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In the 10 years since Sophie broke through the noise with singles such as “Bipp” and “Lemonade,” the late visionary has become synonymous with progressive pop production. So for the 10th anniversary of her breakthrough set of songs, the producer’s collaborators are celebrating her influence with a commemorative release.
On Wednesday (June 18), record label Numbers will debut an expanded anniversary edition of SOPHIE’s Product, the 2015 compilation album that brought together some of the producer’s earliest releases. Alongside the original compilation’s eight tracks, the expanded edition of Product will also include two previously unreleased singles — “Ooh” and “Get Higher” — and “Unisil,” a Product-era track that was released in 2021.
“Ooh,” originally created in 2011, features vocals from The X Factor alum Jaide Green, who reflected in a statement on her first reaction to hearing the track. “‘Ooh’ stood out to me, it was fun, playful, and creative. It was clear the lyrics were very significant to SOPHIE, however it didn’t feel like your usual heartbreak song, it was uptempo and happy,” she wrote. “Even still, there was a strength behind the words. I thought it was a perfect fit, pure genius.”
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Meanwhile, “Get Higher” was first written by SOPHIE in 2013, when she shared the hyperpop-tinged production with singers Cassie Davis and Sean Mullins. “She had this unapologetic ferocity for being true to who she was, that was infectious. I remember dancing around in the studio, vibing to the energy of creation in a way that I had never experienced before, devoid of ego,” Mullins said in a statement of the new track. “That’s what SOPHIE did for me, and I think what she’s done for a lot of other people with her incredible ability to connect us all to our higher selves through the act of creativity.”
Product will be released on all streaming platforms Wednesday, with physical editions — including deluxe vinyl, CD and a “Product card” featuring an NFC code for instant tap access to the album phones — will be available in stores starting on July 11.
Check out the full tracklist for the 10th anniversary release of SOPHIE’s Product below:
“BIPP”
“ELLE”
“LEMONADE”
“HARD”
“MSMSMSM”
“VYZEE”
“L.O.V.E.”
“UNISIL”
“GET HIGHER” (new)
“OOH” (new)
“JUST LIKE WE NEVER SAID GOODBYE”
Sabrina Carpenter is setting the record straight after some critics accused her of taking inspiration from one of the most controversial stories of all time: Lolita.
In the comments of a recent TikTok, the pop star denied that she’d ever seen the movie Lolita, much less referenced it in a 2024 photoshoot for W Magazine. The original poster had compared one picture from the spread — featuring Carpenter lying on her stomach in a grassy lawn as a sprinkler goes off behind her — to a very similar still from Adrian Lyne’s 1997 film adaptation of Vladimir Nabokov’s 1955 novel, which centers around a middle-aged man who becomes sexually infatuated with a 12-year-old girl.
The user who drew the comparison wrote that the supposed reference was “gross,” but Carpenter replied, “i’ve never seen this movie.”
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“it’s never been on my mood board and never would be,” the Grammy winner added.
The clarification comes as people online have been recirculating the W photoshoot in light of Carpenter’s newly revealed Man’s Best Friend album cover. Featuring the musician on all fours as a man grips her by her hair, the artwork has been slammed by some critics as objectifying and regressive for women, though others have argued that it’s harmlessly tongue-in-cheek or even an empowering embrace of sexuality.
Amid the discourse, people have also pointed out similarities between the Lolita movie and a special Man’s Best Friend vinyl — which displays a painting of her lying on a bed as a man in a suit dotes on her — available on her website. Both the Lolita book and film have been heavily criticized for decades for romanticizing pedophilia.
But as Carpenter said in her comment, Lolita has never influenced her visuals. It’s not the first time in recent history she’s shut down criticism of how she presents herself; in her June Rolling Stone cover story, the Girl Meets World alum also addressed certain people who accuse her of only singing about sex in her music.
“It’s always so funny to me when people complain,” she told the publication. “They’re like, ‘All she does is sing about this.’ But those are the songs that you’ve made popular. Clearly you love sex. You’re obsessed with it.”
Carpenter announced new album Man’s Best Friend earlier in June, less than a year after her last album, Billboard 200-topper Short n’ Sweet, propelled her to superstar status in 2024. The new LP was led by a single titled “Manchild,” which recently debuted atop the Billboard Hot 100.
In celebration of the feat, Carpenter wrote on her Instagram Story on Monday (June 16), “I can’t tell you how much this means to me … Thank you eternally for listening.”
Addison Rae announced the dates for her first-ever headlining world tour on Tuesday morning (June 17). The Addison Tour is slated to kick off on Aug. 26 at the National Stadium in Dublin, Ireland and keep the “Diet Pepsi” singer on the road through European gigs in England, France, Belgium, the Netherlands and Germany before […]
Nearly a decade before contemporary Christian music (CCM) star Brandon Lake was headlining arenas, topping Billboard’s Christian Airplay charts and winning Grammy Awards, he was a young church worship leader in Charleston, S.C., who just wanted to record an album — and took an unorthodox route to making that happen. “I did a GoFundMe campaign. […]
The owner of the Jet Set nightclub in the Dominican Republic was arrested last week and charged with involuntary homicide over the tragic roof collapse on April 8 where 235 people died and nearly 200 more were injured. According to The New York Times, prosecutors arrested and charged club owner Antonio Espaillat on June 12 […]
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With hits like “Psycho Killer,” “Wild Wild Life” and “This Must Be the Place,” talking Heads have been creating iconic cultural moments for more than 50 years. Now, music historian and author Jonathan Gould has a new book biography.
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On sale for $32 (reg. $39) on Amazon, Burning Down the House: Talking Heads and the New York Scene That Transformed Rock chronicles the band’s early days during the ’70s and how their music changed modern rock’s sound and look for the New York City punk scene to mainstream pop culture.
If you’re an Amazon Prime member, you can order now and Burning Down the House will be delivered to your home in less than two days once it’s released, thanks to Prime Delivery.
Not a member? Sign up for a 30-day free trial to take advantage of all that Amazon Prime has to offer, including access to Prime Video, Prime Gaming and Amazon Photos; fast free shipping in less than two days with Prime Delivery; in-store discounts at Whole Foods Market; access to exclusive shopping events — such as Prime Day and Black Friday — and much more. Learn more about Amazon Prime and its benefits here.
The biography is also available at BookShop.org for $32.55 (reg. $35), while Burning Down the House is buyable at Barnes & Noble priced at $35.
Mariner Books
‘Burning Down the House’
$32
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In addition, Burning Down the House is available as an Audible audiobook, which is only $0.99 for three months for subscribers only.
If you’re not a subscriber, you can sign up for a 30-day free trial. But right now, Audible has a new promotion, which gives new subscribers three months of service for just $0.99 per month for three months. You’ll receive one credit for any audiobook on Audible, including Burning Down the House. But act fast and sign up now, this deal ends on July 31.
Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.
On June 5, artist development went under the microscope at nonprofit ThinkLA’s annual Entertainment Brunch presented by Nextel, which hosted 450 entertainment industry professionals at the Millennium Biltmore Hotel in Los Angeles.
This year’s edition of the brunch featured a trio of panels centered around the theme “The New Era of Disruption” in music, film, TV, video games and more. During a panel titled “The Business of Music: Breaking Artists & Building Global Fandoms” moderated by Billboard deputy editor, business news Chris Eggertsen, three executives — Capitol Records vp of marketing Jessica Eason, Amazon Music head of culture amplification Ida Kay and WME senior partner/agent Keith Sarkisian — discussed the increasingly complex and multifaceted business of artist development in 2025, with examples cited from their work with artists including Doechii, Justin Timberlake and Pitbull.
Topics covered during the panel included the increasing pressure on artists to be multi-hyphenates and extend their brands into multiple arenas; the music industry’s growing emphasis on direct-to-fan interactions; the importance of data in making decisions about everything from album rollouts to tour routing; the importance of traditional media like radio and late-night TV shows in 2025; and more.
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The event featured two additional panels. The first, titled “The Business of Diversity: Why Multicultural Stories Win,” was moderated by Erika Lewis, cultural engagement & partnerships, global business marketing at TikTok, with panelists Derek Padilla-Ravega, director of media planning & strategy at Walt Disney Studios; writer/producer Migizi Pensoneua (Reservation Dogs, Alien: Earth), and Ellene V. Miles, senior vp of global intersectional marketing at Sony Pictures Entertainment.
The last panel, titled “Innovation in Marketing,” was moderated by creator/producer/actor Matt “Supes” Ramos. Panelists included Aileen Del Cid, head of global marketing & PR at Samsung TV Plus; Monica Austin, CMO of Blizzard Entertainment; and Elias Polisher, executive vp of worldwide digital marketing & data analytics at Sony Pictures Entertainment.
In addition to Nextel, the ThinkLA Entertainment Brunch was sponsored by SambaTV, JustWatch, Fandom, Tubi, Max.Live, Doing Things and Midnight Oil. The organizing committee for the brunch was led by ThinkLA executive director Don Lupo; ThinkLA event directors Brianna Brady and Mikaela Wilson; and ThinkLA’s partnership team, Linda Schwab and Grace Cuffel.
ThinkLA committee members also include co-chairs Joe Shields (co-president of ThinkLA) and Sara Yazdani (Creativ Company), along with Kim Lewis (BET), Rory O’Connor (TikTok), Matt Wolf (Audigent by Experian), Matt Weisbecker (CRO. My Code), Ashley Wandishin (World Surf League), Richard Taw (Hollywood Branded), Gregg Rubin (Goodway Group), Peter Reisner (New York Times), Allison Mellon (Fandom), Jon Margolis (Atmosphere TV), Jake Hay (PopShorts), Stephanie Delgado (LatiNation), Jason Costes (UTA), Margee Anderson (Media.net) and Danielle Klein (Doing Things).
L-R: Erika Lewis, Derek Padilla-Ravega, Migizi Pensoneua, Ellene V. Miles
Gabriel Mora
L-R: Matt “Supes” Ramos, Aileen Del Cid, Monica Austin, Elias Polisher
Gabriel Mora
ThinkLA Entertainment Brunch speakers and committee members
Gabriel Mora
Zak Starkey isn’t the only one who has had enough of The Who. In a new Rolling Stone interview posted on Monday (June 16) the veteran session and touring drummer who was fired, rehired and then fired once more by The Who in a head-spinning span of several weeks earlier this year opened up about his current relationship with the band and how his dad feels about the tabloid tussle.
Asked what his father, former Beatles drummer Ringo Starr, thought of the bizarre back-and-forth, Starkey said, “He [Ringo] said, ‘I’ve never liked the way that little man runs that band,’” in seeming reference to The Who singer Roger Daltrey.
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After The Who “made a collective decision” to part ways with Starkey in April after his nearly 30 years behind the kit, guitarist/songwriter Pete Townshend relented a few days later and rescinded the firing, saying Starkey was “not being asked” to step down from his position. Then, a month later, Townshend took it all back and said after many years working together “the time has come for a change.” A week later, Starkey claimed that he hadn’t been “fired” from the band, but had “‘retired’ to work [on] my own projects.”
It has all been a bit hard to keep up with, even for Starkey, who revealed to RS that even after all the firings and re-hirings he still has no idea where he stands. “I spoke to Roger last week,” Starkey told the magazine. “He said, ‘Don’t take your drums out of the warehouse, we might be calling you.’ What the f–k? These guys are f–kin’ insane! I’ve been fired more times than [late Who drummer] Keith Moon in ten days.”
It’s all a bit unclear at this point, especially since The Who recently announced that Scott Devours, a veteran of Daltrey’s solo band, will join them on their upcoming farewell tour. In the interview, Starkey once again noted that he had to sit out Oasis‘ eagerly anticipated reunion shows this summer because of his gig in The Who.
“I was in the Who. And last time they asked me, I was in the Who, and it got a bit weird,” he said of whether he’d hoped Oasis’ Liam and Noel Gallagher would invite him back into the fold of the Britpop band he kept time for from 2004-2008. “But this time, I talked to them both. I did tell them both on text, ‘Why the f–k aren’t I in your band, man, helping make it the greatest rock band in the world again?”
Starkey said the Gallagher’s again noted that he couldn’t join their band because of his gig in The Who, plus singer Liam is “happy working with Joey [Waronker],” the session and live veteran drummer who will be behind the kit for the band’s first tour in 16 years.
Frankly, Starkey said being in the Who sometimes kept him off-kilter. As an example, he described the rehearsals for the Royal Albert Hall gigs in March at which Daltrey apparently took issue with his playing, reportedly complaining from the stage that Starkey’s loud drumming was throwing his vocals off.
“There’s nothing normal about them. These are the most crazy… you’ve got an abstract, conceptualist artist who thinks the band is an art installation. And then you’ve got another guy who is a street fighter. It’s all very weird,” he said, respectively, of Townshend and Daltrey. “But if you look at the group ever since they started, it’s the craziest group. And they’ve undertaken the crazy ideas, whether the rest of the guys understood it or not. Pete has taken so much on himself. He’ll lock himself away for two years, come away with Quadrophenia, and go, ‘You guys can just play on top.’ You’re dealing with two very, very different people. And when me and Pete catch fire, probably anyone’s going to get lost. And probably anyone will. But we won’t. When we’re onstage, it’s like we’re f–king. Offstage it can be a little awkward after those 15 minutes. But onstage, It’s like, ‘Cigarette, darling?’”
And, for the record, Starkey claimed that it was Daltrey who came in “four bars early” during the Royal Albert Hall shows, after which the drummer sent the singer an e-mail, writing, “I watched you on TV last night, you were off.”
“It’s 30 years in the group. It’s like a family. But he came in four bars early. And he just asked for the drums to be turned up, and he couldn’t hear the piano,” Starkey said of Daltrey. “But I love Roger. He never misses a note. His voice is still so pure. It’s like a laser beam. He always nails it. They’ve not changed one key since the start of conceptual art as rock & roll. But he just got lost. He blamed it on the drums being too loud, and then it got made into this huge social media thing. And it freaked him out and he’s going around doing solo shows, and saying it’s ‘fake news.’ But it wasn’t me. I was in the car and gone before they finished the last acoustic song. There was no argument in the dressing room.”
Starkey said he was fired two weeks later for dropping “two beats,” though he noted, “I’ve watched that film three times. I’m looking on the floor, and I can’t see it. If I drop two beats, where the f–k are they?” In the end, Starkey said he doesn’t blame Daltrey, or anyone from The Who, for what happened. “I don’t hold any grudges. It’s the Who. Weirder s–t than this has gone down,” he said. “I’ve heard them say weirder s–t than this. It’s the Who — the maddest band there’s ever been.”
But would he come back if they re-re-rehired him?
“Of course I would. I said to Pete, ‘Thirty years. In the 30 years, you put the bar so f–kin’ high. What the f–k do I do now?,’” he said. “The Who, you just don’t know what’s going to happen. If you think something is going to happen, the opposite happens. If you second guess Pete, he will play the opposite. You have to go with whatever you’re doing, and not think.”
Just days after as estimated five million people turned up at 2,100 “No Kings” protest across the U.S. to decry the current administration’s divisive policies, Red Jumpsuit Apparatus singer Ronnie Winter cordially invited Donald Trump supporters to stay away from his band’s shows.
“I actually follow what Jesus says. If you’re a Christian and you’re watching this and you voted for Donald Trump, shame on you. You are not allowed to come to my shows. I don’t want you there,” said the vocalist for the Florida-bred hardcore band in an Instagram video. “Don’t come to my shows. It’s awesome that you love ‘Face Down.’ It’s not for you. It’s not your song. It is not your song.”
While it was unclear what spurred the post, Winter — who has long criticized Trump and his supporters, especially after the singer was slammed for being “woke” for encouraging the band’s fans to get vaccinated and wear masks during the COVID-19 pandemic — was unequivocal in his message to MAGA fans.
“I thought I was pretty clear about all this stuff in 2020. As you notice on my Instagram, I did not remove any of that stuff from the Stay Woke campaign. I guess you guys are calling it from 2020,” he said in the video. “Look, man, the thing about being woke is you’re awake. And once you’re awake, you can never go to sleep. And not only has nothing changed, but everything they said was going to happen, the woke people has happened. You have done nothing but prove them right.”
And, in case his message titled “If you call yourself a Christian please watch” gets interpreted incorrectly, Winter offered refunds to MAGA followers who have purchased tickets to RJA shows, but noted that his stay-away request isn’t valid for just the next three-plus years of Trump’s second term.
“If you voted for Donald Trump, do not come to my shows or ever, not just these four years. Don’t come to my shows because you’re going to hear a lot of woke propaganda, and you’re going to hear the actual words of Jesus,” he said. “You’re going to see a lot of acceptance from all areas of life and races, and you’re just going to see a lot of harmony. That’s not what you’re about. Don’t come. Refunds are available. Forever, don’t come. Goodbye.”
Check out Winter’s video below.
Liam Gallagher has criticised the City of Edinburgh Council after Oasis fans were described as “rowdy”, “intoxicated” and “middle-aged men” who “take up more room” in a safety briefing.
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The comments were made when a range of senior officials from the council and emergency services met last year to plan for the band’s sold-out reunion shows at Murrayfield Stadium (Aug. 8-9 and 12). The run will mark the first time they will play in the Scottish capital since 2009.
Details of the safety advisory group meeting from October 2024 were made available via a freedom of information request, and were published in The Scottish Sun earlier this week. The briefing involved the council, promoters DF Concerts, security firm G4S, Police Scotland, the Scottish Ambulance Service and local transport providers including Lothian Buses, Edinburgh Trams, and ScotRail.
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A number of concerns were raised by officials, including about fans of Oasis “on weekends as they are already rowdy”, as well as “the tone of the band.” The paper also said that the council, meanwhile, suggested that the 210,000 gig-goers posed a risk to the Edinburgh Fringe and its performers, which is expected to attract more than three million visitors between Aug. 1-25.
It also noted that the crowd at Murrayfield Stadium, which can hold 70,000 fans a night, may feature a number of “middle-aged men,” stating they “take up more room” and that promoters should “consider” these factors when “working out occupancy.” DF Concerts added that the audience would be “energetic and high-spirited” with a “medium to high intoxication.”
Gallagher has responded to these statements on social media, posting on X: “To the Edinburgh council I’ve heard what you said about OASIS fans and quite frankly your attitude f–-king stinks. I’d leave town that day if I was any of you lot.”
He added: “I’d love to see a picture of all the people on the Edinburgh council bet there’s some real STUNING [sic] individuals.”
Margaret Graham, Edinburgh Council’s culture and communities convener, told The Scottish Sun: “We’re very proud to host the biggest and best events in Edinburgh throughout the year, which bring in hundreds of millions of pounds to the local economy and provide unparalleled entertainment for our residents and visitors.
“As with any major event which takes place in the city, we prepare extensively alongside our partners to ensure the safety and best possible experience of everyone involved – and Oasis are no different.”
She added: “We’re all looking forward to seeing Oasis take to the stage this August and I’m sure that they’ll ‘live forever’ as some of the most memorable concerts ever performed at Murrayfield.”
The Oasis reunion tour kicks off in the U.K. at the Principality Stadium in Cardiff, Wales, on July 4. The run of dates will continue through Manchester, London, Edinburgh and Dublin before hitting North America, Latin America, Asia and Australia across 41 planned shows.
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