Music News

 ‘It’s Like Going to Coachella and Not Coming Back’: Nova Massacre Survivors Share Their Experience at NYU

On Friday (Oct. 27), less than three weeks after Hamas terrorists killed more than 260 attendees at an electronic music festival in Re’im, Israel, two survivors spoke about their experiences to a crowd of mostly students at New York University.

The festival massacre was part of a wider Hamas attack on Israel on Oct. 7 that claimed approximately 1,400 lives, most of them civilians, and set off a war between Hamas and Israel that continues to escalate as Israel bombs Gaza and conducts limited sorties into the area. Officials in Hamas-controlled Gaza have listed the Palestinian death toll at more than 6,000, although President Biden has said he has “no confidence” in that number. As the festival survivors spoke Friday, hundreds of protesters gathered further uptown in New York’s Grand Central Terminal calling for a ceasefire. Around 200 people remain hostages of Hamas.

Maya Parizer, a 27-year-old Israeli American, and Jonathan Diller, a 28-year-old Israeli-Italian American, shared their stories to a room of less than 100 people on a Friday afternoon, with both staying around afterward to speak one-on-one to students. Pictures and descriptions of festival attendees who were kidnapped and remain hostages were laid out on chairs.

Parizer began to tear up almost immediately, sharing that she had attended the Nova Festival prior to 2023 and encouraged many of her friends to attend this year.

The attack began around 6:30 in the morning on Oct. 7, which Parizer said is a normal hour for Nova attendees to be up and dancing. “Sunrise is when the best dancing happens,” she said. “Instead of amazing DJs, I saw what looked like a thousand rockets within seconds… I didn’t imagine what happened next would be exponentially worse.”

“[I’m the] type of the person who tells everyone to wake up and start dancing,” Diller recalls of the morning of Oct. 7. “So we go to the stage and start dancing. At 6:30, we start seeing the rockets. And, uh, it’s kind of interesting. You see all these dozens of rockets in the air coming toward you, from the side, and the music keeps going. You can’t hear the alarm – it’s loud music…. Everyone didn’t panic because there was still music going on. People were drunk, didn’t know what’s going on.”

Not long after, the music was shut off and a police officer told attendees the situation was code red, referring to the Red Color early-warning system that warns Israeli towns around the Gaza Strip that missiles are incoming. “The missiles kept coming and coming,” Diller said between many heavy sighs. “I’m talking about a hundred missiles in the air and people just panicking.”

Despite the rocket attack, Parizer notes that no one seemed to understand the full gravity of the situation; many of the 3,000 attendees were preparing to leave but taking time to pack up their belongings, not aware that Hamas terrorists were headed their way.

Both Parizer and Diller, who attended the festival separately and left in separate vehicles around 7 a.m., said it was a decision to drive away via the road less traveled – a move based on luck as much as logic – that ultimately saved their lives. It was only as they attempted to drive away from the Re’im event amidst heavy traffic that the extent of the attack became apparent. Diller said he stopped to help a woman out of her bullet-riddled car: “We open the door and she slides out, just bleeding. We didn’t understand where this poor girl, 23…. got shot from,” he said. At that point he realized “something’s not right.”

At that point, Diller and his friends began to flee on foot, moving away from the sound of “heavy gunshots.” They walked for more than four hours before finding shelter in a distant town. “People were so tired, people were still drunk,” Diller says. “[It was] just keep your head down, don’t panic, keep going forward.”

Parizer became aware how serious the situation was after driving past a bloody body on the side of the road, calling the police and receiving no answer. After she and her fiancé drove past terrorists who shot at them (“by some miracle [we survived]” she said), an Israeli soldier stopped their car and instructed them to stop driving. “We were a minute or so from turning left and not being here to tell our story,” she said.

While squatting in a nearby shelter, Parizer said she decided to “call my parents and say my goodbyes.” Her mother didn’t pick up, and her father “didn’t comprehend the situation. He tried to reassure me and said IDF [Israel Defense Forces] would handle it and I should stay in the shelter.” But with no door on the shelter, Parizer and her fiancé decided to flee, a decision she believes saved their lives. They found a family who let them hide in a nearby kibbutz, and for the next 24 hours, they laid low, listening to the sound of automatic gunshots while clutching kitchen knives.

Parizer also shared the story of her friend, a woman who “didn’t have the luxury” of getting out physically unscathed. Terrorists found her friend and several others inside a shelter and began throwing grenades inside. “These are not people that are experienced,” Parizer said of those hiding in the shelter. “It’s drunk people with survival instincts who were brave. They decided to throw the grenades back…. In the beginning, they were successful, but they started losing their body parts. Hands, feet.”

Despite suffering extensive bruising and hearing loss in one ear, her friend survived, though she initially didn’t realize why. When footage of the attack was later reviewed and translated, her friend learned the reason she was set aside. “They said, ‘she is the one for rape, so let’s put her back inside for rape.’ My best friend,” Parizer said through tears. “By some miracle she survived because they had to leave. I don’t know why. Something happened and they left.”

Parizer said she’s still “traumatized” and “petrified”; when a building alarm went off in the distance during their NYU visit, she was visibly uncomfortable until it stopped.

“It’s just people that went to rave,” she said. “It’s like going to Coachella and not coming back. Most of us did not even comprehend what was going on when it started.”

“I would say it’s like Burning Man with Coachella – just people loving life,” Diller said. He recalled convincing his resistant friend to go with him to the festival in the first place. “I said, ‘Come on, it’s the Nova Peace Festival. It’s once a year, it’s 3000 nice people, beautiful people.’”

Diller summed up what the festival turned into: “[They were] coming with machine guns and spraying whoever they could see just because they’re Jewish. [The dead] didn’t do anything to anyone. Two of my friends were murdered and three of them got kidnapped.”

“I condemn all deaths. I don’t want to see any people hurt. I advocate peace – I always have,” Parizer said. “I know it’s not the entire nation [of Palestine]. I don’t want to talk politics – I just want the kidnapped back home. And I want the terrorists to stop. Thank you for listening.”

Best 2023 Halloween Costumes From Kelsea Ballerini, Chloe Bailey & More (Updating)

Spooky Season has arrived — and so have this year’s celebrity Halloween costumes.

Kelsea Ballerini kicked things off Wednesday night (Oct. 25) with her Original Donut Shop Coffee costume party in New York City, where she dressed up in one of the most popular costumes for 2023: Barbie.

And she wasn’t just any Barbie. She specifically channeled Margot Robbie’s western-wear Barbie from the Greta Gerwig-directed film, wearing a white cowgirl hat with a two-piece, hot-pink bell-bottom set and matching neckerchief — a perfect fit for the country star. (You can find the look for less in our roundup of the best pop-culture Halloween costumes for 2023.)

“HI BARBIE, HAPPY (early) HALLOWEEN,” Ballerini captioned a series of photos in the fuchsia look.

Another early adopter this Halloween is Chloe Bailey, who shared her racy take on Daenerys Targaryen from Game of Thrones, wearing a long blond wig with a bodysuit made of metal to complete the medieval costume. She’s surrounded by dragon eggs, skulls, candles and an hourglass in the pics and is also sitting atop a throne — though it’s not quite the sword-covered Iron Throne that Dany eventually sits upon.

“I am Khaleesi, the Mother of Dragons #gameofthrones,” Bailey captioned her photo set, alongside a dragon emoji.

But Halloween 2023 is just getting started. Below, find the best costumes from musicians and celebrities, including some perfect musician-themed ideas, like Sarah Hyland and Wells Adams’ timely “ketchup and seemingly ranch” getups. See all the photos below, updating through Halloween (Oct. 31).

Chloe Bailey Becomes the ‘Mother of Dragons’ in Epic ‘Game of Thrones’ Halloween Costume: See Pics

Fans call Chloe Bailey “Mother” on social media all the time, so it’s fitting that she’s now the “Mother of Dragons.”

On Thursday, Bailey unleashed her early Halloween costume on Instagram, transforming into Daenerys Targaryen from Game of Thrones, also known as Khaleesi.

In seven photos shared to Instagram (one for each of the Seven Kingdoms, of course), Bailey wears a long blond wig and a bodysuit made of metal to become Dany, who was played by actress Emilia Clarke in the 2011-19 HBO series based on George R. R. Martin’s A Song of Ice and Fire book series.

“I am Khaleesi, the Mother of Dragons #gameofthrones,” Bailey captioned the photo set, alongside a dragon emoji.

For the photo shoot, Bailey is on a medieval set surrounded by dragon eggs, skulls, candles and an hourglass and sitting atop a throne. (It’s not quite the Iron Throne, which is famous for its intimidating swords jutting out of the top, but it definitely gets the Westeros vibe just right.)

This isn’t Bailey’s first brush with the Game of Thrones series: As part of Chloe x Halle alongside sister Halle Bailey, the duo contributed the haunting song “Wolf at Your Door” to the 2019 album For the Throne: Music Inspired by the HBO Series Game of Thrones, which also featured contributions from Maren Morris, Mumford & Sons and The Lumineers as well as a collaborative track from SZA, The Weeknd and Travis Scott.

Head over to Bailey’s Instagram to see the singer/actress in all her House of Targaryen glory.

Travis Kelce Keeps Halloween Costume Plans Under Wraps, But He’ll ‘Make Sure Everybody Sees It’

While couples are very likely to dress up as new power pair Taylor Swift and Travis Kelce for Halloween, it’s unclear what the superstar duo themselves are planning to wear for the holiday — but we now know at least Kelce will be in costume.

On the latest episode of the New Heights With Jason and Travis Kelce podcast, the football-playing brothers discuss Halloween plans, with Travis shutting down Jason’s questions.

“What are you doing?” Jason asks Travis after sharing that his family’s plans to dress up as characters from Little Mermaid had fallen through.

“I’m gonna let mine be a surprise,” Travis answers. “I’ll make sure everybody sees it. And we’ll talk about it after Halloween. But I’m pretty sure we’re going to get the gang together and have a nice dinner or something, or a nice little dinner party, I should say.”

Jason is confused at the idea of a “Halloween dinner party,” so Travis explains it in the most little-brother way possible: “Like a Halloween dinner party. Everybody comes in costumes and we have a party. What do you mean? It’s a Halloween dinner party!”

Fans of Swift and Kelce’s budding romance will surely be on the edge of their seats to see if they will make their couples-costume debut this weekend through Halloween (Oct. 31), so we’ll have to be on the lookout for when and where this dinner party goes down. One thing we know for sure: Kelce will “make sure everybody sees it.”

Listen to the Kelce brothers’ Halloween conversation, starting at the 16:30 mark below:



Cher Says She Never Sings Around the House: ‘I Don’t Like My Voice’

Despite having 30 charting albums on the Billboard 200, 12 top 10 hits on the Billboard Hot 100 and selling more than 100 million records worldwide, Cher is not a fan of her own voice.

In an interview with Entertainment Tonight published Friday (Oct. 27), the “Believe” singer revealed that she doesn’t sing around the house either. “Never. OK? Never,” she told the outlet when asked if she sings her hits at home. “I don’t like my voice. I just don’t like it. It’s like, have you ever heard yourself talking?”

Cher’s most recent confession comes on the heels of her Paper magazine interview, which was released Thursday.

“It doesn’t sound like a man, it doesn’t sound like a woman,” she said of her signature tone in the Paper feature. “I’m somewhere more in-between. I have this strange style. I do what you do when you can’t hold a note: I don’t pronounce my R’s. I guess some consonants are hard to sing, so I just gotta leave them open.”

Though many consider Cher’s voice to be iconic, she would have gone with something a little different if she had the chance. “I mean, people seem to like it and I’m happy as a clam, but I wouldn’t have picked it. I liked it on my mother and it’s definitely my mom’s voice. My mom’s is softer, mine is edgier — different, but the same, but I don’t think I would have picked it,” she told Paper.

Up next for the singer is the release of her highly anticipated Christmas album, which she revealed she wasn’t the most excited to do. Cher told ET, “I just didn’t want to do a Christmas album. I wanted to do an album with a Christmas theme that would make people feel happy during the holidays, but I wanted to do a Cher album.”

Buffy Sainte-Marie’s Indigenous Identity Questioned by CBC Investigative Report

A new Canadian Broadcast Corporation investigation calls into question the Indigenous identity of singer-songwriter Buffy Sainte-Marie. It’s already opened up a broad conversation about identity and appropriation.

The bombshell investigation aired Friday (Oct. 27) on the YouTube channel of the program The Fifth Estate and will be available to stream on CBC Gem starting at 9 p.m. tonight.



Sainte-Marie is one of Canada’s most decorated musicians. The artist and activist has won the Polaris Music Prize, multiple Juno Awards, an Academy Award for Best Original Song, and is the recipient of the Order of Canada and the Governor General’s Performing Arts Award.

She was named Billboard’s Best New Artist in 1964. She’s been recognized as a champion of Indigenous rights on an international level, from the stage to Sesame Street, where she educated children about Indigenous culture starting in the mid-1970s.

The documentary, however, says some of Sainte-Marie’s family members believe her claim to Indigenous heritage “is built on an elaborate fabrication.”

Sainte-Marie has previously said that she was adopted by her parents, Italian-Americans Albert and Winnifred Santamaria, and grew up in the predominantly white Christian suburb of Wakefield, Massachusetts. Later, as a young adult, she was adopted by Emile Piapot and Clara Starblanket Piapot of the Piapot First Nation in Saskatchewan in accordance with Cree law and customs.

She has mentioned that her mother, who she has said was part Mi’kmaq herself, told her that she was Indigenous and that there was no documentation of her birth. In a 2018 interview on CBC’s Q, she attributed this to the Sixties Scoop, a time in Canadian history when Indigenous children were removed from their homes and put up for adoption.

The documentary, which was made without participation of Sainte-Marie herself, features an interview with her younger cousin Bruce Santamaria, who disputes her claim of adoption. It also features quotes from other family members, including references to alleged sexual abuse. The investigation hinges on her birth certificate, which CBC obtained, which lists her presumed adopted parents as her birth parents and her race as white.

“I can say absolutely with 100% certainty that this is the original birth certificate. Beverly Jean Santamaria [later nicknamed Buffy] was born in Stoneham, Mass., at New England Sanatorium and Hospital on Feb. 20, 1941,” says Maria Sagarino, the town clerk in Stoneham.

Sainte-Marie’s lawyer contends that children adopted in Massachusetts were commonly issued new birth certificates with their adopted parents’ names (which the clerk denies).

Ahead of the investigation, Sainte-Marie put out a video in which she affirms herself as “a proud member of the Native community with deep roots in Canada.” She also put out a written statement entitled “My Truth As I Know It.”

“It is with great sadness, and a heavy heart, that I am forced to respond to deeply hurtful allegations that I expect will be reported in the media soon,” the statement reads. “Last month, the Canadian Broadcasting Corporation contacted me to question my identity and the sexual assault I experienced as a child. To relive those times, and revisit questions I made peace with decades ago, has been beyond traumatic.”

“I am proud of my Indigenous-American identity, and the deep ties I have to Canada and my Piapot family.” In her statement, Sainte-Marie says she was told by her mother while growing up that she was adopted, and that later in life her mother told Sainte-Marie she may have been “born on the wrong side of the blanket,” a phrase typically used to indicate a child born to unmarried parents.

“For a long time, I tried to discover information about my background,” Sainte-Marie says. “Through that research what became clear, and what I’ve always been honest about, is that I don’t know where I’m from or who my birth parents were, and I will never know.”

CBC contextualizes the investigation within a recent series of revelations around high-profile figures whose claims of Indigenous identity have been disputed, including filmmaker Michelle Latimer and author Joseph Boyden and a number of academics.

These thorny cases, often called “Pretendians,” have initiated conversations around who gets to claim Indigeneity and for what end – often to claim benefits or opportunities or shield themselves from criticism. Some Indigenous commentators are wondering whether Sainte-Marie meets the criteria to warrant this kind of scrutiny, and who should get to do it.

Two members of the Piapot family also released a statement, affirming their kinship with Sainte-Marie.

“We grew up knowing that Buffy and our grandparents adopted each other and how deeply committed and loving they were to one another,” the statement from Debra and Ntawnis Piapot says. “Buffy is our family. We chose her and she chose us.”

“No one, including Canada and its governments, the Indian Act, institutions, media or any person anywhere can deny our family’s inherent right to determine who is a member of our family and community,” the family states.

The statement emphasizes the importance of Indigenous sovereignty in determining who can claim Indigenous identity. “Join us in protecting our right to uphold who we claim as family through our traditions and natural laws.”

Responses on X have pointed out that using government records to determine Indigenous identity can be fraught. In Canada, the Indian Act has historically been used to exclude people with clear Indigenous heritage from achieving “Indian Status” under Canadian law.

Many commentators have expressed that the investigation is painful for Indigenous communities.

Others are asking who the investigation serves.

In the CBC investigation, Native studies professor Kim TallBear says she hopes the investigation will be a turning point when it comes to the phenomenon of white settlers claiming Indigenous heritage.

“This one should make it obvious that we have a real problem we have to address and that organizations and institutions and governments need to get on board and figure out how to stop this problem,” she said.

“And if it doesn’t happen after this case, then I don’t know where we go.”

Buffy Sainte-Marie, who is 82, retired from touring earlier this year for health reasons.

This article was originally published by Billboard Canada.

Watch Blink-182 Perform a Mini-Concert in a Denny’s Restaurant to Celebrate New Tour

Whether it’s SoFi Stadium or a random Denny’s in Long Beach, a show is a show. Blink-182 recently staged a concert at one such 24-hour breakfast restaurant, rocking out as if they were playing on a festival stage.

“What the f–k is up, Denny’s?” shouted bassist Mark Hoppus in a clip shared by fans on Twitter, with Travis Barker slamming on the drums behind him.

Inches away from a crowd of fans head-banging along to the music, Tom DeLonge — who only recently re-joined Blink’s lineup — sang “Anthem Part 3″ from the Denny’s floor. The band reportedly only played the one song, but it was enough to remind fans of a meme dating back to 2013, when the band Live Without performed at an abandoned Denny’s and similarly shouted, “What the f–k is up, Denny’s?”

“Coming to stadiums, arenas, and @dennysdiner locations near you in 2024,” wrote the band, which recently announced a North American tour slated for next year, on Instagram.

The Denny’s footage comes just as Blink added two extra songs to new album One More Time on Friday (Oct. 27), which dropped last week and marked the band’s first LP with DeLonge as part of the lineup in over a decade. The new titles, both produced by Barker, are titled “Cut Me Off” and “See You.”

In addition to venues in the United States and Canada, Blink is slated to play shows in Australia, New Zealand, Peru and Mexico next year. After the trio’s dates in North America conclude with a performance in Toronto, they’ll head off to Belfast, Dublin and Glasgow.

See a clip from Blink-182’s Denny’s performance below:

Taylor Swift, Brent Faiyaz & More: Which Is Your Favorite Music Release of the Week? Vote!

Swifties are rejoicing once again, as Taylor Swift has released another re-recorded Taylor’s Version of one of her past albums this new music Friday. This week’s offerings also includes a highly anticipated project from Brent Faiyaz and other stars.

October couldn’t be more decorated for fans of Swift, who is the lead finalist for the 2023 Billboard Music Awards. She’s attended Kansas City Chiefs games to cheer on new love interest Travis Kelce, released The Eras Tour movie, and now, the release of 1989 (Taylor’s Version) is the cherry on top. Previous classics such as “Blank Space,” “Welcome to New York” and “Out of the Woods” have gotten updates that refresh them. And, of course, the “From the Vault” songs don’t disappoint either. Five new tracks, one of which is speculated to be about Harry Styles, delight and further cement that the release of the re-recordings will remain major music events. (See Billboard‘s ranking of the new “From the Vault” tracks here.)

Faiyaz also returns with a new album this week. Larger Than Life — the follow-up to 2022’s Wasteland that debuted at No. 2 on the Billboard 200 — is filled to the brim with guest spots from Missy Elliott, A$AP Rocky, Coco Jones and Babyface Ray and more, but what it provides in celebrity spots does not take away from its essence. The project soars in solo moments during which Faiyaz’s croon is amplified over woozy beats on tracks “Best Time,” “Wherever I Go” and “Forever Yours,” highlighting his distinct style with ease.

Jay Wheeler and David Guetta — with help from Ayra Starr and Lil Durk — also return this week.

Which new music release is your favorite this week? Vote in our poll below.

Megan Thee Stallion Confirms She Has New Music on the Way With ‘Cobra’ Announcement

Megan Thee Stallion announced Friday (Oct. 27) that she is dropping a project titled “Cobra” next Friday, Nov. 3.

Along with the date and title, the rapper shared a revealing photo of herself, her body slick, with the words “Cobra – A Story by Megan Thee Stallion” in orange at the bottom of the image.

She teased “Cobra,” which she has yet to identify as a single or album, earlier this week in a short Instagram clip that had the camera zeroing in on Meg’s lips as they were floating in a black void. “Just as a snake sheds its skin, we must shed our past, over and over again,” she said over an ominous track. Then the camera pulls back to reveal her face — complete with vertical snake eyeballs — and the clip ended with a shot of a pair of dripping fangs. 

“Cobra” seems to also mark her first release as an independent artist, since she revealed in an Instagram Live earlier this month that she wasn’t signed to a label anymore. “This part of my album is very much so funded by Megan Thee Stallion because we’re trying to get off … Y’all know what’s the tea. But I have no label right now,” she explained. “We’re doing everything funded straight out of Megan Thee Stallion’s pockets. So, the budget is coming from me. Motherf—ing Hot Girl Productions! The next s— y’all about to see is all straight from Megan Thee Stallion’s brain and Megan Thee Stallion’s wallet. We are in my pockets, hotties, so let’s do our big one.”

She recently settled a years-long legal battle with her former record label, 1501 Certified Entertainment. The label’s attorneys announced last week that both sides had “mutually reached a confidential settlement to resolve their legal differences” and that Megan and 1501 will “amicably part ways.”

The rapper’s been gradually releasing new music after announcing that she would be taking a break to focus on “healing” in April. “Fans can expect new music when I’m in a better place,” she said in an interview with InStyle. Since then, she released “Bongos” with Cardi B (a follow-up collaboration to their Billboard Hot 100 No. 1 smash “WAP”) and “Out Alpha the Alpha” from the Dicks: The Musical soundtrack. “Bongos” debuted at No. 5 on Billboard‘s Hot R&B/Hip-Hop Songs and reached No. 1 on R&B/Hip-Hop Digital Song Sales.

See Megan Thee Stallion’s announcement for “Cobra” below:

Taylor Swift Reflects on Rumors of Her Sexuality & Defends Her Squad in ‘1989 (Taylor’s Version)’ Prologue

Taylor Swift is addressing speculation around her sexuality and her “squad” of female friends. In the prologue for Swift’s re-recorded 1989 (Taylor’s Version), which dropped Friday (Oct. 27), the musician recalled becoming the “target of slut shaming” in the years leading up to the original album’s 2014 release.

“The jokes about my amount of boyfriends,” she wrote. “The trivialization of my songwriting as if it were a predatory act of a boy crazy psychopath. I had to make it stop because it was starting to really hurt.”

“I assumed I could fix this if I simply changed my behavior,” Swift added. “I swore off dating and decided to focus only on myself, my music, my growth, and my female friendships.”

One of the most memorable of those female friendships was Karlie Kloss, although rumors have swirled in recent years that Swift and the former Victoria’s Secret supermodel had a falling out. But even though it’s been many moons since the two were photographed together, an often intrusive subsect of the Swiftie fandom has speculated on Swift’s sexuality for years and has maintained that Swift and Kloss are in a secret romantic relationship that dates back to 2014.

Swift calls out those and others who speculated about her love life in her next sentence: “If I only hung out with my female friends, people couldn’t sensationalize or sexualize that — right? I would learn later on that people could and people would.”

Further on in the prologue, Swift also thanked her fans for recognizing that her famous “Squad” of famous female friends — which included Kloss, as well as pretty much everyone in the “Bad Blood” music video — was never intended to be mean-spirited, in spite of criticism at the time that said otherwise. “You, who knew that maybe a girl who surrounds herself with female friends in adulthood is making up for a lack of them in childhood (not starting a tyrannical hot girl cult),” she wrote.

The pop superstar is this year’s leading Billboard Music Awards finalist. You can watch the BBMAs on Nov. 19 on Billboard and the BBMA’s social media channels, as well as here.

Read the full 1989 (Taylor’s Version) prologue below: