Music
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The Prodigy’s Liam Howlett has spoken out about the group’s absence from the Rock and Roll Hall of Fame, urging for their inclusion in the prestigious institution.
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Speaking ahead of the band’s upcoming Disrupta Tour in Australia, Howlett admitted that the Hall of Fame hadn’t been on his radar—until now. “It’s not something I’ve ever thought about, but yeah, as you spoke about it we should be up there. Make it happen!” he told Rolling Stone AU/NZ.
While The Prodigy didn’t make the 2025 class, which features fellow British acts like Oasis, New Order, and Billy Idol, the Essex-born electronic pioneers make a strong case for future recognition. Their 1997 album The Fat of the Land became a landmark moment for electronic music, breaking barriers in the U.S. by debuting at No. 1 on the Billboard 200—an unprecedented achievement for a band in their genre at the time.
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Two of the group’s defining singles, “Firestarter” and “Smack My Bitch Up,” cracked the Billboard Hot 100 in an era when electronic music wasn’t widely embraced by the mainstream American industry.
“I’ve said before, I never gave a f* about the charts,” Howlett recalled. “But somehow Fat of the Land going to No. 1 in the USA felt different. It had an extra ‘f*** you-ness’ about it as only a few British bands had ever done that. So yeah, you could say it gave me a certain cheeky pride for a while.”
In their home country, The Prodigy have dominated the U.K. charts, racking up seven No. 1 albums, including their most recent studio effort, No Tourists, in 2018. Their career tally also includes 11 top 10 hits on the Official U.K. Singles Chart, with “Firestarter” and “Breathe” both reaching No. 1 in 1996.
The Rock and Roll Hall of Fame requires nominees to have released their first single or album at least 25 years before the induction year. The Prodigy, who first hit the U.K. charts in 1991 with “Charly,” easily meet the eligibility criteria, making them potential contenders for future classes.
As the group gears up for their first Australian tour in five years, fans are eager to see Howlett and Maxim back on stage. The Disrupta Tour, which kicks off Feb. 13 in Sydney, is also their first major run since the passing of frontman Keith Flint in 2019.
Fountains of Wayne are reuniting for their first full performances since the passing of founding member Adam Schlesinger in 2020.
The power pop band—best known for hits like “Stacy’s Mom”—has announced appearances at Milwaukee’s Summerfest over the July 4 weekend and the Oceans Calling Festival in Ocean City, Maryland, on Sept. 26. Eve 6’s Max Collins will step in on bass for the performances.
The upcoming shows mark the band’s first proper reunion in over a decade. Before this, the remaining members—Chris Collingwood, Jody Porter, and Brian Young—briefly came together for a one-off performance (their first in seven years) to pay tribute to their late band member Adam Schlesinger, who passed away due to complications from COVID-19 at the age of 52. Prior to Schlesinger’s passing, the band’s last official tour wrapped in 2013.
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Fountains of Wayne formed in 1995 and gained a cult following, their mainstream breakthrough came in 2003 with “Stacy’s Mom,” which peaked at No. 21 on the Billboard Hot 100, earned them a Grammy nomination and became a pop culture staple. The track also reached No. 3 on Alternative Airplay in 2003, while their album Welcome Interstate Managers reached No. 115 on the Billboard 200.
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Despite the song’s success, Schlesinger downplayed its impact in a 2007 interview with The A.V. Club, saying, “Most people in the world still don’t have any idea who sang ‘Stacy’s Mom.’ Everybody knows that song, but most people don’t know who we are.”
Beyond his work with Fountains of Wayne, Schlesinger had a prolific career in film, television, and theater, writing songs for That Thing You Do!, Crazy Ex-Girlfriend, and Music & Lyrics, among many others. His unexpected passing due to complications from COVID-19 in 2020 was a devastating loss for the music community, prompting an outpouring of tributes from artists across the industry.
Following his death, Saving for a Custom Van, a 31-track tribute album, was released in 2020, featuring covers of Schlesinger’s work from artists such as Nada Surf, Motion City Soundtrack, Rachel Bloom, and Sarah Silverman. The album raised funds for COVID-19 relief efforts through the MusiCares Foundation.
While it remains unclear whether these upcoming performances will lead to further touring or new music, fans eager to celebrate Schlesinger’s legacy will finally have the chance to see Fountains of Wayne live again.
Atticus Ross took home two awards at the sixth annual SCL Awards, which were held on Wednesday (Feb. 12) at Skirball Cultural Center in Los Angeles.
The awards are voted on by members of the Society of Composers & Lyricists, an organization of professional film, television, video game, and musical theater composers and lyricists. The event was hosted by singer-songwriter Colin Hay, best known as leader of the 1980s pop group Men at Work.
Ross won outstanding original song for a comedy or musical visual media production for “Compress/Repress,” which he co-wrote for Challengers with frequent collaborator Trent Reznor, along with the film’s director, Luca Guadagnino. Ross and collaborators Leopold Ross (his younger brother) and Nick Chuba also won outstanding original score for a television production for Shōgun.
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The win for “Compress/Repress” came after the song failed to land an Oscar nod for best original song. At the SCL Awards, “Compress/Repress” beat two songs from Emilia Pérez that were Oscar-nominated – “El Mal” and “Mi Camino.”
Top honors for film scoring went to Kris Bowers, who won original score for a studio film for The Wild Robot, and Daniel Blumberg, who won outstanding original score for an independent film for The Brutalist. Both composers are nominated for the Oscar for best original score, where they face Volker Bertelmann (Conclave), Clément Ducol and Camille (Emilia Pérez) and John Powell and Stephen Schwartz (Wicked).
Diane Warren won outstanding original song for a dramatic or documentary visual media production for her song “The Journey”from The Six Triple Eight. Warren won in this category two years ago for “Applause” from Tell It Like a Woman. “The Journey” is nominated for an Oscar for best original song, where it faces the two aforementioned songs from Emilia Pérez, plus “Never Too Late” from Elton John: Never Too Late (also nominated here) and “Like a Bird” from Sing Sing.
Warren has been nominated for an SCL Award every year. In 2023, “Applause” won in this same category, but went on to lose the Oscar to “Naatu Naatu” from RRR.
Emilia Pérez composers Clément Ducol and Camille, who tied with Atticus Ross for most SCL nominations this year (three), were shut out.
Composer Andrea Datzman received the David Raksin award for emerging talent for her score for Inside Out 2. Datzman’s mentor, Michael Giacchino, composed the score for the first Inside Out.
Composer Jeff Beal, who has won five Primetime Emmys, received the SCL Jury Award for his new score for the 1920 Weimar Cinema silent film classic, The Cabinet of Dr. Caligari.
Composer Harry Gregson-Williams and director Ridley Scott received the Spirit of Collaboration Award, which recognizes a composer/director relationship that has created a prodigious body of work. This year’s Gladiator II marks their seventh collaboration. In his previous collaborations with Scott, Gregson-Williams has written the original scores for The Martian, Kingdom of Heaven, The Last Duel, and House of Gucci, as well as themes for Prometheus and Exodus: Gods and Kings.
Last year, Martin Scorsese received the Spirit of Collaboration Award for his work with the late composer Robbie Robertson. Other past award recipients of this award include Thomas Newman & Sam Mendes, Terence Blanchard & Spike Lee, Carter Burwell & the Coen Brothers, and Justin Hurwitz & Damien Chazelle.
Here’s the complete list of nominees for the 2025 SCL Awards, with winners marked.
Outstanding Original Score for a Studio Film
Clement Ducol, Camille – Emilia Perez (Netflix)
Hans Zimmer – Dune: Part Two (Warner Bros. Pictures / Legendary Pictures)
Harry Gregson-Williams – Gladiator II (Paramount Pictures)
John Powell, Stephen Schwartz – Wicked: Part 1 (Universal Pictures)
WINNER: Kris Bowers – The Wild Robot (DreamWorks Animation)
Volker Bertelmann – Conclave (Focus Features)
Outstanding Original Score for an Independent Film
Chris Bacon – Heretic (A24)
WINNER: Daniel Blumberg – The Brutalist (A24)
Dara Taylor – Meet Me Next Christmas (Roberts Media)
Fabrizio Mancinelli – Here After (Artina Films, ClaRo Productions, Fenix Entertainment, Hopscotch Pictures)
Heather McIntosh – Winner (Big Beach, One Community, Scythia Films, ShivHans Pictures)
Stephanie Economou – The Book of Jobs (Bull’s Eye Entertainment, Rebellium Films)
Outstanding Original Song for a Dramatic or Documentary Visual Media Production
Andrew Wyatt, Lykke Li, Miley Cyrus – “Beautiful That Way” (from The Last Showgirl) (Utopia Media, High Frequency Entertainment, Pinky Promise, Detour, Digital Ignition Entertainment)
Bear McCreary – “Old Tom Bombadil” (from The Lord of the Rings: The Rings of Power) (Amazon MGM Studios in association with New Line Cinema / Prime Video)
Christopher Lennertz – “Let’s Put the Christ Back in Christmas” (from The Boys) (Prime Video)
WINNER: Diane Warren – “The Journey” (from The Six Triple Eight) (Netflix)
Elton John, Brandi Carlile, Bernie Taupin, Andrew Watt – “Never Too Late” (from Elton John: Never Too Late) (Disney Branded Television, This Machine Filmworks, Rocket Entertainment)
Nicholas Britell, Steve McQueen, Taura Stinson – “Winter Coat” (from Blitz) (Apple Original Films)
Outstanding Original Song for a Comedy or Musical Visual Media Production
Abigail Barlow, Emily Bear – “Beyond” (from Moana 2) (Disney)
Clement Ducol, Camille – “Mi Camino” (from Emilia Perez) (Why Not Productions, Page 114, Pathé, France 2 Cinéma, Saint Laurent Productions)
Clement Ducol, Camille, Jacques Audiard – “El Mal” (from Emilia Perez) (Why Not Productions, Page 114, Pathé, France 2 Cinéma, Saint Laurent Productions)
Lainey Wilson, Luke Dick, Shane McAnally – “Out of Oklahoma” (from Twisters) (Universal Pictures)
Robbie Williams, Freddy Wexler, Sacha Skarbek – “Forbidden Road” (from Better Man) (Paramount Pictures)
WINNER: Trent Reznor, Atticus Ross & Luca Guadagnino – “Compress/Repress” (from Challengers) (Amazon MGM Studios)
Outstanding Original Title Sequence for a Television Production
Atticus Ross, Leopold Ross, Nick Chuba – Shōgun (FX Network)
Blake Neely – Masters of the Air (Apple TV+)
Carlos Rafael Rivera – Griselda (Netflix)
Danielle Ponder – Manhunt (Apple TV+)
WINNER: Jeff Toyne – Palm Royale (Apple TV+)
Nami Melumad – Dream Productions (Pixar Animation Studios / Disney+)
Outstanding Original Score for a Television Production
WINNER: Atticus Ross, Leopold Ross, Nick Chuba – Shōgun (FX Network)
Bear McCreary – The Lord of the Rings: The Rings of Power (Amazon MGM Studios in association with New Line Cinema / Prime Video)
Blake Neely – Masters of the Air (Apple TV+)
David Fleming – Mr. and Mrs. Smith (Amazon MGM Studios)
Finneas O’Connell – Disclaimer (Apple TV+)
Jeff Toyne – Palm Royale (Apple TV+)
Outstanding Original Score for Interactive Media
Gordy Haab – Indiana Jones and the Great Circle (Machine Games, Bethesda Studios, Lucasfilm Games)
Nainita Desai – Tales of Kenzera: Zau (Surgent Studios, EA)
Wilbert Roget, II – Star Wars: Outlaws (Massive Entertainment, Ubisoft)
WINNER: Winifred Phillips – Wizardry: Proving Grounds of the Mad Overlord (Digital Eclipse)
David Raksin Award for Emerging Talent
WINNER: Andrea Datzman – Inside Out 2 (Disney/Pixar Animation Studios)
Emily Rice – Broken Bird (Catalyst Studios, Mitchell-Brunt Films)
Katya Richardson – Motorcycle Mary (Breakwater Studios)
Nikhil Koparkar – Dead Whisper (Howlin’ Hounds Pictures, Brothers Gran Productions)
Robin Carolan – Nosferatu (Focus Features)
Wei-San Hsu – Invisible Nation (100 Chapters Productions, Double Hope Films, Seine Pictures)
Oasis frontman Liam Gallagher has made his stance on the Rock and Roll Hall of Fame crystal clear following the band’s latest nomination, calling the institution “for wankers” in a blunt social media post.
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The Britpop icon reacted to the news after Oasis was named among the 2025 nominees, joining a list that includes New Order, Cyndi Lauper, The White Stripes, Mariah Carey, Bad Company, Chubby Checker, Outkast, Maná and the late Joe Cocker.
“RNR hall of fame is for WANKERS,” Gallagher posted on X under a flyer of the list of nominees on Feb. 12. He didn’t hold back when responding to a fan who asked what he’d do if Oasis were inducted, cheekily replying, “Obv go and say it’s the best thing EVER.”
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This isn’t the first time Gallagher has taken aim at the Rock and Roll Hall of Fame. When Oasis was nominated last year, he dismissed it entirely, writing, “F*** the Rock n Roll hall of fame its full of BUMBACLARTS LG.” He also told fans not to “waste your time” voting, calling the whole process “a load of bollox.”
Gallagher doubled down in a 2024 interview, scoffing at the Hall of Fame’s inclusions. “As much as I love Mariah Carey and all that, I want to say: do me a favour and f*** off,” he told The Sunday Times. “It’s like putting me in the rap hall of fame, and I don’t want to be part of anything that mentally disturbed. Besides, I’ve done more for rock n’ roll than half of them clowns on that board.”
Like The White Stripes, Oasis seemed like a strong contender upon its first nomination in 2024 but didn’t make the cut. This time, their odds look better after announcing their highly anticipated reunion tour, which sparked near-Taylor/Beyoncé-level demand.
With the possibility of their first new music in over 15 years, Oasis stands out as one of the most likely inductees in the 2025 class—if Gallagher is willing to accept the honor.
Gallagher also recently found himself at the center of controversy surrounding Oasis’ reunion shows after Ticketmaster’s decision to cancel thousands of resold tickets.
On Monday (Feb. 10), Billboard reported that fans had indeed begun to see their tickets being cancelled, with Ticketmaster getting in touch with some ticket holders to inform them that their tickets have been refunded. Ticketmaster’s message to these ticket holders claimed that “it has been identified that bots were used to make this purchase,” meaning they “violate the tour’s terms and conditions.”
With some fans venting their anger on social media, one X user named Karen Kelly reached out to Gallagher, asking “Liam what do you think of the ticket situation? Thinking fans are bots and getting their money returned?”
The rocker was less than sympathetic when asked about the situation, writing, “I don’t make the rules. We’re trying to do the right thing. It is what it is, I’m the singer. Get off my case.”
Oasis’ Rock Hall nomination comes as anticipation builds for their reunion tour, which marks the first time Liam and Noel Gallagher will share a stage in over a decade.
Australian rock veterans INXS are taking a look back in time, celebrating 40 years of their international breakthrough record, Listen Like Thieves.
Originally released in October 1985, Listen Like Thieves was the Sydney sextet’s fifth album, and their first to make a sizable impact on a global scale. Their second consecutive chart-topper in their homeland, it would be their first to chart in markets such as the U.K. and Switzerland, and their highest peak to date in the U.S., with the record reaching No. 11 on the Billboard 200.
It also boasted a number of successful singles, including its title track, “Kiss the Dirt (Falling Down the Mountain)”, “This Time”, and “What You Need”. The latter was the record’s most successful, peaking at No. 2 in Australia and No. 5 on Billboard’s Hot 100.
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At the time of the record’s release, the band were already a success story in Australia thanks to their unique sound and relentless touring schedule, with Listen Like Thieves aiming to translate those aspects to the listener’s turntable. “We’ve done the album like a live show and what is there is there,” frontman Michael Hutchence told Rolling Stone in 1985. “We want to present this record as a band – the idea of six people playing together and using traditional sounds.”
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Ahead of the record’s 40th anniversary, the band’s surviving members have announced a new deluxe edition of the seminal album. Arriving on May 9, the 3CD/LP collection features a new remix of the album with Chris Thompson’s original production being overhauled by Giles Martin and Paul Hicks. It also boasts a number of unreleased outtakes and demos; a rare BBC Recording, Live From The Royal Albert Hall, London, 1986; and a new interview with the band by writer Paul Sexton. A 2CD edition pairs the new mix with a selection of B-sides, remixes and live recordings, while a single LP version contains the 2025 mix alone.
“Chris Thomas was one of the most talented and exciting producers we ever had the privilege to work with,” recalled keyboardist and guitarist Andrew Farriss. “From the moment we met, there was no doubt he would bring a new dynamic to our music, his drive and determination helped Michael and I deliver a smash hit in ‘What You Need’. 40 years on, Giles and Paul captured the original raw energy we felt when we first recorded the album and created a sonic depth to give the record an entirely new dimension that we couldn’t be prouder of.”
The BBC’s live recording of INXS’ June 1986 appearance at London’s Royal Albert Hall is also of note, with the band’s audience that evening comprising a number of notable artists such as Mick Jagger, The Cult, and the Psychedelic Furs. Described as a “poignant night” for the band, it wasn’t their first visit to the U.K., but arguably the turning point in their relationship with the region. Almost five years later to the day, INXS would headline London’s Wembley Stadium and perform before a sold-out crowd of 72,000.
INXS’ biggest commercial success would come two years after the release of Listen Like Thieves, with 1987’s Kick turning them into megastars. The album would top the charts in Australia, Canada, and New Zealand, and give them a career-best of No. 3 on the Billboard 200.
Though the band would initially split following the untimely passing of Hutchence in 1997, a revolving door of vocalists would precede their eventual permanent retirement in 2012. Despite this, the band are consistently one of the best-selling Australian bands to this day, with the Australian Recording Industry Association’s end-of-year charts for 2024 seeing the band’s 2011 collection The Very Best listed at No. 81 on the album charts – one of only three local records to make the cut.
The Jonas Brothers are feeling nostalgic, with a sweet note to their fans about upcoming plans momentarily leading to fears of an impending split.
The familial trio are diving headfirst into a big 2025, with their 20th anniversary bringing with it some rather sizable plans. On Wednesday (Feb. 12) however, the group shared a lengthy post to their social media accounts, with its formal nature swiftly causing panic that their 20th year may be their last.
“To our incredible fans, as a family, we have been reflecting a lot lately,” the post began. “It’s been 20 years since we started this journey together. To us, it feels like just yesterday we were loading up our family mini-van with a couple of guitars and copies of It’s About Time CDs, en route to an afternoon performance at a local to play for anyone who would listen.
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“We were chasing our dream to play music and connect with others in a deep way that only music can provide,” they added. “We were teenagers then.. actually, Nick wasn’t even old enough to get into a PG-13 movie.”
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Understandably, the opening lines were enough to add some fears into the mix. As it stands, the top comments on their posts all relate to unfounded fears the note was a farewell to their fans.
As their message continued though, it was made clear that the Jonas Brothers weren’t intending to break some hearts, instead they were sharing an appreciation post to the fans that had allowed them to continue their journey for these past two decades.
“In the years that followed, you’ve given us a thousand lifetimes of incredible memories. We wake up each day filled with gratitude that you’ve been on this 20-year journey with us,” they continued. “Together, we have celebrated wins, made mistakes, overcome obstacles, and grieved losses. Put simply: we’ve all grown up together.
“It’s seemingly impossible to put our appreciation into words. None of this would have been possible without you. You’ve shown up for us. Rooted for us. Encouraged us. And inspired us. We’ve made memories with you at shows, bumped into you on the street, run into you at airports, and read your amazing stories on socials. We treasure our connection with you as much today as we did when we played our first show. We are celebrating this wild 20-year journey by doing what we love, and we can’t wait to share it with you.”
Wrapping up their post, the group promised that the coming year will be “a year of music”, teasing new music from the Jonas Brothers, a live concert album, a soundtrack, and solo music.
“Nick returns to Broadway this spring for The Last Five Years. And we are nearly wrapped on our holiday movie that we can’t wait for you to see this fall,” they added.
Initial fears of a split wouldn’t have been unfounded for fans of the Jonas Brothers. After all, 2013 brought with it the news that after eight years together as a band, and four albums, the brothers would be calling it quits.
While Joe and Nick launched solo careers in the interim, Kevin found himself working on music production, appearing in reality television, and even getting involved in a handful of business ventures. The brothers would reunite officially in 2019, however, relaunching their music career and issuing two new records, including 2019’s Happiness Begins and 2023’s The Album.
Having previously teased big plans during their appearance on Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest in New York City on Dec. 31, the Jonas Brothers closed out their latest message to fans by promising that formal announcements would be made in the coming days and weeks. Currently, the band’s website boasts a countdown clock which is set to conclude on Valentine’s Day (Feb. 14).
“From the bottom of our hearts: thank you!” they wrote. “Here’s to the next 20 years, and here’s to doing it together. The best is yet to come.”
Israeli grassroots Zionist organization Im Tirtzu posted a controversial deepfake video on Tuesday that depicted a stream of AI-generated Jewish artists including Drake, Lenny Kravitz, Maroon 5’s Adam Levine, Simon & Garfunkel, Jack Black, Jake Gyllenhaal, Mila Kunis, Adam Sandler and more wearing T-shirts featuring a hand with a Jewish star in it throwing up the middle finger with the word “Kanye” underneath.
The short video featuring the message “enough is enough” and “Join the fight Against Antisemitism” appeared to be a reaction to the disgraced rapper Ye’s recent four-day spree of offensive posts on X in which he repeatedly used antisemitic, homophobic, sexist and ableist slurs while once again declaring “I’m a Nazi” and “I love Hitler.”
The T-shirt also seemed like a rejoinder to an antisemitic shirt Ye sold on his website — promoted in a bizarre ad that aired in a few markets during Sunday’s Super Bowl LIX — that featured a Nazi swastika and the code “HH-01,” code for “Heil Hitler.” The Yeezy website was taken down by Shopify on Tuesday following backlash about the shirt that the company said violated its terms.
The deepfake video, cued to an instrumental, electronic version of the traditional celebratory Jewish folk song “Hava Nagila,” also features doctored images of Scarlett Johansson, Steven Spielberg, Woody Allen, Mark Zuckerberg, Sacha Baron Cohen, Schwimmer, Lisa Kudrow and others modeling the shirt. Johansson was the first A-lister to respond to the unapproved response video, urging U.S. legislators to put limits on AI, denouncing the project to People in a statement over the “misuse of A.I., no matter what its messaging.”
She added, “It has been brought to my attention by family members and friends, that an A.I.-generated video featuring my likeness, in response to an antisemitic view, has been circulating online and gaining traction. I am a Jewish woman who has no tolerance for antisemitism or hate speech of any kind. But I also firmly believe that the potential for hate speech multiplied by A.I. is a far greater threat than any one person who takes accountability for it. We must call out the misuse of A.I., no matter its messaging, or we risk losing a hold on reality.”
Johansson — who threatened legal action in November 2023 when a company used her A.I. likeness in an ad without permission and was again disturbed when a voice that sounded like hers was used as the official voice of OpenA.I.’s ChatGPT — did not name West in her statement, which concluded, “I urge the U.S. government to make the passing of legislation limiting A.I. use a top priority; it is a bipartisan issue that enormously affects the immediate future of humanity at large.”
Before the AI video surfaced, the Anti-Defamation League lambasted Ye’s swastika shirt, noting that it was further proof of the rapper’s antisemitism and that “the swastika is the symbol adopted by Hitler as the primary emblem of the Nazis. It galvanized his followers in the 20th century and continues to threaten and instill fear in those targeted by antisemitism and white supremacy… There’s no excuse for this kind of behavior. Even worse, Kanye advertised his website during the Super Bowl, amplifying it beyond his already massive social media audience.”
Before Ye (formerly known as Kanye West) seemingly deleted his X account on Monday, former Friends star David Schwimmer implored X owner Elon Musk to ban the hate-spewing rapper from the platform. In addition, Charlie Puth begged Ye to stop promoting “incredibly dangerous” messages and singer/DJ Matthew Koma offered his own pointed response to Ye’s promotion of hateful ideology on Tuesday, posting an image of a “F–k Ye” shirt he’s selling. “Hey I can make a shirt too – link in bio , all proceeds to the blue card holocaust survivor charity,” Koma wrote.
In addition, the Israeli-American Council (AIC) announced a “Hate Is Out of Fashion” campaign on Wednesday (Feb. 12) featuring a Star of David T-shirt to “foster Jewish pride, strength and unity.” The group said the shirt was a response to West’s swastika merch. “Whenever and wherever antisemitism rears its ugly head, it poses a threat not only to Jews but to our entire society and its most basic values,” said IAC CEO Elan Carr. “We American Jews and Israeli-Americans stand on the front lines against the world’s oldest hatred. In response to Kanye West’s despicable attempt to capitalize on his hatred, our creative campaign mirrors his twisted fashion but instead promotes a positive message of pride, philosemitism, and American values.”
Marlon Wayans is not tolerating Soulja Boy after the rapper’s homophobic comments. The Scary Movie actor and the musician have been feuding online ever since Wayans called out Soulja Boy for performing at the Crypto Ball in Washington, D.C. in celebration of Donald Trump’s presidential inauguration. The back-and-forth came to a head when Soulja began poking […]
Country singer-songwriter Lainey Wilson and her boyfriend Devlin “Duck” Hodges are engaged. On Feb. 12, Wilson and Hodges both shared a carousel of photos on Instagram, with Wilson showing off her engagement ring. They captioned the photos “4x4xU forever,” a nod to both their relationship and Wilson’s current top five Billboard Country Airplay hit “4x4xU.” […]
Music often intertwines with sports, as we’ve seen in Super Bowl halftime shows, pre-game performances, star-studded attendances and more. However, some musicians take their love for a sport a step further by buying a percentage of ownership of their favorite teams. Most recently, Tems joined the San Diego Football Club’s ownership group as a club partner […]