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Grimes is setting the record straight about her breakup with Elon Musk after Azealia Banks claimed that the billionaire “dumped” the “Oblivion” artist.
The interaction was sparked by, of all things, a misunderstanding over a piece of AI-generated Wicked artwork that portrayed Grimes as Glinda and Banks as Elphaba, aka the Wicked Witch of the West. When the Canadian musician jokingly tweeted that the casting “wouldve been kinda lit,” the New York rapper wasn’t happy.
“girl the way u are still trying to hold out on some weird a– innocent bulls–t years later after u got dumped, cheated on …,” Banks wrote on X Thursday (Dec. 26). “and still trying to paint me like the villian and act like ur above me … U can really quit mentioning me. I know you wish you could be my bestie but b—h….. it’s f–king boring as hell.”
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Grimes quickly responded, telling Banks, “It’s just a funny joke bro. not trying to paint u as a villain.”
“i didn’t ‘get dumped,’” the Elf Tech founder continued of her split from Musk, with whom she shares three children. “I bounced. My amazing baby is asleep in my bed beside me, I’m in love. no regrets. Life is as beautiful as u want it to be.”
“Ur insanely talented,” Grimes added. “even after all this, I want u to win. god bless Mlady.”
Later, the singer conceded that Banks is “the best hater on the planet” in a response to a fan. “The da Vinci of insults,” she added jokingly. “At a point I just gave up and accepted that I appreciate the madness of existence.”
Grimes and the Tesla businessman had an on-again, off-again relationship that lasted from 2018 to 2022. In 2020, they welcomed their first child — a son named X Æ A-Xii — and later became parents to daughter Exa Dark Sideræl (now 3) and son Techno Mechanicus (2). Musk is also Dad to seven children he shares with his first wife, Justine Wilson, and twins Strider and Azure, whom he shares with Neuralink director Shivon Zilis.
In November, Grimes alluded in a lengthy tweet to having struggled through a custody battle. “Spent a year locked in battle in a state with terrible mothers rights,” she wrote at the time. “having my instagram posts and modeling used as reasons I shouldn’t have my kids and fighting and detaching from the love of my life as he becomes unrecognizable to me, with a fraction of his resources (or iq/ strategy experience), all the while I didn’t see one of my babies for 5 months. And this is only what can be said publicly, since most of my experience these last years should remain behind closed doors.”
The X exchange isn’t the first time Banks has had things to say about Grimes and the soon-to-be co-chair of government efficiency, as newly appointed by president-elect Donald Trump. In 2018, the “Luxury” musician vented on her Instagram Story that she’d “been sitting at Elon Musk’s house alone for days waiting for Grimes to show up” so that the two musicians could collaborate.
“Staying at Elon Musk’s house has been like a real life episode of Get Out,” she’d added shortly afterward.
Dua Lipa‘s fans believe she may soon be levitating down the aisle, as they are convinced that the pop star is engaged to Callum Turner after about a year of dating.
Speculation that the two stars are planning to get hitched began after the “Houdini” singer shared a festive Instagram post chronicling her Christmas break Tuesday (Dec. 24), with a ring on that finger spotted in some of the snaps in the carousel. Then on Friday (Dec. 27), she shared another carousel of her Christmas. Wedged in between photos and videos of Lipa modeling a Santa hat, showing off her home-cooked turkey and watching old family tapes, a couple of snaps show the musician again wearing what appears to be a sparkly band on her ring finger.
That detail did not go unnoticed by Lipa’s fans, who flooded her comments sections — which have limited commenting on posts dating back to late September — with questions about her relationship status with the Fantastic Beasts star. “ARE YOU ENGAGED!? That ring on the first pic omg,” one fan commented on the Tuesday post.
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“are youuu engaged dua!? happy for you💙” another person asked on the Friday carousel, while another fan wrote, “Can we see the ring?”
Billboard has reached out to reps for Lipa and Turner for comment.
The pop star didn’t provide any further hints in the caption of her Friday post — “Christmas was vvvv cute 🎄 the turkey was some of my best work 👩🍳💋,” she simply wrote — nor did she feature the British actor in it. Turner did, however, appear in her photo dump two days prior, with Lipa sharing a sweet, semi-blurry selfie with her boyfriend captioned, “home for the holidays.”
Lipa and the The Capture alum first sparked dating rumors in January, when the former reportedly attended the latter’s Masters of Air premiere in London. In July, the couple went Instagram official, with the three-time Grammy winner sharing adorable snaps from Glastonbury with Turner at her side.
In addition to nurturing her romance with Turner, Lipa also dropped her third studio album this year. Radical Optimism arrived in May and debuted at No. 2 on the Billboard 200.
In her December cover story interview with Billboard U.K., the “Levitating” artist reflected on 2024 being “the best year of my life.” “There came a point in the year where I was thinking, ‘I’ve got to sit down and write some new dreams and new plans and other things I wanted to do,’” she said at the time. “I feel like I ticked so many of my boxes this year. It’s amazing.”
It’s a rare condition, this day and age, to read any good news on the newspaper page — and yet Doechii is here to give you some great news before this day goes by. Explore Explore See latest videos, charts and news See latest videos, charts and news On Thursday (Dec. 26), the fast-rising rap […]
Cynthia Erivo is changing Wicked for good, from her performance as Elphaba to the original song she helped write for the second movie.
While serving as a guest on the latest episode of Variety‘s Awards Circuit podcast posted Thursday (Dec. 26), the 37-year-old singer-actress revealed that she worked with composer Stephen Schwartz on crafting an original track sung by her character in the upcoming sequel to November’s Wicked Part 1. “I don’t know if you’re ready for it,” she began.
“I mean, I love the song and I remember when we filmed it, the cast and crew were crying,” she continued. “I don’t know if that’s just because they were emotional that day or that’s what the song does.”
“I feel like the song is very, very special,” Erivo added. “I have a feeling that even the title will move you.”
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The Pinocchio star didn’t reveal any further details about the track, which will seemingly appear on the soundtrack for the November 2025-slated Wicked: For Good alongside the film cast’s versions of Schwartz’s original songbook for the Wicked Broadway musical. The soundtrack for the first film recently opened at No. 2 on the Billboard 200 — the highest ever debut for a big-screen adaptation of a stage musical on the chart.
Schwartz, however, previously revealed that he and director Jon M. Chu had worked to add two new songs to the Wicked soundtrack, both of which fans will hear for the first time in Part 2. “The storytelling required it, and therefore they were created,” he told The Messenger in early December. “The intention was that they were organic and not imposed on the movie.”
The Variety podcast arrived on the same day the Wicked cast — which also includes Ariana Grande, Jeff Goldblum, Jonathan Bailey and Michelle Yeoh — announced that Part 1 will become available to stream at home Dec. 31. The digital release will include extended content and deleted scenes previously not included in the nearly three-hour film, including a hilarious snippet of Glinda giving Elphaba thorough instructions on how to toss her hair and “talk with your eyebrows.”
“It’s time to relive the experience together,” Erivo says in a clip posted to Wicked‘s socials Dec. 26. “Sing your heart out in the comfort of your home. There is nowhere like home to watch Wicked.”
See the announcement below.
Rumors of a 50 Cent and Eminem joint album have been floated for decades, and the “Patiently Waiting” duo added fuel to the fire this week. The G-Unit boss responded to the headlines generated by Em, with 50 claiming he’s feeling inspired to get back in the booth, but not until he’s done with his […]
John Legend‘s daughter Luna Stephens, his eldest of four children with wife Chrissy Teigen, led her first interview — outside of a school homework assignment — with Dad, on behalf of Billboard Family.
Young Luna, age 8, conducted the on-camera Q&A like a pro for the latest episode of Billboard Family‘s new video series of kids interviewing their famous parents. Watch the father-daughter conversation in the video that’s seen above.
It all starts off with cute small talk, with Luna negotiating the age she’ll be allowed to get a smartphone (Dad’s leaning toward 16, while Luna’s eyeing 9), before focusing on Legend’s Grammy-nominated children’s album, My Favorite Dream.
“I wanted to make a children’s album because now that I have four kids, and I’ve watched all of you guys react to music and fall in love with music in different ways, I felt like I was inspired to write an album for my kids, and all the other kids that are out there and their parents too,” John tells Luna of the collection, which was released on Aug. 30 and is nominated for best children’s album in the 2025 Grammy Awards.
Luna comments on how cool that is and delves into Dad’s inspiration for the title of My Favorite Dream, his favorite part of making the album and more.
“My favorite thing was singing with my wife and my two oldest children, Luna and Miles. Do you know Luna and Miles?” John teases.
They all sing together on the album single “L.O.V.E.,” one of the original children’s songs he wrote for the album he produced with Sufjan Stevens. Recording vocals on the song “was fun” and somewhere “in between” hard and easy, Luna tells her dad during their convo.
Eight-year-old Luna not only sang on “L.O.V.E.,” but also designed the art for all the single covers for the My Favorite Dream. Her design work is also seen on hoodies currently available on John’s webstore.
“You and I, that’s one of the ways we bond with each other,” John reminds Luna in their interview. “We draw in the playroom together. It was very natural for you to design the single covers for the album. You killed it. You did a great job.”
“L.O.V.E.” is one of Luna’s three favorite songs on her dad’s album, along with “Always Come Back” and “Three Little Birds.”
John shares “Always Come Back” as a top pick. He’s candid about why the song is so personal to him in his Q&A with Luna.
“I wrote it for you guys,” he tells Luna. “I have to travel a lot for work. Mommy has to go away for work sometimes. But we’ve always been telling you since you were a little baby that Mommy and Daddy always come back. When I wrote that song, it was very emotional for me because the day I wrote it I was actually leaving to go away for a while, and I played it for you guys. It will always have that kind of sentimental feeling.”
“I try not to leave for more than two weeks because it feels so long when I’m gone for two weeks. I feel bad about it sometimes when I leave you. That song makes me feel better about it,” John says.
Watch Luna’s full interview for Billboard Family to hear John’s reaction to his children’s album being nominated for a Grammy, his thoughts on the 20-year anniversary of debut album Get Lifted, what he’s working on next (Broadway music!) and his favorite part of his job.
My Favorite Dream is available to purchase or stream now. It’s nominated for best children’s album at the Feb. 2, 2025 Grammy Awards alongside Lucky Diaz and The Family Jam Band’s Brillo, Brillo!, Lucy Kalantari & The Jazz Cats’ Creciendo, Rock for Children’s Solid Rock Revival and Divinity Roxx and Divi Roxx Kids’ World Wide Playdate.
Japanese singer-songwriter Fujii Kaze released a concert Blu-ray & CD called Fujii Kaze Stadium Live “Feelin’ Good” featuring his biggest solo headlining shows so far by the same name that took place at Nissan Stadium in Kanagawa, Japan on Aug. 24 and 25.
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About 140,000 fans flocked to see the shows over the two days that vividly conveyed Fujii’s magnetism as an artist — exceptional musicianship, outstanding entertainer’s spirit, a laid-back, natural presence that makes you forget you’re seeing him in a stadium setting, and a loving mind that looks out for each person in the audience. This writer also attended one of the shows and the two-hour set was an experience that left a lingering sense of euphoria.
The package delves deeply into the concert experience from various angles. Those who went to the shows will be able to relive the excitement, and for those not familiar with Fujii Kaze will be able to understand why he is loved by so many.
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The Blu-ray is a two-disc set, with Disc 1 containing live footage compiled mainly from the show on Aug. 25. Kento Yamada, a filmmaker who also directed the show itself, helmed the visuals for the concert film as well. Disc 2 contains the approx. 70-minute Feelin’ Good (Documentary) film, which shows fans the behind-the-scenes of the shows. This doc directed by filmmaker Elizabeth Miyaji contains a new interview of the 27-year-old musician, who speaks candidly about the concept of the shows and his thoughts on the project. The CD contains 16 tracks personally selected by the singer himself. The following are some highlights from the visual and audio discs.
The concerts were full of various gimmicks and stage effects, and by capturing them on video, they become easier to understand and enjoy. The show kicks off with Fujii suddenly appearing in the stands. As cheers break out, he slowly walks down the stairs near the audience and heads for the grand piano placed on the grass in the center of the arena. The camera also highlights the genuine expressions of surprise and joy on the audience members’ faces.
The impressive stage set was like a theme park with a stairway, bridge, and garage covered with vegetation. Based on Fujii’s desire to create something that evokes a sense of nature, Yamada meticulously crafted the set down to the smallest details, including the texture of the soil and the small objects inside the garage. The huge LED screen behind the stage displayed images like city and sky, designed to help create the impression of a single world when fused with the layout onstage.
The dancers’ performances were also notable. In particular, the multi-talented artist and his dancers performed choreography that was perfectly in sync for “Kirari” and “Kiri Ga Naikara” in the middle of the show. While Fujii is well-known for singing along to his own virtuoso accompaniment on the piano, his dance performances also showcase his star power.
The “Nan-Nan” hitmaker says in the documentary that the keyword for this show is “youth” (seishun). Sharing the fresh energy of youth with the 70,000 people in the stadium, with live renditions of “Seishun Sick,” sung while swaying with his dancers arm-around-shoulder, and an 8-beat punk rock version of “Tabiji,” was also one of the highlights of the concert.
While the respective visual projects on the Blu-ray discs are quite close to perfection, the recording on the CD allows fans to enjoy the you-are-there vibe of the show. The band members consist of Yaffle on keyboards, who also serves as band master, TAIKING from Suchmos on guitar, Naoki Kobayashi on bass, Norihide Saji on drums, Takashi Fukuoka on percussion, and ARIWA from ASOUND and Emoh Les on backing vocals. The funky, danceable beat of “MO-EH-YO (Ignite)” and the rich harmonies of “Shinunoga E-Wa” are just some of the highlights of the live arrangements.
Looking back over this past year, Fujii took on many challenges and overcame them all. From May to June, he traveled to North America for his first solo headlining trek in the region called Fujii Kaze and the Piano U.S. Tour, selling out both shows in Los Angeles and New York. From October to December, he visited 10 cities in Asia and performed in arenas for his Best of Fujii Kaze 2020-2024 ASIA TOUR, which also ended on a high note.
Fujii released only two new songs in 2024 — “Michi Teyu Ku (Overflowing),” the theme song for Tomokazu Yamada’s first feature film April Come She Will that became his fifth track to rack up 100 million streams in Japan, and the A. G. Cook-produced “Feelin’ Go(o)d,” released in July — but appears to be actively working on other tracks. The stadium concerts and arena tour were like a culmination of Fujii’s career to date, and fans are looking forward to experiencing his new mode of expression in the coming year.
This article by Tomonori Shiba first appeared on Billboard Japan. Fujii Kaze is stylized in Japanese order, surname first.
Beyoncé turned NRG Stadium into the Beyoncé Bowl on Christmas Day, and Billboard was there to watch history in the making.
From the moment fans drove into the stadium’s parking lot, it was clear this wasn’t just any NFL game — it was the Beymas of our dreams. Even though the Houston Texans and Baltimore Ravens were battling for a spot in the AFC Championship, the real anticipation was for the mid-game Beyoncé concert.
The stadium felt like something out of a holiday movie. Holiday decorations were everywhere — Christmas trees, glowing lights and even the Grinch made a few appearances. Each concourse was a true seasonal scene, even featuring photo setups throughout for fans to snap pictures in their Cowboy Carter getups.
And the crowd? Outfits were split 50% NFL gear and 50% Cowboy Carter/Beyoncé merch. Rhinestone cowboy hats, custom denim jeans, fringe jackets, and lots of cowboy boots took over.
Music was everywhere. DJs posted across different levels of the stadium kept the Texans fans turnt up before, during and after the game. And let’s talk about the food: Bun B’s Trill Burgers were being served in custom Beymas and Trillmas boxes that felt more like collectibles than packaging. And on every seat, a Cowboy Carter-themed light-up wristband sat waiting, ready for what was to come at halftime.
The celebration of Houston pride extended beyond the performers. Throughout the day, some of Houston’s brightest stars were spotted in the crowd, including Liza Koshy, Tobe Nwigwe and Mo Amer.
Pentatonix kicked off the performances of the day with their stunning version of the national anthem. The Texas-born a cappella group nailed every note, giving the stadium a powerful and emotional moment. What made it even more special was that three of the group’s members — Kirstin Maldonado, Mitch Grassi and Scott Hoying — have their roots in Arlington, Texas, showcasing how the great state produces artists.
But when the lights dimmed for the halftime show, you could feel every single person freeze in place. The big screens came alive as Tanner Adell, Brittney Spencer, Reyna Roberts and Tiera Kennedy performed “Blackbiird” together. Their voices were soft and enchanting, echoing through the stadium as well as the big screens, but the crowd was anxious, looking around — scanning the field, all thinking the same thing: Where’s Beyoncé?
And then — BANG! — she appeared. The second she hit the field, the stadium erupted, Texas style. It wasn’t just loud; it was visceral. We get chills just thinking about it.
For 13 minutes, nobody moved. Sure, people screamed, clapped, maybe even cried, but mostly, everyone just stared. It felt like time had stopped. Beyoncé wasn’t just performing; she was commanding. Every look, every step, every note — it was all sharp, deliberate and locked in. It felt bigger than a halftime show. This wasn’t just another stadium stop. It wasn’t another performance to check off a list. It was home.
And then came Beyoncé and Jay-Z’s daughter Blue Ivy. The second the crowd noticed her on the field, the vibe shifted from excitement to being in awe. At age 12, she walked onto that field with purpose. Her focus was sharp, her steps confident and her presence undeniable. It was special because of how she carried herself. There wasn’t an ounce of hesitation in her movements. No nervous glances, no second-guessing, just confidence. Blue Ivy didn’t step onto that field to prove anything; she stepped onto it because she belonged there.
And this wasn’t about Beyoncé passing the torch because Blue Ivy is the torch. She’s not waiting for her moment; she’s already living it. Holding her own next to one of the greatest performers of all time, she isn’t following her mother; she’s walking alongside her, carving her own path. Blue Ivy isn’t next. She’s now.
One of the most powerful parts of the night came from the Texas Southern University’s Ocean of Soul Marching Band, one of the most respected HBCU bands in the country — and it’s Houston’s band. For Beyoncé to feature TSU on this stage, in this moment, in this city, wasn’t just meaningful. It was intentional. It felt like a tribute to her roots, to her community and to the legacy of HBCUs and the role they play in culture and music.
Then Shaboozey hit the stage, and it felt like the energy shifted again. His voice was deep and steady as it rolled through the stadium. Their collaborations on Cowboy Carter — “Spaghettii” and “Sweet Honey Buckiin” — are timeless at this point. And seeing him up there, standing next to Beyoncé, solidified that this wasn’t just an artist who got a lucky break. He is someone who deserves to be here.
The biggest Texas surprise was Post Malone coming out to perform “Levii’s Jeans,” and the crowd lost it all over again. Two Texas Titans — Beyoncé from Houston and Posty from Dallas-Fort Worth — standing side by side together. To be in Houston, it wasn’t like they were just performing together. They were representing being Texans in a way that couldn’t have happened anywhere else but here.
As “Texas Hold ’Em” marked the finale, Beyoncé rose above the stage on a platform before a massive “BANG!” banner dropped, and the wristbands across the stadium lit up in perfect unison.
As the show ended and the platform lowered, Beyoncé raised her fists in the air. She didn’t need to say anything. That moment said it all — pride, triumph and gratitude were written all over her face and the stadium did nothing but clap and cheer, unbelievably thinking about what they had just witnessed.
Beyoncé is more than just the greatest pop star of the 21st century. She creates experiences. And on Christmas night, in her hometown, she delivered what will go down as one of the greatest performances of her career.
Record producer Jay David Saks, who died last month, left behind a rich and unique legacy, one that spanned the worlds of classical music and Broadway cast albums. But it all began a member of a “one-hit-wonder” group which had a top 40 hit on the Billboard Hot 100.
Saks died on Nov. 16 of Parkinsonism-related causes. He was 79. News of his death was confirmed by Peter Gelb of The Metropolitan Opera.
Saks won 13 Grammys between 1983 and 2014, eight for classical music and five for his work on Broadway cast albums.
He won best opera recording four times, all for work with the Metropolitan Opera Orchestra/The Metropolitan Opera Chorus. He won for Verdi: La Traviata Opera Recording; Adams: Doctor Atomic; Wagner: Der Ring Des Nibelungen and Adès: The Tempest.
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He won best musical show album five times for cast albums from Into the Woods and Jerome Robbins’ Broadway and revivals of Guys and Dolls, Chicago and Gypsy.
In addition, Saks won two Daytime Emmys, both for his work on Great Performances at the Met. He won outstanding individual achievement in any area of the performing arts – audio (1983) and outstanding individual achievement in the performing arts – audio (1984).
Born in New York City, Saks grew up in The Bronx. His older sister was the cellist Toby Saks.
During the 1960’s, Saks played bass guitar with The Balloon Farm, which had a top 40 hit on the Billboard Hot 100 in March 1968 with the psychedelic pop/rock song “A Question of Temperature.” Saks wasn’t the only member of The Balloon Farm who went on to success in the industry. Fellow member Mike Appel managed Bruce Springsteen from 1972-75 and co-produced his first three albums. Their sole hit was produced by Peter Schekeryk, who went on to produce hits for his wife, Melanie, including the Hot 100-topping “Brand New Key.”
Saks studied at the Juilliard School, and later continued his studies at the Mannes College of Music, from which he graduated in 1970.
As an audio producer for CBS Masterworks, RCA Red Seal (RCA Records), Bertelsmann Music Group (BMG), and Sony BMG Music Entertainment, Saks was responsible for engineering and master recording hundreds of titles.
Beginning in 1980, Saks worked with the Metropolitan Opera in New York City to record and produce more than 1,600 of its telecasts, radio broadcasts and live HD transmissions.
Saks was nominated for 53 Grammys between 1977 and 2018. He received at least one Grammy nomination in 30 different years. He was nominated 10 times for classical producer of the year, but he never won in that category.
Saks’ other cast show album nominations (in addition to his five wins) were for Starting Here, Starting Now, Anything Goes, Assassins, Sondheim: A Celebration at Carnegie Hall, How to Succeed in Business Without Really Trying!, Ragtime the Musical (for two different recordings), Cabaret, Fosse, Thoroughly Modern Millie, Man of La Mancha, Avenue Q—The Musical and The Color Purple.
Saks was also nominated for best compilation soundtrack album for a motion picture, television or other visual media for Fantasia/2000.
Saks was nominated for a Primetime Emmy in 2007 – outstanding sound mixing for a variety or music series or special – as audio producer for PBS’ The Magic Flute (Great Performances at the Met).
An avid runner, Saks completed one of the earliest New York City marathons.
Saks is survived by his wife, Linda Saks; their two sons, Jeremy Saks and Greg Saks; and three grandchildren, Bo Saks, May Li Saks, and Ben Saks.
Taylor Swift and Dolly Parton have fans working 9 to 5 trying to figure out if a collaboration between the two blonde country–pop crossover superstars is in the works.
That’s because the “Jolene” singer appears to have given the Eras Tour headliner a “follow” on Instagram, as reported by Uproxx and a number of fan accounts on social media. That tiny movement alone has sparked a wave of speculation that Parton may be gearing up to get in the studio with Swift — or, better yet, that the former might just be featured on the latter’s highly anticipated Taylor Swift (Taylor’s Version).
“I’ll never shut up if Queen Dolly is on Debut TV,” one Swiftie tweeted Wednesday (Dec. 25), while another person commented, “IF DOLLY IS ON DEBUT TV I WILL NEVER RECOVER IT WILL BE THE BEST THING THATS EVER HAPPENED.”
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“IF DOLLY IS ON DEBUT TV IM NOT RESPONSIBLE FOR THE PERSON I’LL BECOME,” wrote a third fan.
Taylor Swift (Taylor’s Version) is one of two re-records — the other being 2017’s Reputation — that Swift has left to release in her Taylor’s Version series, which has found the star dropping revamped versions of her first six albums since 2021. So far, she’s unveiled re-recordings of 2008’s Fearless, 2010’s Speak Now, 2012’s Red and 2014’s 1989.
Released in 2006, the 14-time Grammy winner’s self-titled debut LP marks the most distinctly country-sounding album in her discography — so it only makes sense that she would enlist Parton, one of the genre’s biggest legends, to help out. Swift has previously tapped other stars to duet on From the Vault tracks for her Taylor’s Version projects, including Keith Urban for “That’s When” from Fearless (Taylor’s Version), Phoebe Bridgers for “Nothing New” from Red (Taylor’s Version) and Paramore’s Hayley Williams for “Castles Crumbling” from Speak Now (Taylor’s Version).
Plus, Parton and Swift are openly fans of each other. In November 2023, the “Anti-Hero” singer told The Hollywood Reporter, “Dolly is a force of evolution and transformation in our industry, but she does it with such playful levity it almost looks effortless. Her sense of humor and mischief are easily my favorite things about her, because I think it forces the world to reconcile that a woman can be a serious artist and writer who also has raucous fun with it, can make people laugh and be in on every joke.”
“Taylor Swift is amazing what she has done with her career,” Parton said of Swift in an interview with Variety the following September. “I just admire her very much and how she’s handled her business, her personal life and what all she has meant to so many young people. [She’s] been a great inspiration.”
