Music News

Kid Rock Reportedly Waves Gun During Interview, Uses Uses Racial Slurs: ‘Write the Most Horrific Article About Me’

After years of speaking mostly to right-wing outlets, Kid Rock recently sat down with a reporter from Rolling Stone magazine, and according to writer David Peisner, their sometimes unhinged chat included Rock ranting about immigration, liberally using the N-word and, at one point, waving a gun in the air.

The story features a number of disturbing and off-putting scenes, including Rock casually dropping racial slurs a number of times and the opening bit where the writer notes that Rock’s white butler goes by the racially charged nickname “Uncle Tom.” It also mentions that Rock keeps the original General Lee from The Dukes of Hazzard — which famously has a Confederate flag emblazoned on its roof – in a hangar on his 214-acre Nashville estate. Rock makes sure to tell the writer that Tom is his major domo’s real name, laughing, “don’t give me some s–t in the article.”

Near the end, after noting that Rock has switched from sipping white wine to downing three or four Jim Beam and Diet Cokes in quick succession, Peisner writes, “He’s sitting in a dark leather chair, shouting at me about something or other, when he reaches behind the seat, pulls out a black handgun, and waves it around to make some sort of point.”

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Rock then notes, “And I got a f–king g–damn gun right here if I need it! I got them everywhere!” At press time a spokesperson for Rock had not returned Billboard‘s request for comment the claims in the RS piece.

The article traces Rock’s path from a child of privilege in the Detroit suburbs living in a huge house with his Republican dad, to his rise as an ambitious rapper and a libertarian who criticized the GOP’s stance on gay marriage and abortion before his deep-dive into right-wing politics. “I’m part of the problem,” Rock says at one point about the divisions roiling the country. “I’m one of the polarizing people, no question. Sometimes I bitch about other people, then I look in the mirror and I’m like, ‘Oh, yeah, why don’t you shut the f–k up too?’”

The rapper-turned-rocker-turned-country crooner wore a “This Bud’s For You” hat during the chat, a year after posting a video in which he attempted to shoot up a case of Bud Light, seemingly in pique over the brand’s celebration of trans social media influencer Dylan Mulvaney. While Rock says he’s moved on from the boycott of parent company Anheuser-Busch he helped promote, the piece notes that among the “bigger targets” Rock, 53, is now going after are progressive ice cream company Ben & Jerry’s and Planet Fitness, reportedly a target of right-wing anger for its trans-inclusive policies.

“I don’t want to hurt people’s jobs and stuff like that when they don’t have any dog in the fight, but there’s a whole lot of other companies we should be going after,” he tells Fox News host Laura Ingraham during an appearance taped a few hours into RS sit-down, during which he also rages against “DEI crap” and predicts that friend Donald Trump will win the presidential race in Michigan this year. On his way to the taping, Peisner says Rock tries to dial up one of his “besties,” former one-term president Trump, who doesn’t take the call.

Peisner says he spent a year trying to get Rock to talk to him, speaking to a dozen people who’d worked with the singer over the years who had been upset by his transformation from a party-time rapper and rocker to a MAGA-fueled culture warrior whose music has taken a backseat to his public protestations. Kenny Olson, who played lead guitar in Rock’s band for more than a decade in the 1990s said he couldn’t understand the heel turn.

“I don’t understand where a lot of this came from,” said Olson. “I’ve always felt music should inspire people, not divide people. A lot of people from back in the day ask me, ‘What’s going on?’ I don’t know.”

Rock explains to Peisner that he hasn’t done many interviews lately because he felt they all became “this gotcha moment,” saying he doesn’t need the attention while gesturing to the green valley in front of him and adding, “look around. I live in my own world. And it’s great.” At one point, while flipping through a photo album of pics from his career, Rock lands on one in which he’s wearing a rebel flag-designed shirt while sharing the stage with the members of Run-DMC.

“Nobody said a f–king word,” he says of the group’s three Black members. “No one. That was the thing until all this woke s–t started happening.” He claims there was no deeper meaning to him rocking the reviled symbol many see as a nod to the era of slavery. “I was using the Confederate flag because I love Lynyrd Skynyrd, and I think it just looks cool,” he says.

The story includes a trip to one of the dates on Rock’s Rock the Country tour, in which Peisner describes a “sea of American flags, Trump 2024 merch” and rants by Rock about
“open borders, high taxes and a declaration that ‘Joe Biden can kiss my motherf–king Anglo-Saxon ass.’” In one back-and-forth, Rock appears to parrot Trump’s hateful rhetoric against immigration, calling some “murderers! They’re rapists! They are! MS-13!” before shouting “9/11!” in a seeming attempt to tie immigration to terrorism; Peisner says he noted the well-documented anecdotal evidence that immigrants commit crime at much lower levels than citizens.

As for his full-throated embrace of Trump — the presumptive GOP presidential nominee currently embroiled in a criminal hush money trial and facing three other trials tied to his attempts to hide top secret documents and interfere with the 2020 election — Rock says he knows exactly who the former Apprentice host is.

“You think I like Trump because he’s a nice guy?” Rock says. “I’m not electing the deacon of a church. That motherf–ker likes to win. He likes to cheat in his f–king golf game. I want that guy on my team. I want the guy who goes, ‘I’m going to fight with you.’”

Peisner says Rock — whose bi-racial son was born from a high school relationship with a Black woman — liberally uses the n-word throughout the interview, in which he speculates that a decade out from his last big hit, the singer’s right wing embrace might be as much about “managing the emotional fallout of a waning career as it is about any deep-seated beliefs.”

In the end, even after lamenting that, “no one’s ever going to say, ‘F–k Prince,’” as he considers his checkered legacy, Rock triples down on his divisive nature in a most Trump-ian fashion. “I don’t care,” he maintains as Peisner tries to suggest that maybe he actually cares a lot what people think of him. “No, I don’t. You don’t understand. I really don’t give a f–k.”

So, after insisting that the writer watch a series of performance videos before allowing him to leave, the chat ends with Rock asking Peisner for a favor. “Just write the most horrific article about me,” says the tipsy host. “Do it. It helps me.”

Eddie Vedder Slams Harrison Butker During Pearl Jam Concert: Watch

Eddie Vedder had some choice words for Harrison Butker following the Kansas City Chiefs kicker’s controversial commencement speech at Benedictine College last week. 

During Pearl Jam’s Saturday (May 18) concert at MGM Grand in Las Vegas, the 59-year-old rock star cut right to the chase when expressing his feelings about Butker’s beliefs, particularly the athlete’s assertion that women should prioritize raising families instead of pursuing careers outside of the home. 

“There should be pride in homemaking, whether you’re a man or woman,” he began. “It’s maybe one of the hardest jobs and you should definitely take pride in it. But you shouldn’t not follow a dream because you think … you’re going to benefit by giving up your dreams? I couldn’t understand the logic.”

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“He was telling men, ‘Don’t forget to puff up your chest and be more masculine, don’t lose your masculinity,’” Vedder continued while strumming his guitar, as captured in a fan video. “The irony was that when he was saying that, he looked like such a f–king p—y.”  

The “Even Flow” singer added, “There’s nothing more masculine than a strong man supporting a strong woman.” 

The concert comes a little over a week after Butker took the stage at Benedictine’s May 11 commencement ceremony to condemn President Joe Biden, abortion, birth control, Pride Month and “the cultural emasculation of men” before discouraging the female graduates in attendance from “thinking about all of the promotions and titles” they would soon get in their careers. 

“I would venture to guess that the majority of you are most excited about your marriage and the children you will bring into this world,” the NFL player continued at the time. “I can tell you that my beautiful wife, Isabelle, would be the first to say her life truly started when she started living her vocation as a wife and as a mother.” 

In the same speech, Butker also promoted antisemitic misinformation about a congressional bill, as well as quoted the song “Bejeweled” by Taylor Swift — whom he simply referred to as Chiefs tight end Travis Kelce’s “girlfriend” — while admonishing church leaders who become “overly familiar” with their parishioners. “This undue familiarity will prove to be problematic every time,” he said with a smile. “Because as my teammate’s girlfriend says, ‘Familiarity breeds contempt.’” 

Vedder isn’t the only star who’s spoken out against Butker’s comments. Maren Morris, Flavor Flav and more celebrities have all used their platforms to condemn the athlete’s words. However, other stars such as Whoopi Goldberg and actress Patricia Heaton have publicly defended Butker’s right to say them. 

See the moment Vedder slammed Butker at Pearl Jam’s Las Vegas concert below. 



Nas to Celebrate 30th Anniversary of ‘Illmatic’ With Four Las Vegas Shows Featuring Live Orchestra

Nas is taking his talents to Las Vegas. The Queensbridge icon is taking over the Encore Theater at Wynn Las Vegas for four consecutive shows throughout Labor Day Weekend to close out the summer in epic fashion.

In celebration of Nas’ Illmatic debut album turning 30 this year, Escobar is slated to head to Sin City for four unique performances starting on Thursday, Aug. 29, through Sunday Sept. 1.

The Nas With the Las Vegas Philharmonic collaboration features the rapper performing an array of anthems from his decorated discography, with a live symphony orchestra at his back.

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Tickets will be going on sale on Friday (May 24) at 10 a.m. PT via Ticketmaster. Prices start at $69.95 plus applicable fees.

“Las Vegas has always served as a creative outlet for my music, and these performances will take that to the next level,” Nas tells Billboard in a statement. “I am excited to partner with the Las Vegas Philharmonic to bring this first-of-its-kind performance to Encore Theater and to showcase my music to my fans in Las Vegas in a whole new way.”

AEG Presents Las Vegas SVP Bobby Reynolds adds: “We could not be more thrilled to welcome Nas to Encore Theater at Wynn Las Vegas for this historic collaboration with the Las Vegas Philharmonic to celebrate one of the greatest hip-hop albums ever made. Marrying Nas’ legendary catalog with the unparalleled sound of the Las Vegas Philharmonic Is guaranteed to be an unforgettable and must-see experience for all Nas fans, and there is no venue more perfect in Las Vegas for this collaboration or a better place to be this Labor Day Weekend for entertainment than Encore Theater.”

Nas is no stranger to the dice rolls of Vegas, which Esco raps about on 1999 I Am… standout “Undying Love.” “Pacino life, G a roll, casino dice At The Mirage, Vegas strip, neon lights Gamblers, puffin’ cigars, couples and stars Flashin’ cameras, dealers, shuffling cards,” he rhymes.

In April, the 50-year-old rapper celebrated the 30th anniversary of Illmatic by turning the clock back to reunite with DJ Premier for “Define My Name,” in which the two artists announced a long-rumored joint album.

More information regarding the shows and ticketing can be found on the Wynn website.

T.I. Credits J. Cole for Stepping Out of Kendrick Lamar-Drake Feud: ‘That Was Quite Mature of Him’

While the dust appears to have settled in the Kendrick Lamar and Drake feud, other rappers are still providing their takeaways from the massive battle that swept the hip-hop world and permeated pop culture.

T.I. pulled up to Big Boy’s Neighborhood in an episode that dropped May 16, where he broke down the Drake-K. Dot battle as Big Boy peppered him with questions. Tip believes that Cole chose “peace and tranquility” when it comes to bowing out of the feud after dropping “7 Minute Drill” (which he later removed from streaming services following his apology to Lamar at Dreamville Fest).

“You gotta have thick skin,” he said. “You gotta be really unfazed and unbothered. We don’t know the temperament or sensitivity of Cole’s dynamic. We never seen Cole upset, we don’t know where that’ll take him. That was quite mature of him.”

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As far as the jarring allegations made by both sides, T.I. says he doesn’t believe everything he hears. “I just appreciate the skill sets and the presentation — the art,” he explained. “I try to take it all with a grain of salt. All the s–t they saying can’t be true.”

The “What You Know” rapper continued: “It got to be some embellishment or some ambiguous nature in some of this. It can’t all be true, but I just mostly listen for the double entendres, quadruple entendres, and the metaphors and just the skill in which they present they art.”

Kendrick and Drake’s peers might not be as thrilled as fans about the beef, as T.I. believes some may have had their release dates and rollout plans thrown off and pushed back as a result of the feud taking up a ton of oxygen in the rap eco-system over the last month.

“They done kinda f—-d it up for some other who were planning to drop in this period,” he said.

Drake dropped “The Heart Part 6” on May 5, and Kendrick hasn’t replied since, signaling an end to the war. K. Dot’s “Not Like Us” ruled last week’s Billboard Hot 100, while his “Euphoria” diss track came in at No. 3 in its first full week of tracking ahead of Drake’s “Family Matters” (No. 7) in an animosity-filled top 10.

Find T.I.’s full interview below. Talk about the Kendrick-Drake feud begins around the 34-minute mark.



‘Stax: Soulsville U.S.A.’ Salutes ‘Tenacious’ Spirit Behind Label Home of Isaac Hayes, Otis Redding, Booker T.

Nearly 50 years after being forced to close its doors in 1975, venerable label Stax Records became a Grammy winner once again in 2024. During the 66th annual Grammy Awards in February, the golden gramophones for best album notes and best historical album were awarded to the seven-disc box set Written In Their Soul: The Stax Songwriter Demos.

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Now in further testament to the gifted artists, songwriters, producers, musicians and engineers behind the label’s treasured catalog — and the team of dedicated and persevering executives helming operations behind the scenes — comes Stax: Soulsville U.S.A. Produced and directed by Jamila Wignot, the HBO Original documentary series premieres tonight (May 20, 9 p.m.-10 p.m. ET/PT) with two back-to-back episodes. The final two episodes will air tomorrow (May 21) in the same time slot. The series is a production of Laylow Pictures and White Horse Pictures in association with Concord Originals, Polygram Entertainment and Warner Music Entertainment.

The four-part series tells the story of the family-owned Memphis label, founded by Jim Stewart in 1957 and co-owned by his sister Estelle Axton, whose color-blind approach to music turned a deaf ear to the prevailing segregation of the times. The result? Music that hurdled racial barriers to become mainstream classics by artists such as Otis Redding ([Sittin’ On] the Dock of the Bay”), Isaac Hayes (“Theme from Shaft”), Sam & Dave (“Soul Man”) and Booker T. & the MG’s (“Green Onions”).

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In relaying its story, Stax: Soulsville U.S.A. integrates restored and remastered archival performance footage and interviews with the creatives and executives who helped shape the label’s musical and cultural impact amid its business highs and lows. Stewart and Axton, former Stax president and owner Al Bell, guitarist Steve Cropper, musician/songwriter David Porter, singer-songwriter Carla Thomas and Bar-Kays members James Alexander and Willie Hall are just a few of those recalling their experiences in Soulsville.  


https://youtube.com/watch?v=FAjCOWHUGM8&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent

In advance of the documentary’s HBO premiere, director Wignot and former Stax director of publicity Deanie Parker (co-writer of the Grammy-winning notes for Written In Their Soul: The Stax Songwriter Demos) share their reflections about the label’s legacy with Billboard.

Why does Stax still resonate with music fans today?

Parker: Because it’s distinctive. Stax music — a fusion of Negro spirituals and gospel, influenced by white country music and nurtured on the downhome blues of Blacks – was not a sheet music rendition. But rather authentic, heartfelt, cadenced expressions recorded in legendary Studio A. It’s a style of music birthed in our souls and dubbed rhythm and blues (R&B). Stax music is a feeling.

Wignot: Because it’s great art. It gives voice to powerful and universal human themes — love, sorrow, joy, tenacity, freedom. It’s music that’s original. You can feel in it that these were artists who had the determination to make their music their way. They were in search of and achieved honest expressions. 

What new revelations does the documentary unveil or is there any mis-information that it corrects?

Wignot: It was my hope that the series would provide a complex and nuanced portrait of the label’s story and of the rich community of artists who comprised that story. I think it will surprise audiences familiar with the likes of Otis Redding, Sam & Dave, Isaac Hayes and The Staple Singers to know just how tenacious the label had to be to achieve the success it did. And how determined it had to be in the face of the powerful forces — industry bias, racism, corporate greed —that stood in the way of its dream, which was a simple one: to make great music and have it reach audiences hungry for that singular sound. The emphasis we place on Stax’s latter chapter, 1968-1975, will illustrate what a profound effect the label had on the industry and the possibilities it created for Black artists. 

Parker: The documentary producers’ interviews with Stax Records employees, in first person, expose the depth of the pain and trauma most of us experienced that resulted from the company’s forced bankruptcy. It also validates the joy and happiness of the authors of the hits produced and respected worldwide. The documentary reveals our pride over the music catalog’s longevity and musical influence that continues today, thanks in part to Concord and our Stax Music Academy.

What do you hope fans will remember the most after viewing the documentary?

Parker: I hope music fans will appreciate the value of teaching and preserving a uniquely soulful style of music produced collectively by talented men and women with diverse backgrounds – Black and white. Stax Records happened because we practiced and perfected creating together harmoniously.

Wignot: Stax is a music story. But it’s also a story about what can happen when you refuse to accept limitations imposed upon you by the world. Its tragic ending is made less so by the music that survives and reminds us every day of possibilities.

STAX: Soulsville U.S.A.

STAX: Soulsville U.S.A.

Courtesy of HBO

Jon Wysocki, Founding Staind Drummer Dead at 53

Jon Wysocki, the founding drummer of rock band Staind has died at 53. The news was confirmed on Saturday, when Wysocki’s current band, Lydia’s Castle, posted about his passing on Instagram, writing, “On 5/18/2024 at 8:02pm, @jonwysocki4 passed away surrounded by family and friends that loved him dearly.”

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Staind also paid tribute to Wysocki in an Instagram post on Sunday, in which they wrote, “We first met Jon through mutual friends in 1994. We came together with Mike, Aaron, and Johnny April in 1995 and founded Staind. The 17 years that followed were some of the best memories of our times together. From practice in Ludlow, Mass to touring around the world, Jon was integral to who we were as a band. Our hearts go out to Jon’s family, and fans around the world who loved him.”

At press time no information on the cause of death had been announced. Lydia’s Castle member Shawna Hornbeck wrote on Saturday that Wysocki, was, “currently in the ICU. He has been having issues with his liver that requires him to be under the attention of medical professionals to ensure that he is treated properly. While he has been struggling, there are signs that he is recovering slowly.”

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Born on Jan. 17 ,1971 in Westfield, Mass., Wysocki co-founded second-wave grunge band Staind in Springfield, Mass. in 1995 with singer/rhythm guitarist Aaron Lewis, lead guitarist Mike Mushok and bassist Johnny April. The band self-released their debut album, Tormented, in 1997, followed by their 1999 major label debut, Dysfunction, which was co-produced by Limp Bizkit singer Fred Durst and featured the singles “Mudshovel” and “Home.”

After co-headlining the Family Values tour with Limp Bizkit in late 1999, the band dropped their third LP, Break the Cycle, in May 2001, which debuted at No. 1 on the Billboard 200 album chart and spawned their signature No. 5 Hot 100 hit “It’s Been Awhile.” Wysocki played on seven on the band’s eight studio albums — through 2011’s self-titled seventh LP — before taking his leave in 2011, reportedly due to friction with singer Lewis; he was replaced by drummer Sal Giancarelli.

In a statement on his X account on Sunday, Lewis wrote, “I’m so sad. I lost my friend. A friend I loved like a brother… fought with like a brother… cared for like a brother… worried about like a brother… cried over like a brother… because he was my brother in arms. My journey would’ve been different without him… The battles we fought together. The battles we fought against each other. The battles we fought side by side alone with our own demons. The battles we won and the battles we lost. He was my friend. He was our brother. My heart is broken. My world has changed. I’ll see you on the other side my friend. My brother. Godspeed. My heart, my love, and my condolences go out to his family and loved ones. I’m so fu–ing sad. He will be missed.”

After leaving Staind, Wysocki briefly joined Chicago hard rock group Soil, but never recorded with them. On Sunday they also paid tribute to their late bandmate, writing on FB, “Today we lost one of the greats. Jon Wysocki was not only a great friend, a great drummer, but a great human being. It was an honor to have him in SOiL for the time we did. We had so many laughs, so many good times. You will be missed dearly. Until we meet again dear friend…..”

See the statements about Wysocki’s death below.

50 Best ‘American Idol’ Alumni of All Time

After 22 seasons of the show, who are the most successful entertainers to emerge from the reality singing competition?

A new American Idol winner was crowned on Sunday night… so now what?

As we’ve seen over 22 seasons of the reality singing competition — 15 on Fox starting in 2002, and the seventh just wrapping up on ABC — there are mixed results when it comes to who is most likely to succeed after their time on the show. Winning Idol is no guarantee of a future career, and finishing in 10th place doesn’t mean someone won’t make it big.

Following the end of another season, the Billboard staff wanted to take a closer look at all the top 10 finalists from the first 21 seasons to see not how well they did as contestants on the show, but how well they’ve done since. We’ve ranked the 50 Best American Idol Alumni — and we’re not just judging this by selling a lot of music or dominating our charts (though those are definitely factors). We’re looking at who has carved out the most impressive careers in the public eye, whether that’s staying in music or branching out into acting — in films and TV or on stage — or maybe hosting, taking part in more reality competitions, writing books or even pursuing politics.

The staff voted on the greatest careers to emerge from this decades-long pop-star boot camp. Who has transcended their time on Idol to become a legendary entertainer that has defined pop culture in the past quarter-century? Who has gotten off to a great start but still has to make strides to reach superstar status? (Note: We only considered top 10 finalists from each Idol season, which rules out some notable alumni like “Fingers Crossed” singer Lauren Spencer Smith or Danny Noriega, aka RuPaul’s Drag Race standout Adore Delano, who both were eliminated in the top 20, or any now-famous artists who didn’t make it past the audition or Hollywood Week rounds.)

Basically: Who has became an actual pop-culture idol beyond their time competing on Idol? Below, find Billboard‘s 50 Best American Idol Alumni of all time, ranked.

Grammy Museum in L.A. to Open Permanent Grammy Hall of Fame Interactive Exhibit in Early 2025

When the Recording Academy put the Grammy Hall of Fame on hiatus for one year, they said they were rethinking the entire process. They weren’t kidding. The first fruits of the retooling will be seen on Tuesday (May 21) when the inaugural Grammy Hall of Fame Induction Gala is held at the Novo Theater at L.A. Live in Los Angeles.

Michael Sticka, president/CEO of the Grammy Museum, says his hope for the induction event is to “build it to ultimately be the Museum’s version of MusiCares’ Person of the Year, to raise money for our programming.”

There are also plans to “build a permanent interactive exhibit to celebrate the Hall of Fame and educate our visitors. That will open early next year.”

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The first five inductions into the Grammy Hall of Fame were announced on the Grammy telecast in March 1974, and the Grammy Museum opened in December 2008, but this is the first time the Museum has partnered with the Recording Academy in a major way to celebrate the Hall of Fame.

“The Hall of Fame and the Museum pretty much go hand-in-hand,” Sticka says. “When we first started talking about what this thing really could be, we talked about how the Hall of Fame should live in the Museum. It makes perfect sense.”

These changes are the result of Sticka’s meeting with Recording Academy CEO Harvey Mason Jr. and Ruby Marchand, the Academy’s chief awards and industry officer, to brainstorm ways to build the Grammy Hall of Fame into a higher-profile entity. “The whole idea was ‘let’s get away from simply doing a press release,’” Sticka says of the upcoming gala.

They also made several major changes in the way the Grammy HOF operates. In recent decades, 25 or more inductees have been inducted each year. Starting this year, there will be just 10. “We wanted to whittle it down to a manageable number. If we had 25-30 recordings, it’s really hard to properly recognize each of them during an event.”

This year’s 10 new inductees bring the total number of recordings in the Grammy Hall of Fame to 1,162.

There will be live performances to honor six of this year’s honorees at Tuesday’s event, and interstitial video presentations for the other four. R&B singer William Bell will perform his own inducted recording, “You Don’t Miss Your Water.” Andra Day will perform a song from Lauryn Hill’s The Miseducation of Lauryn Hill, The War and Treaty will sing Charley Pride’s “Kiss an Angel Good Morning,” Elle King will perform Wanda Jackson’s “Let’s Have a Party” and Hanson will take on the Doobie Brothers’ “What a Fool Believes.”

“We really focused on the tribute performance [format], but William wanted to do [his own song] and we weren’t going to say no to that opportunity,” Sticka says.

This year’s Induction Gala will be produced by Ken Ehrlich, who has amassed nine Primetime Emmy nominations across four decades, along with Chantel Sausedo and Ron Basile. Greg Phillinganes will serve as musical director.

This year’s gala will be filmed but not televised. The plan is to cut together this first induction gala and send it to the Academy’s partners, CBS, which has aired the Grammy telecast every year since 1973, and PBS, which aired the Academy’s Special Merit Awards under the title Grammy Salute to Music Legends for about five years under its Great Performances banner.

“It’s tough to pull off a first-time event,” Sticka says. “There’s no proof-of-concept. [We’re] filming it so we can show what it’s going to look like and show what’s possible and hopefully somebody picks it up in the future to televise.”

Clips from the show will be housed on COLLECTION:live, the Grammy Museum’s streaming site.

A second change in the Grammy Hall of Fame process is that the Academy no longer sets aside a certain number of spots for pre-1950 recordings. The one pre-1950 recording being inducted this year, Kid Ory’s Creole Orchestra’s “Ory’s Creole Trombone” (1922) impressively made the cut without a spot being set aside for very old recordings. Now, the only requirement is that all recordings must be at least 25 years old.

The choices were made by a special member committee of about 20 people who had several Zoom meetings. Sticka says he sat in with the committee but didn’t vote. “There was a lot of conversation around a lot of the recordings,” he reports.

A third change is that the Grammy Hall of Fame will honor a record company each year. Atlantic Records, which was celebrating its 75th anniversary when these discussions got underway, is the first label to be honored. (The label was founded in October 1947 and released its first recordings in January 1948.) Even though the 75th anniversary has passed, it will be honored. 76th anniversary just doesn’t have same ring.

Atlantic doesn’t have any recordings being inducted this year, but it has 38 past Hall of Fame inductions.

As part of the salute to Atlantic, two current Atlantic artists are performing Grammy Hall of Fame classics by legendary Atlantic artists. Shinedown is performing Led Zeppelin’s “Stairway to Heaven.” Ravyn Lenae is singing Roberta Flack’s “Killing Me Softly With His Song.” Atlantic had a great deal of input into their segment. “They know themselves best, so we left it up to them,” Sticka says. “We had a lot of conversations with them.”

Starting this year, all artist(s), producer(s), songwriter(s) and engineer(s) who work on a Grammy Hall of Fame inductee will receive a certificate, provided they worked on 51% or more of the recording and had primary participation in those capacities. No statuettes, though. You have to win a Grammy in competition to get one of those.

Katy Perry Waves Goodbye To ‘American Idol’ Era With Tears, Flying Pizza and a Towering Dress Paying Tribute to Contestants

Katy Perry ended her seven-year American Idol run in style on Sunday night (May 19), singing, table jumping and pizza-tossing her way off the stage during the three-hour season 22 finale. While the episode was ostensibly meant to crown this year’s winner — which it did, spoiler alert, in singer Abi Carter — it was also a night to celebrate Perry, who announced earlier this year that she would be leaving the series after serving alongside Lionel Richie and Luke Bryan since the show jumped to ABC in 2018.

In a testament to Perry’s up-for-anything attitude, Idol ran a clip package mid-way through Sunday’s show featuring highlights from her often wild-and-wacky run. From Bryan jump-scaring his partner early on to Perry visiting Luke’s farm for a lesson on corn science, crying with contestants, modeling a series of increasingly outrageous outfits and getting ice cream smooshed on her face by her cohorts, Perry looked happy, and emotional, as the last hour ticked down.

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Just before the final votes were read, Perry, 39, took to the stage one last time to perform “What Makes a Woman” from her 2020 album Smile with finalist Jack Blocker. Initially seated while wearing what looked like a metallic bustier, Perry began to rise up as Blocker sang the second verse, revealing an expansive dress plastered with the faces of Idol contestants who’ve appeared on the show during her run. Soaring high above the stage as paper butterflies rained down all around her, Perry’s dress was the perfect lasting image of the singer’s sweet embrace of her Idol era.

“143, I love you,” Perry said as she held up heart hands. Later in the show, as Katy munched on a slice of pizza, the women of the top 12 performed a medley of Perry’s songs, including “Teenage Dream,” “Dark Horse” and”California Gurls.” The performance ended with Perry jumping to her feet and climbing up on the judge’s desk to flex her arms as Bryan pelted her with beach balls.

With the sand running out following Carter’s coronation, Perry let the tears flow freely as this year’s winner sang Billie Eilish’s Oscar-winning “What Was I Made For?” to cap her golden season 22 run, with Richie sharing a last, long hug with Katy as confetti rained down around them.

Idol has been renewed for a 23rd season, but at press time Perry’s replacement had not yet been announced.

Check out images from Perry’s final night below.

Carín León Reveals Tracklist, Cover of New Album ‘Boca Chueca Vol.1’

Carín León’s new album will be released May 30, and it won’t be business as usual, as the Mexican star exclusively tells Billboard.

Boca Chueca Vol. 1 drops at 8 p.m. ET on May 30, and features 19 songs, including bilingual collabs with country stars Kane Brown and Leon Bridges as well as Latin icons like ranchera star Pepe Aguilar and Mexican rockers Panteón Rococo. See the full tracklist for the first time below.

But the real change, says León, starts with the album cover, a surrealist painting that shows León’s face close up, with a sinister-looking hand holding his mouth open in a crooked grimace that is a direct reference to the album’s title; “Boca Chueca” translates to “Crooked Mouth.” And that title in turn represents the album’s contents, says León.  

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“What we wanted to highlight on the cover was […] all those problems you suffer as an artist who is always exposed,” León said in a voice note he sent to Bilboard. “All those fears they carry from before. All that contributes to the music and the art we all make as artists. Making this album was like a small embrace and a conciliation with many things people think are bad, but that are also part of you. The cover has that dark look which in a way has a lot to do with us and also speaks about the reinvention in this album. It has more daring words, more of a street vocabulary. Boca Chueca has a lot to do with that less genteel side of Oscar Armando,” says León, referring to his given name, Oscar Armando Díaz de León.

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The cover art of Boca Chueca was designed by Alan Ortega, a member of León’s band who plays the pedal steel guitar but is also a painter. In fact, he did the also surrealistic cover of León’s album Colmillo de Leche, where he is depicted with a lion’s head.

Boca Chueca Vol. 1 is the studio follow-up to Colmillo, which peaked at No. 8 last year on Billboard’s Top Latin Albums chart. Since its release, León has been getting traction as one of the top regional Mexican music stars in the market, touring arenas and performing at festivals like Stagecoach.

His new tour, also called Boca Chueca, kicks off July 22 and includes stops at Madison Square Garden and, in a departure for a Mexican act, at Wizink Center in Madrid.

As for Vol. 2 of Boca Chueca (the album), no word yet on when it will be released, but the implication is it won’t be long. Here is the full tracklist of Boca Chueca, Vol. 1.

Final Tracklist: 

1.⁠ ⁠”Cuando la vida sea trago”
2.⁠ “⁠Otra vez”
3.⁠ ⁠”Casi oficial”
4.⁠ ⁠”Frené mis pies”
5.⁠ ⁠”Círculo vicioso”
6.⁠ ⁠”Que haga el paro”
7.⁠ ⁠”Bebé no cambies tú”
8.⁠ “⁠⁠Por eso bye”
9.⁠ ⁠”Qué feo se siente el amor”
10.⁠ ⁠”No sé” con Panteón Rococó
11.⁠ “⁠The One (Pero no como yo)” con Kane Brown
12.⁠ ⁠”Lamentablemente” con Pepe Aguilar
13.⁠ ⁠⁠”Aviso importante” con Bolela
14.⁠ “⁠It Was Always You (Siempre fuiste tú)” con Leon Bridges
15.⁠ ⁠”Banqueteras”
16.⁠ “⁠⁠1”
17.⁠ ⁠”Aunque tú no lo sepas”
18.⁠ ⁠”Por culpa de un tercero”
19.⁠ ⁠”Despídase bien”