saving for the next big dream, you need a savings solution as committed and creative as you are.
Fat Joe claims he bailed Justin Bieber out of jail following the pop star’s 2014 arrest in Miami Beach, but shared a conversation that followed between the stars that the rapper believes ruined their relationship.
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On the Thursday (May 29) episode of Joe & Jada, Joey Crack recalled receiving a call about a 19-year-old Bieber needing to be bailed out after being arrested in Miami Beach on charges of driving under the influence, driving with an expired license and resisting arrest.
“It wasn’t no money. It was nothing,” Joe begins about the bail amount. “Couple of hundred dollars, a thousand dollars. We used Rich Playa’s girl to bail him out. So we bail out Bieber, $100.” (The pop star’s bail was actually $2,500.)
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“The problem is he calls me to thank me and he starts saying, ‘I’m a gangster now.’ … He starts telling me he’s a gangster, I went to jail. I said, ‘Yo, Justin. Listen, bro. You gotta stop. We don’t want you gangster.’ We want you singing ‘Baby, baby.’”
Joe thinks that giving him some mature fatherly advice destroyed his relationship with Bieber, rather than going along with his rebelliousness at the time, as some others may have. They haven’t spoken much since the incident, according to the rapper.
“We don’t want you on the news. We don’t want you getting arrested. We want you to succeed. You’re Justin Bieber,” he continued. “My daughter worships you! We all love you! And that kinda messed up my relationship with him at that moment … He felt like I’m the fun killer. I f–ked up the moment.”
Billboard has reached out to reps for Justin Bieber for comment.
Seven years later, Bieber reflected on his 2014 arrest with some perspective and clarity on one of the low moments in his life as a teen.
“7 years ago today I was arrested, not my finest hour. Not proud of where I was at in my life. I was hurting, unhappy, confused, angry, mislead, misunderstood and angry at God,” he wrote to social media before mocking his fashion choices on the night of his arrest. “[I] also wore too much leather for someone in Miami. All this to say God has brought me a long way. From then til now I do realize something.. God was as close to me then as he is right now.”
Watch Fat Joe’s interview below. The Bieber bailout talk starts around the 18:50 mark.
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Ángela Aguilar, Nadie Se Va Como Llegó (Machin Records)
It’s a momentous album for Ángela Aguilar, and not only because it’s the first time she’s produced her own music, but also because it captures the 21-year old’s transformational spirit. Aptly titled Nadie Se Va Como Llegó, a nod to being in a constant state of evolution, Aguilar shows how much she’s grown as a singer-songwriter since launching her recording career at just eight years old.
Showcasing maturity in the lyrics — sharing songwriting credits with the likes of Fabiola Guajardo and Amanda Coronel, to name a few — the música Mexicana star captures the peaks and valleys of womanhood via songs of empowerment, heartbreak and love. Sonically, Aguilar stays true to her mariachi roots while also incorporating norteño, pop and cumbia elements for a variety of styles. “I’m getting out of my comfort zone but still honoring my roots and traditions,” Aguilar previously told Billboard. “I just turned 21, so it’s kind of like exploring where I want my career to take me.” — GRISELDA FLORES
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Aitana, Cuarto Azul (Universal Music Spain)
Aitana has opened the doors to her Cuarto Azul (blue room) — a 19-track set that has best shaped her identity as an artist. Lyrically, the Spanish singer-songwriter opens up about evolution, self-discovery, love, heartbreaks, and healing. Musically, it fuses pop, synth, electronica, and alternative rock. The album’s title “represents the room she returns to in order to reconnect with herself, free from judgment and external influence. It’s a space of healing, where darkness rooted in sadness, anger, and frustration gradually gives way to light—a restorative process that culminates in the return of joy,” according to a press statement.
Notable tracks on the set include the riveting punk tune “Segundo Intento,” the flirty pop track “Sentimiento Natural” in collaboration with Myke Towers, and the heartfelt ballad “Hoy Es Tu Cumpleaños” with Danny Ocean. Aitana also welcomed Ela Taubert, Kenia Os, Jay Wheeler, and Barry B, and Fangoria in her Cuarto Azul. — JESSICA ROIZ
Pipe Bueno, Vives con Mariachi (Warner Music Mexico)
Known as one of the pioneer of Colombia’s música popular genre, Pipe Bueno released his latest EP, Vives con Mariachi — a heartfelt tribute to Carlos Vives, featuring the vibrant Mariachi Sol de México de José Hernández. The six-track set seamlessly blends the lively Caribbean essence of vallenatos with the rich, emotive sound of mariachi, best capturing a unique aesthetic that celebrates the harmonies of strings, the brilliance of trumpets, and the depth of time-honored traditions.
Vives kicks off with “Bailar Contigo” in collaboration with Majo Aguilar, drawing listeners in with its melodic charm. “La Gota Fría” showcases Pipe’s dynamic vocal performance, where he creates a stunning counterpoint to the bold brass sections of the mariachi. In “Déjame Entrar,” collaborator Adriel Favela delivers a delicate and measured interpretation that adds layers of tension and subtlety to the track. The album moves forward with “Volví a Nacer” and “La Tierra del Olvido,” tracks that elevate Vives’ original repertoire to new emotional landscapes. — INGRID FAJARDO
Reik & Yami Safdie, “Es Tan Corta La Vida” (Sony Music México)
The Mexican band Reik teams up with the emerging Argentine artist Yami Safdie for the single “Es Tan Corta La Vida,” the only collaboration from their recent EP TQ that celebrates 20 years of their career. Together they deliver a sweet contemporary pop ballad that speaks of love in the midst of the fleeting nature of life. The sound, marked by the strumming of acoustic guitars in the style of the band’s beginnings, enhances the sincerity of phrases like “God forgives, but time doesn’t” and “life is so short for you not to be with me.” — LUISA CALLE
Yailin La Más Viral, “Todos Mienten” (Roc Nation Distribution)
With her latest single “Todos Mienten,” Yailin La Más Viral dives headfirst into the hypnotic rhythms of baile funk, once again molding Brazilian beats with her unapologetic Dominican edge. The track breathes fire, delivering biting lyrics that portray her fearless confidence: “Maldita perra tú lo va’ perder,” she sneers, capturing the raw, unfiltered energy that defines her brand.
Anchored by Consobeatz’s sultry production, the song thrives on its sly pulse and effortless swagger, setting the stage for Yailin’s continued ascent. The music video too pushes boundaries, spiking interest with provocative visuals reminiscent of Shakira’s “La Tortura” and Miley Cyrus’ “Wrecking Ball.” Drenched in oil, Yailin radiates seductive power while seated atop a motor engine in an audacious nod to rebellious allure. — ISABELA RAYGOZA
3BallMTY feat. Conjunto Nuevo Amanecer, “El Nene” (Top Music)
After an eight-year hiatus, 3BallMTY returns to the music scene with “El Nene,” a song in which their iconic tribal and techno sound feels even more powerful with the joyful cumbia touches of Conjunto Nuevo Amanecer. This fusion of Latin rhythms and trumpets, with a contagious, repetitive chorus (“Let the boy dance, let the boy dance) — sung by José Francisco Mendoza of Conjunto Nuevo Amanecer — is perfect for the dance floor, with “El Nene” as the central character, the life of the party.
The new track is part of an upcoming album that the DJ collective made up of Sergio Zavala (DJ Sheeqo Beat), Alberto Presenda (DJ Otto) and Erick Rincón plans to release soon, under the production of renowned Californian DJ Deorro — with whom they have recently shared the stage at festivals such as EDC in Las Vegas and Sueños in Chicago. — TERE AGUILAR
Alex Cuba & Bacilos, “No es de verdad” (Caracol Records)
Award-winning singer-songwriter Alex Cuba and tropipop band Bacilos join forces on “Nada Es De Verdad,” an upbeat song with a fresh sound that invites us to “let go of the drama, question excessive seriousness, and stop getting caught up in pointless arguments,” according to a press release. “Nothing is real, in every color there’s something imperfect/ Maybe seeing it this way tells us we’re awake,” says part of the infectious chorus.
“This collaboration was already written in the universe, but even I didn’t know it was meant to be,” Alex Cuba tells Billboard Español. “It’s been truly beautiful collaborating with Bacilos. They’re great people—everything has been so easy, so full of voices, so full of light, so full of good vibes.” Cuba adds that he met Bacilos’ leader Jorge Villamizar years ago at the Latin Grammys, and that when he wrote this song, he thought it would be perfect to record together. “Nada Es De Verdad” is a vibrant single perfect for a joyful start to the summer. — SIGAL RATNER-ARIAS
Silvana Estrada, “Como un Pájaro” (Glassnote Records/Altafonte)
Silvana Estrada releases her first song since 2023’s “Qué Problema,” and the first preview of the new album she plans to release this year, the follow-up to her 2022 Marchita. “Como un Pájaro” (Like a Bird) was written during the coronavirus pandemic, during a period of insomnia and loneliness following a breakup, the artist has said. Driven by guitars and produced by herself, it features a string arrangement by Roberto Verástegui performed by FAME’s Skopje Studio Orchestra in Macedonia that, accompanied by her poetic lyrics, creates an intimate and melancholic atmosphere while highlighting her seductive, virtuosic voice.
This new single is a beautiful introspective piece, “an ode to silence” and loneliness, and the result of the blend of immense talent, profound sensitivity and creative freedom that the Veracruz-born songwriter faithfully exercises in her music, which has made her one of the most moving and celebrated voices on the contemporary Latin scene. — NATALIA CANO
Check out more Latin recommendations this week below:
When Chappell Roan accepted her trophy for best new artist at the 2025 Grammy Awards in February, she asked a question that quickly went viral. The pop star used her speech to advocate for livable wages and health care for recording artists, concluding with the line, “Labels, we got you, but do you got us?”
Tatum Allsep, founder and CEO of the nonprofit Music Health Alliance, posted the speech to her Instagram account that night. “THIS!!!! Music Health Alliance has got you, your band, crew, team, songwriters, engineers, etc. #HealTheMusic,” read her caption.
“At first, I was jumping up and down and elated,” Allsep recalls, “and then, after I started reading the articles coming out, I was like, ‘Wait a minute. Chappell lost a record deal in 2020. We were here.’ We could have helped her in two seconds, but she didn’t know. And that’s on us.”
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By Feb. 13, Music Health Alliance and Universal Music Group partnered to launch the Music Industry Mental Health Fund, with the goal of providing mental health services to music industry professionals. The two organizations first started working together during the pandemic, creating a concierge program for UMG artists, songwriters and employees. Yet the Mental Health Fund is the latest step in Allsep’s decadeslong career as an advocate for health care in the industry, and on June 4, she will be honored with the Impact Award at Billboard’s Country Power Players event in Nashville.
“[Awareness] has got to come from the industry internally,” she says. “Just letting people know that we’re a safe space and we exist. All the funds we raise go right back into our programs and services. We want it to be that way, but we also want those that need us to know we’re here.”
How were the Music Health Alliance and UMG able to move so quickly following Chappell Roan’s speech?
We were already working with [UMG], and six months before the Grammys, we had started to talk about doing something in the mental health space. Chappell’s speech [made us say], “OK, now’s the time. This is what we need to do.” It was a great opportunity for the industry, for the label and for us to do something really meaningful at a time when people were listening.
You founded the Music Health Alliance in 2013. Why is it still necessary for an artist like Roan to give the speech she did 12 years later?
It’s not black and white. It’s a complicated issue. You get health insurance by being an employer of an organization — and you can negotiate anything, I understand that. But talking about Chappell specifically, if she was going to be an employee of UMG, they would own her creativity. And that’s suffocating for artists. We’ve got to prioritize their health, and that needs to be equally as important as making sure their vocal cords work when they’re going out.
What kind of uptick in artists reaching out to you did you experience following the formation of the Mental Health Fund?
For February, March and April, it was a 250% increase over last year. And that’s specifically for mental health.
The first Music Health Alliance fundraising event was hosted with Jack Clement for his “living wake” in 2013. What are more recent examples of working alongside an artist to create change?
Dierks Bentley is a great example. We went to college together and started in the music industry the same week. He was in the tape room at [The Nashville Network] and I was the receptionist at MCA Records in the promotion department, and we thought we had arrived. I think we were each making like $12,000 a year. And so, when I started Music Health Alliance, he was one of the first people that was like, “I support this.” About two years in, his team called and they were like, “Dierks wants to provide group health insurance for his band.” And I’m like, “I don’t know anything about group health insurance.” That was over Christmas break of 2016. By Jan. 1, we had a game plan, and by Feb. 1, his band and team were fully insured.
What are the goals for the Mental Health Fund in 2025 and beyond?
Where there’s a gap and a really serious need is for outpatient counseling. Vetting counselors is huge. You can’t just watch a 30-minute video and be music industry-informed. You have to understand the creative brain, and that is not the same. Once [an artist or executive] knows that they can trust us, we can help them for as long as they need.
This article originally appeared in the May 31, 2025 issue of Billboard.
What is Industry Rule #4080?
I’ll answer that for you.
Record companies are shady, or at least that’s what A Tribe Called Quest tried to warn us about on “Check the Rhime” way back in 1991 off their classic album The Low End Theory.
That’s the concept of Brooklyn rapper Rome Streetz and Kansas City producer Conductor Williams‘ lead single from their collab album they dropped today. I visited the set during the second shoot day on crisp spring afternoon in Brooklyn, where Rome and Conductor were shooting a scene in which they stood in front of a white cyc background and had images depicting slavery projected on to them. The video for “Rule #4080” shows them dealing with shady record execs and visiting a plantation. One scene that sticks out, however, was when they were both in the middle of a green field which harkens back to the album’s title.
In Danny Boyle’s 1996 film Trainspotting, starring a young Ewan McGregor, the four friends take a train to the middle of nowhere in Scotland to try to enjoy the great outdoors as they try to wane themselves off heroin. “I relate to that movie, because they’re just trying to come up, it’s just a bunch of friends,” Rome told me between takes as he sat on a couch in a backroom of the creative venue House of Brooklyn. “They doing some wild s–t, but ultimately they trying to elevate all of their situations.”
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And for the most part, Rome and Conductor have become close friends on and off the court, branching off on their own from under the Griselda umbrella to put this album out on their own. “This is the spin-off. It’s like if Tommy and Cole had their own show,” Rome joked as he references the ’90s sitcom Martin, after I brought Westside Gunn and Griselda up.
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Trainspotting features 14 tracks of pure, unadulterated rap music with West Coast mainstay Jay Worthy and the Wu-Tang‘s very own Method Man serving as the only two guest appearances.
Check out our conversation below.
When did you guys first start talking about doing a full length together?
Rome Streetz: After the first couple sessions when we were in Arizona, honestly. Once I did Kiss the Ring, I just realized that I had so many records from Conductor. I just kept listening and wanted to see how I can make them doper. The first time I linked with Conductor and heard the beats that he was making, I’m like, ‘Yo, these sh—s are insane.” I was like, ‘Yo, I’ll do a whole album with Conductor,’ and when we talked about it we said, ‘Let’s do it.’
When it comes to working with Conductor, it’s a certain zone that I stay in. I can’t even describe it. I think it’s because people love what we do. That’s probably some of my best work, the fans hold it in such a high regard. I know what I gotta do. I gotta jump out the gym on this s–t. The chemistry was there the first time we linked.
What is it about Rome that you f—k with?
Conductor Williams: Rome on the rap side is just elite. He never surprises me in the fact that he’s elite, like that’s always going to be — but it’s an attention to detail. It’s like listening thoroughly to the sample, understanding where the pockets are that he can navigate. And then sometimes he chooses other pockets that he could do his thing, but he chooses the other ones. So it’s almost like Sudoku, as at a certain stage with Rome. I send a beat with intentions, and then it’s like, “Yo, which way is he gonna play this thing?” And that’s the joy that I get out of working with him. It’s a master class of street rap, but also just like pen to paper, if you just read the lyrics, it’s just as impressive. I’m just a fan of high level art, and that’s what he is with the rap s–t.
And even as a person, as we continue to like build and be in situations, in the same studios for weekends at a time, it’s just like high level detail to everything. It’s clothes, food, flavors, colors, you know, all the things. And that’s the type of stuff that I that I feel, you know? So, finally I felt like, “Man, he’s like me.” I found my group. This is like a musical cousin. I found him. Out of all the people in the world, I found a guy that understands what I’m doing. We don’t even got talk. It’s not like a chatty catty poker night, strip club relationship. It’s just like one that God set up, man. I can’t explain it.
So, when y’all first linked it, did you let him listen to a pack or did you construct stuff around him?
C.W.: I was playing beats out of a pack I had made when we were all in Arizona and we went through them, and he selected the ones he wanted. We exchanged numbers, and I was texting him beat after beat that he hadn’t heard while we were in the same room. Even when I got back home to Kansas City, I kept sending him beats.
R.S.: I probably sent some songs right back. [Laughs.]
C.W.: It was pretty organic in like, finding somebody that not only matched my output, but could match it creatively. He was just out of that mastery level where he said, “Yo, the faster you can make them, the faster I can connect.”
R.S.: He sent me a pack, I’d listen and be like, “Oh s–t, let me hop on this right now.”
Are these songs old or new?
R.S.: It’s a mix. Honestly, we have a whole batch of songs. Some new, some old.
C.W.: Some are really old. There’s songs on here that we made in Arizona that didn’t make Kiss the Ring. Just extra songs.
Why is the album called Trainspotting?
R.S.: That’s just a crazy movie… Sometimes the crazy sh— can just inspire a lot of things. Trainspotting is one of my favorite movies. It’s really left-field and weird. It’s visually striking movie, and this is a sonically striking album. Also keeping the train theme going, with Conductor.
C.W.: After the fact, they put me on. They had me watching that s–t. I was like, “What?” N—as told me to watch it. I was at the crib and I had dropped the boys off to school, and I cooked up. So, it’s like 10:30-11 and I had leftover Bar-B-Q from Gates thinking I’m gonna sit down and watch me a little show. [Laughs.]
That’s a crazy flick to watch first thing in the morning. Gotta watch that late night when you’re zooted.
C.W.: Man, he was in the toilet. There was s–t everywhere.
R.S.: That’s when I seen it the first time. Mad late, I think it was on Cinemax or something. It was a long time ago. I remember thinking, “What the f—k is this? This movie is f—king crazy.”
C.W.: Yeah, n—as f—ked my lunch up. I think I got in the groupchat that day too and was like, “What y’all got me watching?” The most cringeful part is after he smashed shorty and found out that she was getting ready for school the next day. They were just in the club, how the f—k she get in here? You smash and then the next morning, you wake up and she’s got her school clothes on. I remember just like freaking out for him. It made my stomach hurt.
The album is like the movie: It’s exciting, it’s rapid. It’s rap record after rap record after rap record after rap record and then it’s done.
Conductor Williams
Photo Rob
Did you guys talk about concepts for some of the songs? You have a song about the record industry. Then you have a couple songs about shorties on there too.
R.S.: It was more like how the beat spoke to me. I heard the beat. I’m like, what else am I gonna rap about? “Before I be a slave, I’ll be buried in my grave.” How can I relate that to my life? And it’s like, you know what? That’s the record industry, right there. You could be trying to live out your dream, but you so hasty, you might sign a f—ked up deal. You might get a f—king 20-page contract, motherf—kers will just be like, “Where’s the money? How much I’ma get? It’s a lot of clauses to how much you might get. You might get a free week of UberEats and a Supreme jacket. Sometimes what glitters ain’t always gold.
It felt like you were showing off your versatility a little bit with the subject matter.
R.S.: Even that song “Heartbreak.” It’s a conceptual joint, but it’s more so just like the beat speaks to me. Sometimes the beat will just take you in a direction, and I went with it instead of going the opposite way. Sometimes you need those joints especially if you’re making a complete album. I gotta give you that type of s–t. Everybody loves Kiss the Ring, and I feel like I went and I gave you a little bit of everything on there. I went to a lot of different places with that. I see the formula that I gotta follow when it comes to me making my own records to get the type of response from the fans that make them go, “This is insane.”
You mentioned in a previous interview that we did with you and Daringer that you prefer pulling up to a studio to work with a producer. How collaborative is the process when you guys are together?
R.S.: It’s literally 1-2-3. We play a beat, I just go in If I don’t have something already, I’ma figure it out. Also it’s like, who knows? We might do something tonight from the ground up.
That’s what I’m saying — so you’ll build a beat during a session?
C.W.: Yeah, I’ll come prepared with some ideas and stuff like that. But it really is like the most honest, rawest form of collaboration. This is the beat I made out of it, then he hears it and responds, then we link together to see what happens, and after that, it’s a game of what if? What if we add this, what if we put this hook on it? What if we that? That’s the most fun part — and we talked about a little bit earlier — that collaborative thing. I felt this, and I put the gospel sample on there. He heard the gospel sample and was inspired to make a record about the record industry.
Even if you were going in with a different idea, he hears it, it sparks something, and it’s like, “Let’s go in this direction.”
C.W.: Yeah, I can’t tell him how to feel. My entire ethos, in that way, is just like, kill the ego. I can’t tell him that he didn’t feel the record industry off of that. I can only tell him if something is mathematically bad, too many words in a bar that’s f—king the groove up. Stuff like that.
R.S.: Even with that song, I did have that beat for a while before I actually wrote to it because it was just one of those things where I felt like I had to say something. I couldn’t just rap. I wanted to make something conceptual like let me use the sample and bring out a message. Sometimes music is just to entertain, sometimes music is informative, sometimes music is emotional.
So, at that particular time, I wanted to make sure I said something that would stick. A lot of people that are in the music industry, and they don’t even know how the s–t works, they just want to be a pure artist, and sometimes labels take advantage of that s–t. Or, you know, sometimes people just want the money. Sometimes people are happy with living out their dream that they just want to get to it. Being in the music industry is a constant learning experience.
And you guys are with a label in Griselda that essentially figured out the indie game in the Internet era.How has that been, working with Gunn?
R.S.: It’s literally, you eat what you kill. If you ain’t out there killing s–t, you ain’t gonna eat s–t. You can’t wait for West to sit you down and be like, “This is what we gonna do?” And I feel like he don’t really f—k with people that’s waiting for him. He gonna f—k with you if you a killer on your own. He does so much, it’s like, “Listen, bro, I’m gonna throw the ball up and just dunk that s–t. And after that, keep scoring. That’s all it is. This was some s–t that we just did. We met through West, but we just spun off.
Let’s talk about the concept of the video a little bit.
R.S.: It’s basically just playing off of what I said in the song. Relating ancient slaves to modern-day slaves, because you could really just be a slave in the music industry if you sign a f—ked up deal.
And you guys shot some of it at an old plantation upstate.
C.W.: I wanted to be involved for this particular video. My folks are from the Blue Hills of Missouri. My grandfather was a sharecropper. So, some of the things in this video touched my heart so much so to where I was stuck, and Coach understood that, and kind of moved me around some scenes and made me feel comfortable. But I’m very much a part of the video.
Did you make these beasts in the crib? Do you have a studio now?
C.W.: I had a studio in Kansas City that I was renting a room out of but they sold the building, so I didn’t move everything into my basement. So, wifey and I are building a crib and we’re going to put a studio in there.
Yeah, you coming up — because you watch your old vlogs, you’re like in a basemen or an attic with a makeshift one.
C.W.: That’s the grass roots of it. I’m just making beats, and I’ve worked very hard to get very good and that shit don’t mean a studio. It means you sitting with the machine. I just need time alone to build.
R.S.: I record a lot of s–t myself in the crib, and then send it to Conductor. Because I could go off in the studio, but once I started recording at home, it’s a different level of comfortability with your creativity. If I write it right then and there, I can record it right then and there. Sometimes I’ll go to sleep and I’ll dream of rhymes. I wake up and write it, or I’ll wake up in the morning and have so much creative energy that I have to write or record right away. Sometimes I might write a rhyme, leave it for days, and be like, “Damn, I forgot how I even said this.” I like being able to knock out right then and there.
C.W.: I don’t think everybody can do that. You got to be at such a level where emotionally you can connect to what you’re thinking and you can rap anywhere, in any condition. You got to be really good to be able to one-take these records.
R.S.: It’s literally like training because I used to give myself challenges even before I had any type of notoriety. I felt like I had to be able to cook up rhymes at any given moment because when I do get to where I want to go with my career, there might be situations where I’m in the studio and it’s like, “Yeah, let’s work now. It’s not like I’ll write this when I get the idea, when I get the feeling. It’s like, nah, bro, how dope are you?”
That’s what Kiss the Ring was. All those days I was preparing to be able to go to the studio and lay something down on the spot. The beat is on right now. We’re trying to see if you really are what you sound like. Like, can you do this in front of my face? Can you hibachi this s–t? I train myself for that. You don’t just get this good overnight.
Do you mix and master your beasts yourself?
C.W.: Good side note, and I’m glad you asked that. So, the mastering tech that we used is Dave Cooley — and Dave Cooley mastered Madvillainy, Donuts, a bunch of indie rock stuff.
So you sought him out.
C.W.: I’ve been wanted to work with Dave, but unfortunately, my status wasn’t at that level yet. But when I reached out to him when I was working with Rome, I got to thinking about some of the records that to me sonically never die like Madvillainy and Donuts, I thought of Dave. And he was just ecstatic, and told me that he heard Rome on a DJ Premier track he did with West. Then he listened to what I went him, he listened to Kiss the Ring, and he listened to Noise Kandy 5. So, it was like a discovery moment for him, which gassed me more to make this record.
Do you guys have a favorite record on the album?
R.S.: It varies for me the more I listen to it.
C.W.: My favorite is “Lightworks.” And it’s my favorite because I love Dilla so much, and so I had to try to figure out how he cut the original sample of “Lightworks” to make it say what it sounds like it’s saying. I found a lot of joy in trying to be like, “Yo, how did he make it say light up the spliff?” And it’s not “light up the spliff,” it’s “light up the sky,” but you got to cut it a certain way. Dilla chopped the vowels out to make it say, “Is death real?” on “Stop.” It’s just like science and technical stuff.
My favorite track from you guys is “Chrome Magnum.”
C.W.: I think “Chrome Magnum” represents the type of music we love to make together. It don’t sound super boom-bap-ish — it’s just like industrial, ugly.
R.S.: I just like the unorthodox way that Conductor’s beats sound.
I mean, your flow is kind of like that, too, so it makes sense now that you say that.
C.W.: Another one that’s really dope that came from a fun moment. is “Ugly Balenciaga’s.” I sent it to him to try to make him laugh. I didn’t even want you to rap over it. I sent it because I just thought it was funny, and he didn’t say nothing back until he sent a song back.
R.S.: That’s one of my favorites that I’ve made.
C.W.: I was like, “N—a, you rapped on this?”
R.S.: Hell yeah.
C.W.: And he went crazy. [Laughs.]
R.S.: That’s the thing. Some s–t like that is a challenge to me. A beat like that will make me go, “Okay, how am I gonna approach this s–t? How am I even gonna attack it?” Because you gotta attack it in a certain type of way to make it entertaining. I like to have no floor and somehow figure out how I’m gonna make it across the s–t.
C.W.: That’s wild.
It’s like a balance act. Are you guys planning on doing another tape together?
C.W.: I don’t know, man. My schedule is crazy, his schedule crazy. But ultimately, this is my brother, so yeah. I just don’t know when. I think the fans kind of know that too.
People been asking for a collab tape from you guys for a while.
R.S.: We’ve been making music for so long together, we have more songs than what we gave y’all.
It’s a better-late-than-never Executive Turntable, Billboard’s weekly compendium of promotions, hirings, exits and firings — and all things in between — across the music business. Earlier this week, we revealed our annual list of executives driving the success of country music, and today welcomes a first-ever industry-wide Power List for our mates in the United Kingdom.
Big Machine Records promoted Rachel Burleson to senior director of streaming, recognizing her leadership and strategic impact since joining the label in 2021. In her new role, she’ll continue overseeing streaming initiatives for artists such as Tim McGraw, Carly Pearce and Midland. Burleson’s career began at Creative Nation after graduating from Belmont University, where she advanced to manager of records and management, focusing on artist development. At Big Machine, she rose from project manager to director of streaming and was named a 2024 MusicRow N.B.T. Industry Directory honoree. Executive vp and GM Kris Lamb praised Burleson’s platform relationships and influence on the label’s success since coming on board, adding, “Rachel continues to be a trusted voice in the room and a driving force behind our strategy.”
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Hallwood Media promoted Tal Meltzer to chief operating officer, based at the company’s West Hollywood headquarters. Formerly svp and head of A&R and business affairs, Meltzer will now oversee all operations and help drive expansion. Reporting to CEO Neil Jacobson, he has led the development of Hallwood’s record label, publishing and distribution divisions, and expanded its focus to include direct artist collaborations. With a background as both a producer and songwriter, Meltzer blends creative and business expertise, enabling him to scale A&R and marketing teams and boost artist development. “Tal’s deep understanding of both the creative and operational sides of our business has been instrumental to our growth,” said Neil Jacobson, CEO of Hallwood Media. “His leadership and vision will drive our continued success as we innovate in the music industry.”
Wasserman Music expanded its global hip-hop and R&B division with the addition of two new executives. Jazmyn Griffin joins as director on the global festivals team in New York, where she will focus on hip-hop and R&B festivals and help launch a new marketing arm. She brings valuable experience from roles at C3 Presents and Live Nation, where she helped develop major U.S. festivals. Tessie Lammle joins as a Los Angeles-based director and agent, representing a diverse roster of hip-hop and R&B artists. She previously spent nearly a decade at UTA, supporting artists and championing women in music. Wasserman execs praised both hires for their industry expertise and potential to “help fuel the surging growth of our Hip-Hop and R&B division.”
Pelle Eriksson, managing director of Border Music, is stepping down after over 40 years in the music industry. Starting in 1985 at Gothenburg’s FolkåRock record store, Eriksson helped transform it into Border Music Distributions AB in 1992. Under his leadership, Border grew from a local retailer into a leading Nordic indie distributor with offices in Oslo and Copenhagen. A breakthrough came in 1995 with its work to elevate The Offspring’s breakout hit “Self Esteem,” which topped the Swedish charts and helped launch Border into national prominence. Eriksson, a recent addition to Billboard‘s International Power Players list, has championed local and global acts, including First Aid Kit, Yung Lean, Nick Cave and Motorhead. He also played a key role in launching PIAS Nordic and oversaw Border’s acquisitions by Redeye in 2019 and Exceleration Music Group in 2023. His successor, Eric Andrén — Eriksson’s first hire as MD — will now lead the company. “It has been an incredible journey, and now that I am about to hand over, I remember (almost) only the fun times – all the people, the trips, the fairs, the artists, and of course – the records,” Eriksson reflected. “From the arrival of the CD to the digital boom and the vinyl revival, we’ve been there.”
Gutt Law, PLLC launched in Nashville to offer laser-focused legal services for the music and entertainment industries. Founded by Rachel Guttmann, the boutique firm combines legal expertise with industry insight to support artists, songwriters, and producers. Guttmann, a Tulane Law graduate and former partner at Taylor Guttmann, is joined by attorney Victoria Powell, a Belmont Law alumnus specializing in music publishing, and Morgan Brasfield, former Kobalt Music and NSAI executive, now head of operations. Together, they provide personalized counsel on creative rights, contracts and career strategy, guided by their client-first motto, “Go With Your Gutt.” Guttmann shared, ““I’m grateful every day to work with a team that’s as passionate about helping creatives succeed as I am.”
Frontiers Label Group appointed Tim Bailey as its new head of label for international. With nearly 20 years in the music industry, Bailey brings deep experience in both live and recorded music, a strong focus on artist development, and a record of commercial success. He began as a concert promoter in 2006, later producing major livestream events during the pandemic. At Earache Records, Bailey helped lead the label to a historic commercial peak, delivering multiple top-five albums in the UK, including a topper for Those Damn Crows. Founded in 1996 by Serafino Perugino, Frontiers has grown from an indie distributor in Italy to a major global rock label working with Megadeth, Def Leppard and more. Perugino praised Bailey’s forward-thinking leadership, asserting, “As we continue expanding our global footprint through exciting new imprints and artist partnerships, Tim’s leadership and vision will be a huge asset.”
Sara Yazdani was elevated to vp of PR and marketing partnerships at Creativ Company, where she oversees U.S. publicity for clients like 1stAveMachine, Ammolite Machine, SpecialGuestX and MOCEAN. Yazdani has worked on projects featuring Eminem, Ed Sheeran, Big Sean and OK Go, often collaborating with director Emil Nava. Previously, she was a national publicist at Biz 3, representing artists such as Chappell Roan and Ty Dolla $ign. She also held key roles at the Recording Academy, managing Grammy media operations, and at Disney Music Group, where she led campaigns for artists like Sabrina Carpenter. Beyond her agency work, she co-chairs the ThinkLA Entertainment Committee.
BeatBread, a music funding platform for artists and independent labels, announced two key hires to drive its next growth phase. Michelle Greener Goodman joins as head of sales and Zach Koche as director of sales, both based in Los Angeles. Goodman brings a background in sales strategy from Telesign and Granular, while Koche joins from FUGA with nearly 15 years of experience in business development, licensing, and artist management.
Tickets For Good, a platform offering free and discounted tickets to live events, appointed Derek DeVeaux as global chief operating officer amid major international expansion in 2025. With over 20 years in tech and operations, DeVeaux will oversee partnerships, platform delivery and daily operations, reporting to CEO Steve Rimmer. New hires include Jess Nesbitt (ticketing operations), Alex Deadman (communications), and UK-based staff Aaron Taylor, George Webb and Laura Harmer. Music partners for 2025 include Pixies, Yungblud and Robbie Williams, who, alongside Edwin van der Sar, became a TFG ambassador. The platform also launched in the Netherlands and was part of the BPI “Grow Music” accelerator.
SyncIt, a new AI-powered music discovery and licensing platform founded by Nathan Duvall, appointed producer and songwriter Patrick Patrikios as creative director. Known for his work with artists like Britney Spears and Little Mix, as well as brands including Hyundai and YouTube, UK-based Patrikios brings extensive industry experience to guide SyncIt’s creative strategy. The platform aims to propel sync licensing by using AI and intuitive search tools to connect artists with visual creators. SyncIt allows users to search for music using proprietary metadata and technology without training on user music. “In hiring Patrick, we have someone who understands the value of music and sound to a brand,” said Nathan Duvall, Founder and CEO of SyncIt. “He not only brings a wealth of experience working with brands, but a portfolio of names which further cements a solid launchpad for SyncIt.”
ICYMI:
Dean Ormston
Former Mojo Music executive Alan Wallis has launched a new music publishing company, Dynamite Songs, which already holds rights to tracks performed by major artists including Ed Sheeran, Kendrick Lamar, and Papa Roach … Dean Ormston, CEO of APRA AMCOS, has been elected chair of CISAC, becoming only the second Australian to hold the position in the organization’s 99-year history. [Keep Reading]
Last Week’s Turntable: Poo Bear Board
Does it even feel like summer if Darkoo doesn’t drop? After last year’s “Favourite Girl” and “Focus On Me (All the Sexy Girls In The Club)” earlier this year, she’s giving the girls another reason to whine their waists with “Like Dat.” And three years after their sweet “2 Sugar” collab from his More Love, Less Ego album, Ayra Starr and Wizkid join forces again on island-infused Afrobeats banger “Gimme Dat” (which has no relationship to the aforementioned P-Square hit).
Speaking of Wizkid collabs, he teams up with Nigerian hip-hop icon Olamide for a new track, “Kai!,” while Seyi Vibez celebrates his new partnership with EMPIRE with a sonic departure in the form of new track “Pressure.” Meanwhile, Fido follows up his breakthrough smash “Joy Is Coming” with a new cut called “Money Moves,” while Kizz Daniel returns with a surprise seven-song EP called Uncle K: Lemon Chase that leads with the breezy song “Black Girl Magic.”
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We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and pregame the summer season with our Spotify playlist below.
Ayra Starr & Wizkid, “Gimme Dat”
Ayra Starr and Wizkid are ready to fill up the “freakin’ dancefloor” this summer with “Gimme Dat.” The slow-burning acoustic guitar melody from Wyclef Jean and Mary J. Blige’s 2000 Grammy-nominated hit “911” and tropical drums, courtesy of producers VybeO and Mikabeatz adds to the song’s sensuality and serenity. But Wiz steals the spotlight in the middle of the song with his audacious “Goddamn” declaration that kickstarts his verse about sticking to one shorty who has all his attention.
June Freedom, “Oh My Lady”
The Cape Verdean American crooner creates a vibrant ode to intimacy with his latest single “Oh My Lady.” Producer Abolaji Collins Kuye’s glimmering Afro-fusion groove complement Freedom’s blend of English and Cape Verdean Kriolu sweet nothings that roll off his tongue as he reminds us that home isn’t always a place, it’s your person. “Two souls locked in, fully understanding each other on every level: mind, body and soul. I wanted to capture that rare kind of love that holds you down but still lets you fly. It’s like wake up to peace and falling asleep in passion,” he said in a press release.
Darkoo, “Like Dat”
The British-Nigerian star heats things up again with “Like Dat.” The pulsating Afroswing beat will immediately send any “naughty naughty” girl’s hips swinging, but her suave voice drives the track’s flirtatious energy. And Darkoo plays into her affinity for Y2K sonics and aesthetics by paying homage to the music video for Sean Paul’s 2003 smash “I’m Still in Love With You” with the same bold pop of orange and yellow in the Sam Fallover-directed “Like Dat” visual.
Ayox & Qing Madi, “WHAT HAVE YOU DONE”
The self-proclaimed “loner of Afrobeats” Ayox and Billboard’s repeat 21 Under 21 honoree Qing Madi are a melodic match made in heaven on “WHAT HAVE YOU DONE” from his sophomore EP WHEN NOBODY IS WATCHING. They swap sweet-sounding confessions about taking accountability and wanting to do better by their lovers over pulsating rhythms and thrilling saxophone riffs.
Twitch 4EVA, Yung D3mz & Uche B, “Temperature”
Ghanaian artists Twitch 4EVA and Yung D3mz and producer Uche B team up on the scorching single “Temperature.” The spurts of the log drums feel like trickling beads of sweat down the body, but the whistling ad-libs interspersed throughout the song add more ventilation.
Olamide & Wizkid, “Kai!”
Two titans of the last two decades of African music, Olamide and Wizkid, teamed up for this slick cut, which layers a horn section over some traditional Afrobeats drum patterns and features both icons crooning, using their voices as additional instrumentation to augment the track. The video sees the two of them dressed to the nines in a nightclub setting, too, enhancing the overall vibe of the track.
Seyi Vibez, “Pressure”
Fresh off his new partnership with EMPIRE, Nigerian street prince Seyi Vibez immediately diverted from his usual grittier sound to drop this love song, with warmer and more inviting themes than his usual gruffer fare. It’s “a complete shift from my usual sound,” he said in a press release about the track. “It leans into melody, intimacy and raw emotion. It’s smoother, softer and more intentional. I wanted to show my range, to prove that I can give you fire and tenderness in the same breath. This track is about the quiet power of love and attention. Sometimes the loudest statement is how you move when no one’s watching. That’s real pressure.”
Fido, “Money Moves”
Fresh off his breakout smash single “Joy Is Coming,” Fido returns with “Money Moves,” an engaging cut with an earworm hook — quickly becoming a hallmark of his — that brings in amapiano elements to underpin his melodic vocals. If joy was coming on his last single, it’s arrived in the form of stacks of cash in this one.
Bhadboi OML feat. L.A.X., “River”
Bhadboi OML has been steadily building a name for himself with a string of single releases over the past year or so, and this one lands with a breezy vibe just on the cusp of summertime with a hook that implores the listener to “cry me a river.” Teaming up with fellow Nigerian and veteran artist L.A.X. adds another dimension to this one, but Bhadboi takes the bulk of it and delivers a hit for the season.
Kizz Daniel, “Black Girl Magic”
Returning out of nowhere with a new EP, the seven-song Uncle K: Lemon Chase — featuring collaborations with ODUMODUBLVCK, Angélique Kidjo, Bella Shmurda, Zlatan and more — Kizz Daniel bolsters his discography with “Black Girl Magic,” a free-spirited, lighthearted ode to treating your girl right no matter the cost. The full project is worth checking out, but this one sets the tone.
Thom Yorke is speaking out for the first time about a confrontation with an audience member at one of his gigs in Australia last year that the Radiohead singer said left him emotionally distraught. In a lengthy Instagram post on Friday morning (May 30), Yorke described his feelings about “some guy shouting at me from the dark last year” as he was preparing to sing the final song at his solo show in Melbourne.
After a man in the audience shouted comments about “Israeli genocide in Gaza” during the gig at the Sidney Meyer Music Bowl in October, Yorke stopped the show and challenged the person to come on stage and say it to his face before walking off in seeming disgust. In his Instagram post, Yorke said that moment didn’t really seem like the best one to “discuss the unfolding humanitarian catastrophe in Gaza.”
Afterwards, however, Yorke wrote that he “remained in shock that my supposed silence was somehow taken as complicity,” adding that he “struggled to find an adequate way to respond to this and to carry on with the rest of the shows on the tour. That silence, my attempt to show respect for all those who are suffering and those who have died, and to not trivialize it in a few words, has allowed other opportunistic groups to use intimidation and defamation to fill in the blanks, and I regret giving them this chance.”
While Yorke didn’t specify which comments he was referring to, he said not formally responding to the vitriol has “had a heavy toll on my mental health.”
The remainder of the eight-page post is a pointed broadside against Israeli prime minister Benjamin Netanyahu, whom Yorke called out the last time Radiohead played in Israel, in July 2017. At that time, he wrote, “We’ve played in Israel for over 20 years through a succession of governments, some more liberal than others. As we have in America. We don’t endorse [Israeli Prime Minister Benjamin] Netanyahu any more than Trump, but we still play in America.”
The singer wrote on Instagram that he hoped that anyone who has ever listened to his or his band’s music, read the lyrics or seen their artwork would clearly understand that he could not “possibly support any form of extremism or dehumanization of others. All I see in a lifetime’s worth of work with my fellow musicians and artists is a pushing against such things, trying to create work that goes beyond what it means to be controlled, coerced, threatened, to suffer, to be intimidated .. and instead to encourage critical thinking beyond borders.”
If his message was not clear, Yorke made his feelings about Israel’s longest-serving PM even more so in the statement. “I think Netanyahu and his crew of extremists are totally out of control and need to be stopped,” he wrote. “And that the international community should put all the pressure it can on them to cease. Their excuse of self-defence has long since worn thin and has been replaced by a transparent desire to take control of Gaza and the West Band permanently.”
Netanyahu has overseen a nearly two-year war on Hamas in the wake of the extremist group’s attack on Israel on Oct. 7, 2023, during which raiders killed nearly 1,200 Israelis and foreign nationals and took 250 hostages. In the ensuing battles, Israeli forces have mercilessly pounded Gaza with bombs that have destroyed much of the region’s infrastructure, killing more than 53,000, according to Palestinian health officials. The daily attacks have also led to a humanitarian crisis and what experts warn is a potentially devastating famine due to the Netanyahu administration’s refusal to let sufficient food aid into the decimated region.
Yorke lambasted what he called Netanyahu’s “ultra-nationalist” administration, claiming that Harvard-educated Netanyahu and his hard-right peers have hidden behind a “terrified & grieving people and used them to deflect any criticism, using that fear and grief to further their ultra-nationalist agenda with terrible consequences, as we see now with the horrific blockage of aid to Gaza.”
Israel has begun allowing more food aid into Gaza in recent days, though the new distribution mechanism backed by the U.S. and Netanyahu has resulted in chaotic scenes in which tens of thousands of Palestinians reportedly on the verge of famine swarmed the sites to grab bags of food and flour. As talks for another temporary cease fire are under way, Israel has continued its daily bombing of Gaza, even as it has ordered serially displaced Palestinians to move to an area near the coast as the military attempts to empty out large areas where it says Hamas fighters remain.
“While our lives tick along as normal these endless thousands of innocent human souls are still being expelled from the earth… for what?” Yorke asked, pivoting to the issue of why the “unquestioning Free Palestine refrain” has not resulted in the return of what are believe to be the 58 remaining hostages. He also asked why Hamas undertook the “horrific” acts of Oct. 7, speculating that the militant group is choosing to “hide behind the suffering of its people, in an equally cynical fashion for their own purposes.”
Yorke ended by lashing out at “social media witch hunts” aimed at pressuring artists to make statements, efforts he said do little except exacerbate tensions, cause fear and over-simplify the situation. “This kind of deliberate polarization does not serve our fellow human beings and perpetuates a constant ‘us and them’ mentality,” Yorke wrote. “It destroys hope and maintains a sense of isolation, the very things that extremists use to maintain their position.”
The singer said he understands the push to “do something” when confronted with such suffering and loss, but cautioned against thinking that reposting “one or two line messages,” especially ones condemning others, is the answer. “It is shouting from the darkness,” he said. “It is not looking people in the eye when you speak. It is making dangerous assumptions. It is not debate and it is not critical thinking.”
Admittedly short on answers and aware that his note is unlikely to satisfy those looking to “target myself or those i work with,” Yorke ended by offering hope that his letter will allow him to join the many millions of others “praying for this suffering, isolation and death to stop.”
See Yorke’s full statement below.
Taylor Swift fans are very, very used to the pop star surprising them — but she might have just outdone herself with the announcement that she’s purchased back the masters to her first six albums, following an arduous six-year fight to do so.
The news comes after a bitter public feud with her old label boss Scott Borchetta, who in 2019 sold his Big Machine Label Group — along with Swift’s catalog — for upwards of $300 million to Scooter Braun, a situation the 14-time Grammy winner said at the time was her “worst-case scenario.” Also in a message posted to her Tumblr after the sale, she wrote that she’d learned about the deal “as it was announced to the world” and added, “All I could think about was the incessant, manipulative bullying I’ve received at his hands for years.”
Braun would later sell his ownership of Swift’s music to Shamrock Capital, and the musician would busy herself on a mission to re-record the albums she made with Big Machine. Fearless (Taylor’s Version), Red (Taylor’s Version), Speak Now (Taylor’s Version) and 1989 (Taylor’s Version) all sprung from this venture, topping the Billboard 200 each time and fueling the success behind Swift’s blockbuster Eras Tour.
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So when the “Fortnight” singer revealed in a letter on her website Friday (May 30) that she had finally won control over her masters, purchasing them from Shamrock for an amount that sources tell Billboard was about $360 million, fans were shocked — not just because of how long the journey has been up until this point, but also because of what it means for the long-awaited Taylor Swift and Reputation re-records. (In her letter, Swift shared that she’s already finished re-doing the former, but hasn’t even completed “a quarter” of the latter. “To be perfectly honest, it’s the one album in those first six that I thought couldn’t be improved upon by redoing it,” she wrote, adding that “there will be a time … for the unreleased Vault tracks from that album to hatch.”)
The day has been full of mixed emotions for Swifties, as many are sad to hear that Reputation may not get the full Taylor’s Version treatment after all. But more than anything, the overwhelming feeling in the fanbase’s online community has been elation since Swift shared her news. “THIS IS BETTER THAN REP TV,” one fan wrote on X. “THIS IS REPUTATION!!!!!!! THE WHOLE THING!!! RECLAIMING HERSELF!!!!! ALL. OF. IT.”
“the moral of the story is taylor ALWAYS wins in the end,” another person posted, while a third Swiftie wrote, “oh taylor you are so loved. the whole world was rooting for you.”
Many fans have also been rejoicing in the fact that they can now stream the original versions of Swift’s first six albums without having to worry anymore about supporting her competitors. “I’m so happy for Taylor Swift!” wrote one happy camper on X. “She owns all of it!!!!!! I can now go back and listen to all of her original albums and not feel guilty 😭 TODAY IS A GOOD DAY!!!!!”
See how Swifties are reacting to the singer’s big purchase below.
I’m so happy for Taylor Swift! She owns all of it!!!!!! I can now go back and listen to all of her original albums and not feel guilty 😭 TODAY IS A GOOD DAY!!!!! pic.twitter.com/vPiw5HCTzi— 💫 (@heyjaeee) May 30, 2025
THIS IS BETTER THAN REP TV THIS IS REPUTATION!!!!!!! THE WHOLE THING!!! RECLAIMING HERSELF!!!!! ALL. OF. IT.— LYDIA ⋆⭒˚.⋆🪩 (@mirrorballydia) May 30, 2025
I can’t even find the words to comprehend how happy I am— Taylor Swift Updates (@SwiftNYC) May 30, 2025
she’s so right reputation was an album that you really just had to be there for— mason (@larkieswiftie) May 30, 2025
not just the music but the music videos, concert films, album art & photography, unreleased songs from every single era now fully belong to taylor im so so so happy for her 😭😭😭😭😭😭😭😭😭😭😭😭😭😭 pic.twitter.com/mGOw2W1uuo— kaia! (@kaiamal13) May 30, 2025
btw pls don’t be too mad that we *may* not get rep tv. her owning the masters > > > > > > > > rep tv like this was the whole point— tushar (@reputushion) May 30, 2025