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Foo Fighters, Chappell Roan and Linkin Park will headline the 15th edition of the Corona Capital festival, which will also mark the highly anticipated return of Deftones to Mexican stages after nearly a decade, promoter OCESA announced on Tuesday (June 3).
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The exciting lineup for the annual rock festival — scheduled to take place from Nov. 14 to Nov. 16 at the Autódromo Hermanos Rodríguez in Mexico City — also includes Queens of the Stone Age, Franz Ferdinand, Garbage, Vampire Weekend, Alabama Shakes and Weezer.
“Corona Capital is not just a festival — it’s a bridge between cultures, emotions, and generations,” Memo Parra, director of international events at OCESA, tells Billboard Español. “Since 2010, it has evolved into one of the most important festivals in the world, attracting thousands of fans from every corner of the globe to Mexico.”
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Parra emphasized that, with an attendance of 255,000 people per edition and a team of over 5,000 making it possible, Corona Capital is “living proof of the power of music to bring us together.”
Close to 70 artists and bands make up the 2025 lineup, including Aurora, Damiano David, James, Of Monsters and Men, AFI, Jerry Cantrell, Jehnny Beth, TV On The Radio, 4 Non Blondes, Circa Waves, Mogwai, Shermanology, Jordan Rakei, Kadavar and The Struts, among others.
But the participation of Deftones will undoubtedly be one of the standout moments. The last time the Sacramento, California-based rock band performed in Mexico City was in 2014. In an interview with Billboard Español published in February, vocalist Chino Moreno said that they were in talks for what could be their big return to the country.
Another highly anticipated act is Queens of the Stone Age, who had to cancel its 2024 shows — including one at the Corona Capital festival — due to health issues affecting singer and guitarist Josh Homme.
“What truly sets Corona Capital apart is its musical curation: a carefully crafted selection that has made music the backbone of the festival,” Parra adds, highlighting that people come not only to see their favorite artists, but also to “discover new sounds and be surprised.”
Corona Capital will take place in the context of the centennial celebration of the beer Corona, the festival’s sponsor. Leading up to the event in November, celebrations will be held in several cities across the country under the name Corona Capital Sessions.
The presale for Banamex cardholders will take place on Friday (June 6), with the general sale beginning the following day.
In its 15 years of existence, Corona Capital has solidified itself as the most important international music festival in Mexico, and one of the few in Latin America featuring major English-speaking bands. In the past, it has hosted renowned acts such as Paul McCartney, Jack White, The Cure, Muse, Blur, Nine Inch Nails, Portishead, Interpol, Billie Eilish, Pixies and Richard Ashcroft.
“More than 500 international artists have taken the stage, performing for a curious, open-minded, and passionate crowd that has helped us build a space where inclusion, social impact, and Mexican cultural traditions are celebrated and shared with the world,” Parra says.
Check out the lineup for Corona Capital 2025 below:
Last year, Post Malone released his debut country-inspired project, F-1 Trillion, writing and recording the album in Nashville, and earning hits through country collabs with artists including Morgan Wallen (“I Had Some Help”) and Blake Shelton (“Pour Me a Drink”).
Now, he’s doubling down on his love for Music City, with the upcoming opening of a new entertainment venue in Nashville. Nashville locals and those in town for this week’s CMA Fest spotted signage at a building located 305 Broadway (and the former home of venues WannaB’s Karaoke and Tequila Cowboy) that read “Something BIG Is Coming!,” “We’ll Keep Ya POSTED!” and “Summer 2025.” A name and opening date for the venue has yet to be announced.
Now, TC Restaurant Group — known for its work on on star bars including Morgan Wallen’s This Bar & Tennessee Kitchen, Jason Aldean’s Kitchen + Rooftop Bar, Miranda Lambert’s Casa Rosa and Lainey Wilson’s Bell Bottoms Up — revealed it has entered a partnership with Post Malone for the new venue, which is set to feature three stages, six bars and a dining room.
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“We’ve created a space where everyone can come together and kick some a—,” Post Malone said in a statement. “Nashville has really become a second home for me so I can’t wait to invite y’all over to my house.”
Post Malone’s F-1 Trillion reached No. 1 on the all-genre Billboard 200, while the singer has played country festivals including Stagecoach and Morgan Wallen’s Sand in My Boots over the past 18 months. He’s currently on his Big A— Stadium Tour, featuring Jelly Roll and Sierra Ferrell.
Adam Hesler, the president and CEO of TC Restaurant Group, added in a statement that Malone’s forthcoming venue “embodies his spirit and brings a new experience to Nashville’s Entertainment District,” while praising the singer’s “talent and ability to transcend multiple genres.”
Beyond the new venue, Posty is also hard at work on another country-infused album, previously telling Billboard he’s been in Nashville writing songs. “[I’ve] made probably 35 songs,” he said at the time. “It’s just a matter of which ones rock, and which ones sock.”
It’s all been out of the ordinary for Alex Warren since his breakthrough hit started climbing the Billboard Hot 100 in February. Since then, the influencer-turned-singer-songwriter has conquered streaming and sales and gotten closer and closer on radio — to the point that now, he has the No. 1 song in the country.
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“Ordinary” rises to the Hot 100’s apex this week (chart dated June 7), in its 16th frame on the listing — replacing Morgan Wallen’s Tate McRae-featuring “What I Want,” and making Warren the second artist in 2025 to top the Hot 100 for the first time, after McRae. At the same time, he debuts at No. 32 with “Bloodline,” a teamup with country star Jelly Roll.
How did “Ordinary” end up going all the way? And will be “Bloodline” be following it to the chart’s top tier? Billboard staffers discuss these questions and more below.
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1. “Ordinary” reaches the Hot 100’s apex in its 16th week on the chart. Are you surprised it was able to get all the way to the top spot, or did you see this coming for It once it started climbing?
Katie Atkinson: Once it started climbing, No. 1 seemed very possible — having seen some similar trajectories for other big-voiced male ballads in the last year-plus — but while “Lose Control” and “Too Sweet” hit the summit in 2024, “Beautiful Things” never made it, so “Ordinary” wasn’t a lock. And then when it overcame the 13-week run of Kendrick Lamar and SZA’s “Luther” last week only to be kept out of No. 1 by a deluge of new Morgan Wallen songs, it felt like there was a world where it might not happen. So this has to feel extraordinary for Warren that his breakthrough hit muscled through.
Kyle Denis: Once “Ordinary” started climbing, I did think it would reach the top spot, given how stagnant the Hot 100 is right now and the lack of new 2025 releases cementing themselves as bonafide hits. Nonetheless, I’m still a bit surprised that it hit No. 1 because I don’t rate it as one of the more interesting pop songs we’ve gotten this year.
Lyndsey Havens: Shocked! But just momentarily — as I was quickly reminded that this song has been everywhere. I think this song has enjoyed a nice and steady climb, and as the song of summer conversation is just kicking off, it’s possible “Ordinary” snuck in just in time before a new hit, or longer-loved contender, knocks it from the top.
Jason Lisphutz: I’m somewhere in the middle: when “Ordinary” first reached the top 10, I was a little dubious of its longterm prospects, but for about six weeks or so I was convinced that it would eventually take over the top spot. With a pretty staggering global listenership, unflagging U.S. streams and increasing radio buy-in, “Ordinary” has been a multi-platform smash for a while now, and its rise to No. 1 is no chart fluke.
Andrew Unterberger: If you had told me four months ago, I would’ve been pretty surprised — but this is the kind of hit song that, as soon as it reaches a certain escape velocity, feels almost guaranteed to make it all the way to the moon. So once it jumped into the top 40 on the Hot 100 and started to catch on radio, a No. 1 peak felt practically pre-determined.
2. What do you think is the biggest reason why “Ordinary” was able to really break containment and become one of the year’s biggest hits?
Katie Atkinson: While his first-ever awards show performance at last week’s AMAs was perfectly timed with the song’s ascent, I’m going to nod to radio for this one. If you turn on the radio across pop, adult pop and AC right now, you will hear “Ordinary” within the hour. Maybe within a half-hour, really. This song has felt as inescapable as songs come these days, so with its 15% bump across radio last week (plus no major new album releases), that was the final push it needed.
Kyle Denis: “Ordinary” largely operates in the same vocal and guitar-driven pop-rock space that’s housed recent Hot 100 chart-toppers like Teddy Swims’ “Lose Control” and Hozier’s “Too Sweet.” With Myles Smith (“Stargazing”), Benson Boone (“Beautiful Things”) and Shaboozey (“Good News”) all earning hits with different takes on the sound, consumers clearly haven’t gotten tired of it yet. Of course, it also helps that TikTok has latched onto the song, with the official “Ordinary” sound playing in over 573,000 posts on the platform.
Lyndsey Havens: Omnipresence. I turn on the TV and “Ordinary” has a major synch. I turn on the radio and “Ordinary” is playing — and if I change the station, it will be on at least one other at the same time. I walk into a store and “Ordinary” is blasting. The song is connecting across every medium, yet Warren and his team aren’t only banking on this one hit: At the same time that he’s enjoying breakout success — with the song topping both the Hot 100 and Billboard Global 200 — the artist also teamed up with Jelly Roll for their collab, “Bloodline,” which is already trailing behind “Ordinary” on the Hot 100.
Jason Lipshutz: A little over a year after Teddy Swims’ “Lose Control” and Benson Boone’s “Beautiful Things” became inescapable hits — and pretty much remain so today — a market still exists for brash, soulful sing-alongs from full-throated male pop vocalists. Alex Warren likely would have found success with a song as rousing and crowd-pleasing as “Ordinary” regardless of pop trends, but the song certainly hit streaming services at the exact right moment to reach its commercial ceiling.
Andrew Unterberger: America loves us some big-voiced singers and acoustic guitars at the moment! But also, with everything from pop 10 years ago seemingly huge again, a song that splits the difference between Hozier and wedding-ballad Ed Sheeran was probably always going to hit extra hard.
3. At the same time “Ordinary” snags the top spot, Warren’s new Jelly Roll collab “Bloodline” debuts at No. 32 on the Hot 100. Do you think it will grow into another big hit for Warren, or will its momentum get curtailed by how big “Ordinary” still is?
Katie Atkinson: I would not be surprised at all if “Bloodline” — with a jangly sea-shanty melody that is undeniable catnip for AC radio and two newly minted hitmakers at its helm — also climbs to the Hot 100 top 10 over time. That would give Jelly Roll his first hit in the region, which is really the one thing missing from the country star’s meteoric rise to pop culture ubiquity. The virality of both “Ordinary” and Jelly Roll himself could combine for an obvious smash.
Kyle Denis: I think listeners will probably remain focused on “Ordinary” since it’s still relatively fresh, but, as they say, a rising tide lifts all boats!
Lyndsey Havens: I think because you have Jelly Roll on the song, and because the country star is currently on a massive tour with Post Malone, that “Bloodline” could grow into a nice follow-up hit for Warren. But does he need it? No way. If “Bloodline” climbs higher or if it gets curtailed by “Ordinary,” it’s a win for Warren either way.
Jason Lipshutz: Releasing a follow-up single with Jelly Roll was a smart move by Warren, who can now promote both a pop and country track to different audiences without deflating either of their performances. “Bloodline” will likely not become nearly as big as “Ordinary,” but it doesn’t need to — as long as it can expand his listenership and keep his momentum up beyond just one song, the follow-up should be viewed as a success.
Andrew Unterberger: I don’t see it reaching the top 10 — maybe not even the top 20 — but I could see it hanging around the Hot 100 for 30 weeks or so and establishing Warren as officially Not a One-Hit Wonder. Which is all he really needs to do.
4. We’ve seen a trend lately of songs that make it to the chart’s top tier – particularly if they had a long journey of climbing that high – lasting in or around the top 10 for a year or longer. Do you see “Ordinary” becoming one of those songs?
Katie Atkinson: Absolutely. Like “Lose Control” before it, this song will not be vacating its spot for months. It just fits too comfortably and too unassumingly in too many spaces to go anywhere anytime soon.
Kyle Denis: Unfortunately, yes. This is the kind of song destined for extended stays on a litany of radio formats, which will help it stick around on the Hot 100 even once it’s reached its sales and streaming peaks.
Lyndsey Havens: Totally. And that’s because of its omnipresence — and the reasons why it’s everywhere. “Ordinary” is the perfect type of hit that’s equal parts catchy, soaring and safe. It sounds just as great soundtracking a Golden Buzzer moment on America’s Got Talent as it does playing from a car radio with the windows rolled down. Its breezy balladry and luck-to-be-in-love lyrics share roots with a song like Benson Boone’s “Beautiful Things” — and we all know how well that’s worked out.
Jason Lipshutz: Definitely. Every piece of empirical and anecdotal evidence suggests that “Ordinary” is not slowing down whatsoever, despite already being on the Hot 100 for months on end. While I could see Warren being supplanted at No. 1 on the chart in the near future, “Ordinary” is acting like the type of song that will still be in the top 10 when the weather starts to turn cold — and possibly for much longer after that.
Andrew Unterberger: Teddy Swims is already looking over his shoulder tbh.
5. Who’s another past or present influencer who you could see scoring a No. 1 hit?
Katie Atkinson: I wouldn’t bet against Addison Rae. Her first album arrives Friday, and while lead single “Diet Pepsi” topped out at No. 54 on the Hot 100, it was a top 10 hit on Pop Airplay, peaking at No. 9 in February. And starting her career making dance videos on TikTok sets her up perfectly for a hypervisual pop career. Plus, only our finest pop stars hail from Louisiana, and Addison was born and raised less than two hours from Britney Spears’ hometown.
Kyle Denis: Addison Rae.
Lyndsey Havens: I’m always rooting for jxdn. But, given the current week, let’s go Addison.
Jason Lipshutz: Does Addison Rae count? Every pop single she’s released to date has been good-to-excellent, and my expectations for her imminent debut album are sky-high. A world in which “Headphones On” grows into a late-breaking No. 1 hit is one I want to inhabit.
Andrew Unterberger: Addison Rae feels like the logical call — but I’ll swerve and say Mr. Beast. No I don’t know of any musical ambitions harbored by the man, but it feels near-certain to me that he’ll be involved with leading an influencer all-star charity single at some point. Would you bet the under on that chart debut? I certainly wouldn’t.
Italian techno producer Deborah de Luca is off the HARD Summer 2025 lineup poster amid a public dispute regarding the font size of her name on the bill.
Late last week, HARD Summer posted a revamped version of the 2025 lineup poster that does not feature de Luca’s name, as the original poster did. In the comments section of the post, when a fan asked where de Luca’s name was, the festival wrote that the producer “informed us she will no longer be playing the festival.” But the Italian techno producer responded to their comment, saying, “That’s not right! You put my name smaller than others. I asked you to change it and you didn’t want to do it. Now you changed it by deleting my name.”
She then made another comment saying that “I’m very sorry, guys! But they put my name smaller than others, it was not dignified for my career. I asked to change it and they told me no. It was not my choice. I’m very sad, but I’m sure it will be a crazy festival and you will have a lot of fun.”
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The spot where de Luca’s name was on the original poster now features electronic foursome Ladies of Leisure. Sean Paul has also fallen off the poster, with the position where his name was in the original poster now occupied by Busta Rhymes. Other lineup additions include Barry Can’t Swim, Fcukers and DJ Gigola, whose names were all blurred out on the original poster for the festival, which happens August 2-3 at Hollywood Park at SoFi Stadium in Los Angeles. The comments section on the revamped poster is a mixed bag of feedback, with many fans lamenting on de Luca’s absence and others being less generous. Representatives for de Luca and HARD Summer did not immediately respond to Billboard‘s request for comment.
As previously reported by Billboard, while such font sizes may seem inconsequential, they are often the subject of intense negotiations between artists, managers and agents and event producers. As such, situations like this one between HARD and de Luca are not unheard of.
Speaking to Billboard in 2015, Governor’s Ball co-founder Jordan Wolowit told Billboard that he once “had a very legitimate act formally pull off the festival the day before our announce, because they hated their billing. My initial reaction was to tell them to piss off — respectfully — but, luckily, good judgment kicked in and I acquiesced to their wishes — which was to be moved three spots up from where they were. It was kind of hilarious, actually. From then on, I have had a line in my offers that clearly states billing is solely at my discretion.”
When Taylor Swift posted a photo of herself leaning back and smiling, her first six studio albums scattered in front of her, on Friday (May 30), the party was on.
Swift’s announcement that she had successfully purchased the master recordings of her first six albums, for an undisclosed sum from investment firm Shamrock Capital, was met with jubilation by her millions of fans. Swift finally had full control of her intellectual property, in a byzantine music industry where such ownership was incredibly difficult to come by, even for the biggest superstars. The importance of such artistic freedom was not lost on Swift, who rightfully treated the occasion as a hard-fought celebration in a letter to fans on Friday. “To say this is my greatest dream come true is actually being pretty reserved about it,” she wrote.
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As even casual pop culture observers likely know by now, Swift spent over a half-decade re-recording her back catalog to combat this previous lack of creative ownership, with Taylor’s Version albums of 2008’s Fearless, 2012’s Red, 2010’s Speak Now and 2014’s 1989 offering faithful re-creations under her domain. Not only did these re-recorded albums prove wildly successful – as fans rallied around the vision and motivation of their favorite artist, and helped 1989 (Taylor’s Version) score an even bigger debut than the original album – they also inspired real industry change, from other artists exploring ways to re-record their own material to label groups reworking standard contracts to prevent them from doing so.
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Still, the news that Swift had bought back her masters was met with some consternation about the future of the Taylor’s Version albums: Swift wrote that her 2006 self-titled debut was fully re-recorded, while Reputation (Taylor’s Version) was not. “Full transparency: I haven’t even re-recorded a quarter of it,” she wrote of her 2017 full-length.
So will the long-sought-after Reputation (Taylor’s Version) ever get completed? Will Taylor Swift (Taylor’s Version) receive a release date in the near future? What’s the point of a re-recorded album, now that Swift owns all of the original albums? And what do we do, moving forward, with the four Taylor’s Version albums that did get released?
We don’t know the answers yet, but we know how much the Taylor’s Version albums have already given us – including “All Too Well (10-Minute Version),” an irreplaceable linchpin recording in her catalog.
We’ll see if and when this project gets completed, how the Taylor’s Version re-recordings will age, and what versions of her hits and deep cuts fans will gravitate toward in the future. But just because the battle is now over, it’d be shortsighted to declare all for naught. The four Taylor’s Version albums presented her back catalog to a new generation – helping first to prime fans for the globe-conquering, catalog-revisiting Eras tour, and then to help cement her career year while the trek was underway.
Plus, fans received over two dozen unheard “From the Vault” songs — castoffs from the original albums that Swift reworked to include on her Taylor’s Version releases. These previously unheard goodies across the bonus cuts on the four re-recordings ranged from collaborations with Maren Morris and Fall Out Boy, to a late-breaking radio hit in the effervescent Red (Taylor’s Version) dance-pop track “Message in a Bottle,” to another Hot 100 chart-topper in the wistful “Is It Over Now?,” from 1989 (Taylor’s Version).
Which brings us to the greatest “From the Vault” song, and the one that stands as the greatest musical legacy of the entire re-recording project. When Red was released in 2012, the five-and-a-half minute “All Too Well” was positioned on the track list as an extended songwriting showcase in between shorter, more radio-friendly pop singles like “I Knew You Were Trouble” and “22.” While those hits helped Swift transition to pop superstardom with 1989 two years later, the power of “All Too Well” as a richly detailed examination of a failed relationship endured, becoming a fan favorite in the years following Red.
The song, and its cult status, also marked an important inflection point for Swift as a storyteller. A year before Red (Taylor’s Version) arrived in 2021, Swift pivoted away from top 40 on Folklore and Evermore, using an indie-folk aesthetic to explore different characters and narratives with the same care as one of her fiercely embraced album cuts.
A 10-minute version of “All Too Well” had long been teased, and the release of Red (Taylor’s Version) proved to be the perfect occasion for its unveiling. Any Swift purist could have been reasonably worried about the decision to nearly double the length of one of her best-loved songs. Yet the supersized version of “All Too Well” was not overstuffed — instead, “All Too Well (10-Minute Version)” towers above the original. Expanding the song’s world of stray thoughts and heartbreak totems while expertly navigating the story’s twists and turns, Swift turned a for-the-fans album cut into an authoritative epic.
With 10 minutes to work with, Swift lets each new detail of “All Too Well” simmer without building to a boil. The profane keychain that gets tossed her way, her subject’s refusal to “say it’s love,” the inquisitive actress, the charming chats with her father, the heartbroken 21st birthday — each new line is woven into the tapestry of a reflection that already exists, and Swift delivers them with varying degrees of frustration and regret.
Most of Swift’s songs wouldn’t improve if pushed to the 10-minute mark, but the structure of “All Too Well” — verses stacked upon one another, chorus lyrics shapeshifting to reflect her curdling emotion — allows for the bulked-up format. By the time the song starts to fade out with the refrain “Sacred prayer, I was there, I was there,” the passage of time is made explicit, as Swift’s recollections are stored in a time capsule that needed to be made a little bit bigger. Sure, there are new Easter eggs for fans to pore over and peruse – but nothing about “All Too Well (10-Minute Version)” feels forced, and that’s why it provoked such a strong reaction upon its release.
All Too Well: The Short Film, written and directed by Swift, was released along with the 10-minute version, and she performed the song in full on Saturday Night Live the day after its release. With so much pre-release hype and release-weekend promotion, “All Too Well” shot to the top of daily streaming charts immediately – and one week later, the song sat atop the Hot 100, the first Taylor’s Version track to come anywhere close to the chart’s peak. The flashpoint of excitement around its release demonstrated Swift’s still-rising commercial power, about a year before she made it unignorable with the record-setting success of 2022’s Midnights.
It also clued in countless casual listeners to one of her best songs. “All Too Well” isn’t just a fluky chart hit; the song now stands as a defining work for Swift, and an encapsulation of her legacy as a modern songwriter. In the future, critics, writers and historians will need a song to represent Swift’s cultural impact, and that song may very well be “All Too Well” – which simply wouldn’t have been the case without the Taylor’s Version moment.
That impact was on full display during the Eras Tour, where “All Too Well” was performed in its 10-minute incarnation as the final song in the Red portion of the show. Each night, stadiums full of Swifties sang along to its fourth, fifth and sixth verses, and bellowed “F—k the patriarchy!” with uninhibited glee.
Now that Swift’s Taylor’s Version project has entered a new phase of existence, those sing-alongs are worth considering as part of its legacy. “All Too Well (10-Minute Version)” wasn’t just a commercial ploy, or catnip for the critics. It’s now an anthem for all of us.
It’s no secret that Cardi B and Offset‘s relationship has been fraught for a long time, with the latter allegedly cheating on the former multiple times throughout their marriage. And now that they’re separated, the “WAP” rapper is opening up about the effects the Migos star’s rumored infidelity had on her while they were together.
In clips from an X Spaces shared by TMZ Tuesday (June 3), Cardi said that she’s the happiest she’s been “in a very, very long time” while reflecting on a time not so long ago that left her feeling the opposite. “Last year, I really felt like I was going crazy,” she said, referring to the final months of her relationship with Offset — during which she was pregnant with their third baby — before she filed for divorce in late July.
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“It’s more than the cheating,” the Bronx native claimed. “It’s the constant lies, the gaslighting — it was really messing up my with my head … I couldn’t eat, I couldn’t sleep. My baby came out five pounds. A healthy baby. My baby came out five pounds, because I couldn’t eat, I was so depressed.”
Cardi went on to reveal that her management and label team eventually saw the toll it was taking on her and decided to find her a therapist. “I did therapy, and I tried, and I fell back in love again,” she added, most likely referencing her rumored new boyfriend Stefon Diggs.
The rapper welcomed her third child with ‘Set — a daughter named Blossom — in September, just a little more than a month after she filed to legally separate from her now-estranged husband for the second time. The former couple is currently in the midst of contentious divorce proceedings, with Cardi recently slamming the “Stir Fry” rapper for seeking spousal support.
“You such a f–king p—y a– n—a,” said Cardi, who also shares daughter Kulture and son Wave with Offset, during a May X Spaces. “Word to my mother, I want you to die, but I want you to die f–king slow. When you die, I want you to die slow in the bed. And when you die, n—a, you gotta think of me.”
As Cardi shared in her latest chat with fans, however, she’s in a much better place now. A couple weeks after snuggling courtside with Diggs at a New York Knicks game, the hip-hop star leveled with fans about how cautiously she’s approached dating again and slammed claims that she’s only “popping out” with someone new to make her ex jealous.
She also reaffirmed just how important it was for her own sanity to break things off with Offset last year. “If I was still there, I was going to end up going to jail,” she told fans. “‘Cause I was going to end up killing them, seriously, with my own bare hands.”
A week after becoming Jon Reddick’s first Billboard chart No. 1 — on the Christian AC Airplay tally — his “No Fear” rises to the top of Christian Airplay. The song increased by 15% to 4.4 million audience impressions May 23-29, according to Luminate. It holds atop Christian AC Airplay with a 5% gain in […]
Justin Bieber is speaking his mind once again, sharing a cryptic post on Instagram slamming people who tell others what they “should or shouldn’t have.”
In white text typed over a purple gradient Tuesday (June 3), the pop star began by writing that “telling other humans they deserve something is like raising someone else’s kids.”
“Who are you to tell someone what someone should or shouldn’t have,” he continued. “The audacity. That’s not your place.”
The “Peaches” singer added, “God decides what we deserve.”
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Billboard has reached out to his reps for comment.
Bieber did not specify to whom he was referring in the post, but it does come at a particularly prosperous time for his family. A few days prior to his message, skincare mogul Hailey Bieber — whom the pop star married in 2018 — announced that she’d sold her Rhode company to e.l.f. Beauty for a reported $1 billion, something the musician celebrated by proudly sharing the news on his Instagram.
Before that, the model — with whom Justin welcomed son Jack Blues in August — appeared on the cover of Vogue. In the accompanying profile, the “Baby” vocalist said, “I’ve done a lot of dumb things in my life, but the smartest thing I’ve ever done was marry Hailey.”
The Grammy winner’s post is just the latest cryptic statement he’s made on Instagram in recent months. In February, he made headlines for posting about how it was “time to grow up” on his Story, after which he penned musings in March about feeling like he was “drowning” in “hate” and struggling with feeling “unworthy.”
In April, Justin called out paparazzi in Los Angeles, sharing a video of cameramen following him out to his car, writing, “This has to stop.”
“IM CURRENTLY ASKING [GOD] TO HELP ME WITH PATIENCE BECAUSE It CAN BE REALLY HARD TO NOT RIP THESE F–KIN GUYS HEADS OFF,” he also wrote at the time. “Today I’m forgiving myself for my own selfishness, AND forgiving THOSE WHO SEEK TO USE AND ABUSE ME SIMPLY BECAUSE THEY WANT TO CAPITaLIze off of me, Or Their jealousy makes them want to make me feel small like how they feel.”
See Justin’s latest post below.
Three months after the announcement that deadmau5 sold his catalog to Create Music Group for $55 million, the producer has commented on the deal. “It was time to just let it go,” the producer born Joel Zimmerman said in a June 2 cover story alongside Rezz for Billboard Canada. “I’m not so attached to [my […]
The Tony Awards on Sunday night (June 8) will include performances from all five nominees for best musical and all four nominees for best revival of a musical — as well as two more 2024-25 shows — Just in Time, which stars Tony-nominated Jonathan Groff as legendary performer Bobby Darin, and Real Women Have Curves, which features Tony-nominated Justina Machado.
There will also be a special 10th anniversary salute to Hamilton, with a performance by that show’s original cast. Three of that show’s stars, Lin-Manuel Miranda, Renée Elise Goldsberry and Ariana DeBose, are also set to present on the show.
There will also be a performance by Broadway Inspirational Voices. The ensemble, founded by Michael McElroy, won a 2019 Tony Honors for Excellence in the Theater.
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Cynthia Erivo, who won a Tony in 2016 for The Color Purple, is set to host the show for the first time. Brian Stokes Mitchell, who won a Tony for in 2000 for a revival of Kiss Me, Kate, will serve as the show’s announcer. The show will air from Radio City Music Hall in New York City for the first time in three years.
Other presenters include Adam Lambert, who played the emcee in Cabaret on Broadway; Lea Michele, who starred on Broadway in a revival of Funny Girl; and Sara Bareilles, a three-time Tony nominee and past Tonys cohost.
Past Tony winners Aaron Tveit, Bryan Cranston, Kelli O’Hara, Kristin Chenoweth, Lea Salonga and Sarah Paulson are also set to present.
Darren Criss and Renée Elise Goldsberry are set to host the pre-show, dubbed The Tony Awards: Act One. This could be a very big night for Criss, who is also a leading nominee for best performance by an actor in a leading role in a musical for Maybe Happy Ending.
Two nominated shows, Buena Vista Social Club (which received 10 nods) and Stanger Things: The First Shadow (which got five) are guaranteed to go home with awards. The musicians who make up the band Buena Vista Social Club have been voted a special Tony Award. Other special Tonys will be presented to the illusions and technical effects of Stranger Things: The First Shadow.
Other special Tonys will be presented to Harvey Fierstein, for lifetime achievement in the theatre; Celia Keenan-Bolger, the 2025 Isabelle Stevenson Tony Award; and Great Performances, Michael Price, New 42 and The New York Public Library for the Performing Arts, 2025 Tony Honors for Excellence in the Theatre.
The 78th annual Tony Awards will air live coast to coast on Sunday, June 8, from 8 to 11 p.m. ET on CBS (its network home since 1978) and streaming on Paramount+ in the U.S.
The Tony Awards: Act One is available to viewers for free on Pluto TV from 6:40 p.m. to 8 p.m. ET/3:40 to 5 p.m. PT. Viewers can access the show on their smart TV, streaming device, mobile app or online by going to Pluto TV and clicking on the Live Music channel, found within the Entertainment category on the service.
The Tony Awards are produced in collaboration with Tony Award Productions, a joint venture of the American Theatre Wing and The Broadway League, and White Cherry Entertainment. Ricky Kirshner and Glenn Weiss are executive producers and showrunners for White Cherry Entertainment. Weiss will serve as director.
Here are the performers and presenters on the 2025 Tony Awards. Additional names will be added as they are announced.
Best musical nominees
Buena Vista Social Club
Dead Outlaw
Death Becomes Her
Maybe Happy Ending
Operation Mincemeat: A New Musical
Best Revival of a Musical nominees
Floyd Collins
Gypsy: A Musical Fable
Pirates! The Penzance Musical
Sunset Blvd.
Other 2024-25 shows
Just in Time (Bobby Darin musical)
Real Women Have Curves
Special performances
Hamilton original cast, 10th anniversary
Broadway Inspirational Voices
Aaron Tveit
Adam Lambert
Alex Winter
Allison Janney
Ariana DeBose
Ben Stiller
Bryan Cranston
Carrie Preston
Charli D’Amelio
Danielle Brooks
Jean Smart
Jesse Eisenberg
Katie Holmes
Keanu Reeves
Kelli O’Hara
Kristin Chenoweth
LaTanya Richardson Jackson
Lea Michele
Lea Salonga
Lin-Manuel Miranda
Michelle Williams
Oprah Winfrey
Rachel Bay Jones
Renée Elise Goldsberry
Samuel L. Jackson
Sara Bareilles
Sarah Paulson