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Lorde seems to finally be answering her fans’ prayers for new music, with the pop star randomly dropping a snippet of an unreleased song on TikTok Wednesday (April 9) ahead of her highly anticipated fourth studio album. In the seconds-long clip, Lorde — wearing a white button-down and jeans — films herself walking through Washington […]
Sony has unveiled its latest superstar partnership with none other than chart-topper Post Malone. The global star has teamed up with the brand for the launch of its new Ult Power Sound series, part of Sony’s For The Music audio brand campaign, the company announced on Wednesday (April 9). According to the release, Sony picked […]
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. Make room on your shelf, because the very first P!nk Funko Pop! collectible is finally here. Inspired by her 2023 Trustfall […]
Ye (formerly Kanye West) has been staunch in his support for Donald Trump since the business mogul’s first presidential term. During a stream with Digital Nas on Tuesday (April 8), the embattled rapper claimed that Frank Ocean attempted to talk him out of supporting the twice-impeached president prior to the 2016 election.
“Frank Ocean p—y a– come over my house talking about Trump all day and how I shouldn’t support Trump,” he said. “N—a f–k you know about politics and n—a I’m your motherf—ing senior, OG, y’all used to come on tour with mea.”
Ye continued: “None of you n—-s can tell me about politics n—a. F–k you think? You read a book and now you can tell me some s–t? None of these n—-s as talented. I’m the greatest motherf—ing artist that ever existed. They can just be slightly better at one thing cause they only do that one thing.”
Billboard has reached out to Ocean’s reps for comment.
Ye — who has faced continued backlash for his ongoing hate speech — hasn’t been shy about his support for Trump over the years. He originally had a pro-Trump rant during his Saint Pablo Tour in 2016 and met up with the president at Trump Towers in December 2016 for a photo op.
He pulled up to the White House in 2018 while rocking a red MAGA hat, where he spoke about his appreciation for the president and met with Trump at the Oval Office. Ye kept the MAGA hat on throughout the year and even wore it during his appearance on Saturday Night Live.
While Ye opposed Trump in 2020 during his own brief presidential bid, he came back to support Trump — who has since been convicted on 34 felony charges in his hush money case — for the 2024 election as DT defeated Democratic nominee Kamala Harris.
Around the time of the alleged conversation between Ocean and Ye in 2016, they had been collaborative on the music side. Ocean helmed “Frank’s Track” on The Life of Pablo, while West had a cameo on Blonde‘s “White Ferrari.” Ocean hasn’t released a project since.
However, West’s tune changed in March when he claimed during an explosive interview with DJ Akademiks that “Moon” from 2021’s Donda album was the end of his former collaborator’s time in music.
“Like when I made, ‘Moon,’ it basically ended Frank Ocean’s career. He ain’t have a song since then. He talking, ‘Sipping some wine.’ I knew it I heard it, I was like, ‘Oh, this n—a not gonna be able to make another album again,’” he said. “Any genre of music that anyone has, I make a better version of it. I’m 10 times stronger at music than anyone living.”
Machine Gun Kelly will see your jokes and raise you more jokes. The rap/rocker took to his Instagram Story on Tuesday (April 8) to double-down on an Onion headline tweaking the new dad just weeks after MGK’s former fiancée, actress Megan Fox, gave birth to the couple’s first child together.
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“Megan Fox Confirms She and New Baby Will Co-Parent Machine Gun Kelly,” read the lightly teasing headline, which MGK re-posted along with three laughing crying emoji. That same reel featured a re-post of footage of the rapper performing his 2024 Trippie Redd collab “Beauty,” with a caption that paid tribute to his first-born, 15-year-old daughter Casie Colson Baker. “the girl dad was performing his rap song ‘beauty’ at his birthday party on April 22, 2024, and his daughter casie was vibing to it. she knows it’s a bop,” it read.
In another slide, Kelly hangs with Casie and implores her not to read the comments on one of his performance videos. “Why? They’re not bad,” she says, as he frets, “I know but of them, just like, I see certain words and I’m like, ‘aaaahhh.’”
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In an Insta post titled “dad.,” Kelly, 34, appears in a series of selfies in which he wears all black outfits, goofs around with Casie, shows off his Rolls Royce and hangs with pals Travis Barker, Camila Cabello and Atlantic Records VP of A&R Keith “Keefa” Parker aka “Keefa Black.”
Fox gave birth to her fourth child — she has three others with former husband Brian Austin Green — on March 27. To date the formerly engaged pair have posted some face-obscured photos of their newborn daughter’s and not much else. But last month Kelly threw cold water on suggestions that they’d named their little girl “celestial seed.”
The confusion came after MGK announced in an Instagram post that he and Fox, 38, had welcomed their first child along with a picture of his daughter gripping his fingers, writing, “She’s finally here!! our little celestial seed. 3/27/25.” After headlines suggested that the baby’s name was actually “Celestial Seed,” MGK clarified in his Stories, “wait guys… her name isn’t ‘Celestial Seed’ [crying laughing emoji] her mom is gonna tell you the name when we’re ready.”
Bootsy Collins‘ endless alter-egos — Boot-Tron, Zillatron, King of the Geepies, Bootdullivan, Bedroom Bootsy and, of course, Bootzilla — have always battled for space inside the funk pioneer’s brain. But early in his career, as a teenager in the early 1970s, they hit a wall. “All them boys have wanted to do all kinds of genres, but when I was coming up, I got stuck with James Brown,” the bassist recalls with a laugh. “It’s hard to get out of that funk, you know?”
Collins, now 73, was playing with Cincinnati’s Pacesetters in 1970, when Brown sent a Learjet to fly the band to a Columbus, Ohio, gig, abruptly replacing his own disgruntled road band. The Pacesetters, who’d been hanging around Brown’s King Records studio, knew his songs and could play any of them on demand. “I said, ‘Just call out whatever song you want to go into. We got you,’” Collins recalls. “That’s how we made it through that night — but after that night, we had about two weeks of straight rehearsal, every single day. Which we were used to anyway.”
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Collins and company scrupulously adhered to Brown’s funk orthodoxy for a year. Then, for a gig at the Copacabana in New York, Brown cut the band’s pay and forced them to wear jackets and ties, so they split. Collins went on to join another funk pioneer: George Clinton, whose alternating bands Parliament and Funkadelic were innovating a looser, more improvisational and funnier style that would help define Black music in the ’70s.
In P-Funk, Bootzilla and the rest of Collins’ alter-egos found a receptive home. “By the time I got with George, I got a little more freedom — well, a lot more freedom — to do funk. And the name was Funkadelic,” he says, in an audio-only Zoom from his Cincinnati home, along with his wife and manager, Patti Collins. “So what am I going to do? Am I going to come there and play everything else but funk? No, you’ve got to bring the funk: ‘I’m up to my trunks in P-Funk.’”
Collins — whose bass style “had sap flowing through it, it moved,” according to Brown’s biographer R.J. Smith — was part of a funky bass coalition in the ’70s, including Larry Graham of Sly and the Family Stone and the late Louis Johnson of the Brothers Johnson, which brought the instrument into the foreground. Collins had unlimited musical creativity, and a weird, say-anything persona that he capped with star-shaped shades, bright-colored suits and spangled ringleader hats. And he made several great albums with his solo outfit Bootsy’s Rubber Band, notably 1977’s Ahh… the Name Is Bootsy, Baby. But even then, he felt limited.
“I just got caught, like, ‘OK, Bootsy’s thing is funk,’ so everybody levitated towards that — except me,” he says. “I wanted to play other music, but it was who I wound up with that solidified what I was going to be and what I’m supposed to be doing.”
Collins’ Album of the Year #1 Funkateer, due April 11, allows all these musical detours and imaginary best friends to do whatever they want. In addition to straightforward funk (“The InFluencers,” with guest star Snoop Dogg, a vocal P-Funk adherent), Collins travels into guitar-shredding metal (“Barbie T & Me”), electronic dance music (the murmuring “I.Am.AI,” with competing robot voices) and hip-hop (“Bootdullivan is Soopafly”). Collins’ solo albums in recent years have been long and varied, unlike the Bootsy’s Rubber Band days, when he hit the studio, jammed with his bandmates and occasionally turned on the recording machines.
“Those jams were just so long. You could only put so much on an album back in the day without it not sounding good,” he says. “I never thought we were going to be doing as many songs as I’m doing now, but that’s where technology has taken us.”
On the Zoom, Bootsy and Patti Collins discuss a number of projects, beginning with Bootzilla Records, the pair’s indie label, distributed through Jay-Z‘s Roc Nation, which puts out Collins’ own albums as well as a roster of young artists he discovers online, such as singers Fantaazma and Myra Washington. Collins is also working on an album for guitarist Buckethead, with whom he collaborated in experimental-music bandleader Bill Laswell‘s band Praxis in the ’90s. He’s working with the Wooten Brothers, jazz, funk and bluegrass stars, on an album. And he’s in touch with his old P-Funk mate, Clinton, for the first time in years, discussing a tour.
The two reconnected last summer, after then-Vice President Kamala Harris bought a George Clinton Funko Pop doll during a campaign stop, then asked reporters, “Do you know P-Funk? No. OK, well there are lessons to be taught. Bootsy Collins. Does everybody know who Bootsy Collins is? OK, there’s some education to be done, I can see that.”
So what education needs to be done? Collins explains that P-Funk made great albums, performed on tour for thousands of fans and became influential for generations of best-selling artists from hip-hop stars like Snoop Dogg and Ice Cube to funk bands like Red Hot Chili Peppers and Fishbone, but never hit that multiplatinum megastar stratosphere. “Of course, we sold some gold and platinum records, but it wasn’t like Prince, it wasn’t like Rick James, it wasn’t like all the big boys that raised all that noise with all those records,” Collins says. “Funk was a bad word when we first brought it. Radio wouldn’t even touch us in the beginning. But it was something that the people stood up for and I would never forget that. And that’s what Kamala was talking about: ‘I’m going to have to educate y’all.’”
From touring with Taylor Swift in 2013 to selling out stadiums on his own in the years since, Ed Sheeran has performed on some pretty big stages in his career — but the Super Bowl Halftime Show probably won’t ever be added to that list, he says.
On the latest episode of Call Her Daddy posted Tuesday (April 8), the “Bad Habits” singer opened up about his friendship with the Eras superstar as well as revealed whether he’d ever headline the biggest American sporting event of the year. When host Alex Cooper asked if he’d ever been asked to play the Super Bowl, he began, “There was a conversation about 10 years ago to go on with someone, and I think that’d be the only way that I would do it at the moment.”
“I don’t think English artists … I mean, there are some that have the pizazz of Super Bowl, fireworks, dancers, blah, blah, blah, but me going up there and being like, here’s ‘The A Team’ and here’s ‘Perfect,’ no one wants to see that,” Sheeran continued, laughing. “Whereas if there was a show with a lot of that, like if it was Beyoncé’s show, and she had all the bells and whistles, and then there was a moment where we sang ‘Perfect’ together, that makes sense to me.”
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The four-time Grammy winner did say that he thinks he could “nail one song” as a guest artist sharing the Super Bowl stage with someone else, but beyond that, he thinks his catalog “doesn’t really lend itself” to the high-energy gameday environment. “Have you seen me play as well? Because it’s with a loop pedal and you have to build the things,” he added. “Doesn’t really lend itself to the Super Bowl. ‘Hey, hang on guys. I’ve just gotta set this up for two minutes.’ You know?”
The interview comes about two months after the 2024 Super Bowl, which Kendrick Lamar headlined with assistance from SZA. In recent years, Usher, Rihanna and The Weeknd have also all added the coveted gig to their resumes.
One star who has generated much speculation over the past few years as to whether she might ever headline is Swift, whom Sheeran has known for more than a decade. Also on Call Her Daddy, the “Shape of You” musician opened up about his longtime friendship with the pop star, sharing that he recently went through their text conversations after being forced to dig out his old devices while preparing his defense for his ongoing legal battle over copyright issues.
“It was really nostalgic going through,” he told Cooper. “I lived in Nashville, and she lived in Nashville, and we used to fly to and from the gigs together and do all sorts of … I don’t know. I literally spent almost every single day with her for about six months, so I think that period of time [was my favorite].”
Sheeran opened for Swift on the North American leg of her global trek supporting 2012’s Red album, on which the pair had a duet titled “Everything Has Changed.” The two singers have since worked together on several more duets, including “End Game” on Swift’s Reputation (2017) and “The Joker and the Queen” on Sheeran’s = (2021).
Now, the British star says he probably sees the “Karma” artist “like, four times a year.” “I see her when I see her,” he said on Call Her Daddy. “Like, instead of catching up the whole time, we have a proper sit-down, six-hour catchups, and I think that’s like a really nice way to do it.”
Watch Sheeran’s full interview above.
Lucy Dacus reaches No. 1 on Billboard’s Top Rock Albums and Americana/Folk Albums charts for the first time as a soloist, debuting atop the April 12-dated surveys with Forever Is a Feeling. Dacus’ fourth solo LP bows with 30,000 equivalent album units earned in the U.S. in the week ending April 3, according to Luminate. […]
All Sheryl Crow wants to do is listen to Kelly Clarkson‘s new cover of “All I Wanna Do” on repeat. After the talk-show host sang a gorgeous rendition of the early ’90s hit for the latest installment of The Kelly Clarkson Show‘s Kellyoke segment, the guitarist had nothing but praise when commenting on a video […]
What is the scent profile of Duran Duran? It’s an intriguing question that, until now, didn’t have a definitive answer. It feels safe to assume that the members of the always well-appointed new wave group would never leave the house with an unbecoming scent (or their hair just so).
But now you can get the actual eau du Duran thanks to the band’s collaboration with Italian luxury perfume house Xerjoff on two unisex perfumes created with Singer Simon Le Bon and keyboardist Nick Rhodes, along with bassist John Taylor and drummer Roger Taylor. Rhodes tells Billboard that the two scents, NeoRio and Black Moonlight, are the perfect parfum essences to encapsulate the long-running group’s dueling musical personas.
“We’ve spent our entire careers dealing with two senses: sounds and vision, which we’ve primarily used to communicate and try to excite other people’s sense,” says Rhodes, 62. “And the thought of adding a third, sense of smell in this case, was enormously appealing.” Rhodes says his band was inspired to work with Xerjoff after the company’s 2021 collaboration with Black Sabbath guitarist, and fellow Birmingham, U.K. native, Tony Iommi on his Monkey Special scent.
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Rhodes says the band approached the idea of a scent just as they would songwriting, with a “blank sheet,” providing the Xerjoff team with a list of smells they liked. “Some people like the smell of freshly cut grass, nobody doesn’t like that,” Rhodes says. “But it doesn’t mean you want to smell like that all day.”
Working with brand founder Sergio Momo, Rhodes says he and Le Bon were counseled to not just think of flowery scents like roses or gardenias, but to instead open their noses to anything from the smell of paint drying on the wall or that unmistakable whiff of a new book when you first crack it open to aromas you might not associate with a fragrance such as petrol or leather.
“It was more abstract, like if you’re in a room at a museum and staring at your favorite painting and getting the essence of that,” he says, with the discussion then moving on to imagery Momo gleaned from the feelings and moods Rhodes and Le Bon described, such as the funk of a nightclub or a field of flowers.
They narrowed their scent preferences down to five or six, three of them dark and mysterious and the other three sparkly, bright and full of energy, which resulted in two “radically different” fragrances, NeoRio and Black Moonlight. Rhodes says the latter — described as “an homage to the eerie and mysterious world that they so often explore through their music and videos, with a scent that oozes intrigue and sensuality” — was closer to his personality, while Le Bon was more tugged toward the sunshine.
That explains why the profile of Black Moonlight promises to wrap you in a “veil of sophistication” thanks to a mix that includes: “Bergamot and mandarin awaken the senses, whilst saffron, lavender, Sambac jasmine and hazelnut envelop you in an intimate embrace.” The scent is also grounded by base notes of patchouli, vetiver, Tonka bean, and benzoin “to create a rich, timeless scent that mirrors Duran Duran’s ability to blend art, innovation, and emotion.”
In an effort to mirror DD’s career-long musical balance of hopeful optimism with a darker, slinky feeling, the exhilarating NeoRio is described as being as “magnetic and unpredictable as the band itself,” [combining] an “irresistible burst of candied fig and rum with the sparkling freshness of elemi absolute, before unfolding with the fiery warmth of saffron and the elegance of soft rose oil, all anchored by the creamy richness of Tonka bean and the timeless depth of balsam from Peru.”
Rhodes says working with chemist Momo was a revelation, as the “Willy Wonka of perfume” brand boss “seems to have this lexicon of every single scent in the world at his fingertips.” In the end, he says the pair followed their instincts like they do when recording an album, with the resulting fragrances so perfectly representing the identity of the band that Rhodes thinks they could be two songs in DD’s catalog.
“Duran Duran have shaped music and style for over four decades, making them the perfectpartners for not just one, but two Xerjoff Blends creations. Their innovative spirit helped inspire every element of this project, from the scent to the packaging,” said Momo in a statement announcing the two fragrances, which are available to buy here now. “Both scents embody the essence of Xerjoff Blends – where artistic visions unite to create a truly unique, multisensory experience. Collaborating with the band members on every detail of this project has been a very special experience.”
As for the most important real-world test, Rhodes confirms that he’s worn his preferred scent out in the world and that at present he and his partner have been at odds over who gets to wear which one. “We have a battle at home because I’ve usually got the one on and my partner’s got the other one on and when we pass in the corridor they intermingle and some days we both end up with the the same one,” he says.
Duran Duran are gearing up for a run of European arena and festival shows this summer beginning on June 3 with the kick-off gig at the Nokia Arena in Tamepere, Finland.
Check out the promo videos for the fragrances below.
