Music

03 Aug 2023

Jaime Wyatt on Finding Freedom in New Track ‘World Worth Keeping’

She may have temporarily shelved her white cowboy hat and traded her signature two-piece Western suits for a pink tracksuit, but Jaime Wyatt is just as much an outlaw as she’s ever been.

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Trouble has never had a hard time finding Wyatt, 37, who spent her young life living as an old soul from a small town in Washington, only to hit rock bottom in her teenage years — hooked on drugs, strung out and crazy enough to try and rob a drug dealer.

Wyatt doesn’t shy from her past, but also refuses to be defined by the person she was 20 years ago, locked up in L.A. County jail. Today, she’s an outspoken voice for those living on the margins, an LGBT activist in living in a state she’s ready to boycott, and an evolving artist ready to challenge the conventions of country music. She’s currently doing the latter with new single “World Worth Keeping,” a roots and revival anthem celebrating an imperfect world, as well as those who make it worth keeping.

Produced by Adrian Quesada from the Black Pumas, the track is a departure from the heartbreak honky tonk kitsch of Wyatt’s 2020 record Neon Cross. The first single off her new record Feel Good, out Nov. 3 on New West Records, “World Worth Keeping” feels more like a 1960s civil rights anthem, with a timeless lyrical theme and an easy-on-the-ears sensibility highlighting Wyatts impressive range.

Wyatt sat down with Billboard earlier this year to talk about her new music, her time behind bars and the bittersweet universalism of a broken heart. Below is an edited version of that conversation.

I recently read a profile about you, and there was an interesting vignette in the piece describing a fan approaching you at your merch booth and quizzing you to see if you were outlaw country enough. Do you get approached like often?

Yeah, country has this weird thing, like, “How country are you? Are you really country?” And the answer is, “Yeah, I am.” I lived in a trailer when i was a kid in Washington. We had horses, I worked at a horse barn and my parents listened to plenty of country records. What else do you want from me?

Now that you live in Nashville, are you questioned even more?

Yeah, and some people are surprised when they find out I’m not a native Tennessean. I’m part Cherokee, and my people moved from Oklahoma to California and played in a band to support themselves. Most people in Nashville, it turns out, are really amazing, sweet compassionate people. But yeah, some people want to test me, and my response is the same — I don’t have time for it. I really just want to spend my time making music.

As a gay artist in country music, do you feel pressure to be more active pushing for LGBT representation, or do you feel pressure to not stand out?

It varies day to day. Sometimes I walk into a venue and I’m like, “I don’t want to be gay here. I don’t want to be gay today.” I’m not going to tell them who I am, not today. Other days, l play my earnest card. Usually that’s best.

Do you think artists should boycott states that push an anti-LGBT agenda.

Yes, and I live in Tennesse. But f–k it, boycott ‘em. F–king sad to say, but I was thinking about this the other day, and that’s what gets people’s attention. Not me, but someone like Taylor Swift. That’s what it would take.

What’s life like on the road for you?

Right now I’m playing with Head and the Heart. I’m playing a bunch of festivals, and mixing it up with both country bands and rock and roll. I like that type of musical exploration. We’re going out with My Morning Jacket, and I really like their music and am influenced by their stuff. Touring is like that – out on the road, every night somewhere else. We’re showing up the same time every day. It’s the most consistency that me and my musician guys have ever had in our lives.

Tell me about the new music you are working on.

I’m working with Adrian Quesada from the Black Pumas on a new record, which we recorded and produced in Austin. The music is the closest thing I’ve done to my life story so far. For me personally, it’s about falling in love while also moving and trying to get more free.

What do you mean?

Trying to feel better and trying to take care of my physical self. Trying to lighten up. It’s really more about the music than it is about the lyrics. Like, the last two records I made were very much singer-songwriter tracks hammering at different metaphors, whereas this one way is more a sound I heard in my head when we made this record.

Did you fall in love when recording the album?

Yes, but then I tumbled back out of it.

Was is it a hard fall?

No, but it hurts like it was a hard fall.

Hard fall or hard landing?

Pathetic landing, if I’m being honest.

Does it surprise you how much it hurt?

Yeah.

You want to talk about jail instead?

Yeah, that was so much easier.

Just doing your time in L.A. County Jail?

Don’t get me wrong, it was really messed up too — but I loved it in a way. There was no pressure from society to be an accountant, or even pay the bills.

That sounds a bit over-idealized.

Yeah, but anyone who has struggled with addiction can vibe on it. Jail is a f–king trip.

I read that you were arrested for robbing drug dealers?

Well, yeah, I guess. I was arrested for robbing my drug dealer, which is not that unusual. I was addicted to heroin; it was all super f–ked up.

How old were you when you got locked up?

I was 20, and turned 21 in jail. I ended up doing eight months, and then did nine and half months after that.

How did you get by?

When I first got there, I got high every day. You could use everywhere, and I was an addict — I was strung out all the time. As I started to get better, I would enjoy reading and writing little stories with different characters.

Did the experience change you?

I think I learned a lot about society, and to be honest, it made me a little jaded. Jaded on what society has for people. Where you’re born, it’s like a f–king lottery. And that’s why most people are there — not because they were born to be a criminal, but because they were born with nothing else.

Knowing what you know, do you think you would ever want kids?

It’s not the first thing that I’m looking for. I’d probably love to have an amazing Telecaster instead. Or a dog. Don’t get me wrong, kids are cool. Humans are cool. But I’m a weirdo. I gotta be out there, experiencing the world and meeting people. I always want to be connecting with other artists and recording music. With that type of lifestyle – really, my type of lifestyle – a telecaster seems more practical.

03 Aug 2023

How Did New Jeans’ ‘2nd EP Get Up’ and the ‘Barbie’ Soundtrack End Up in the Year’s Closest Race for the No. 1 Album?

The final results of the year’s closest race for No. 1 on the Billboard 200 albums chart were announced on Wednesday (August 2) — with K-pop quintet NewJeans securing the top spot for their 2nd EP ‘Get Up’, with 126,500 units in its debut week (on the chart dated August 5).

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That was just 500 more units than the soundtrack to the blockbuster film Barbie, which posted 126,000 units — the best single-week tally for a soundtrack since Lady Gaga and Bradley Cooper’s A Star Is Born set in 2019. Both top-two finishers this week also have a major Billboard Hot 100 presence: NewJeans claims three songs on the Hot 100 (led by advance single “Super Shy” at No. 48) while the Barbie soundtrack accounts for five entries (led by Nicki Minaj and Ice Spice’s Aqua-featuring “Barbie World” at No. 7).

How did NewJeans land such a stellar first-week performance with a six-song EP? And why has the Barbie soundtrack proven such an instant success? Billboard staffers discuss these questions and more below.

1. NewJeans just squeaked out the victory this week over the blockbuster Barbie soundtrack with their 2nd EP, with 126,500 units in its debut week. What do you think the biggest reason is that NewJeans has achieved such success so quickly on the Billboard charts? 

Rania Aniftos: They’re so cool. Simple as that. I’m (half) kidding, but I think with so many boy bands in the K-pop space breaking through into the global mainstream, we’ve been really craving some girl power. NewJeans do such a good job at reaching a global audience because their songs are not only catchy, but also appealing to fans of all ages. I’ve seen TikToks of kids dancing around to “Super Shy” and loving it just as much as their parents do, which is pretty unique when it comes to music.

Kyle Denis: I think NewJeans has arrived at precisely the right time. From the Stateside breakthroughs of BTS and BLACKPINK a few years back to the recent Billboard 200 triumphs of STRAY KIDS and TWICE, the U.S. market is very receptive to K-Pop across the board right now. Sonically, their new EP drips with the sounds that have been dominating America’s mainstream: U.K. garage and Jersey club. Couple that with their flourishes of Y2K aesthetics, sleek melodies and irresistible hooks, and you’re left with an EP that is very in tune with where American music and culture are at in 2023 while still feeling fresh. 

Lyndsey Havens: I think the biggest reason is the pacing of its releases — while NewJeans didn’t overwhelm the market, the act released just enough at just consistent enough of a rate that they always stayed sort of top of mind, without ever becoming oversaturated. Its first two EPs arrived just about one year apart, and the time between was filled with one-offs like “Ditto” “OMG” and “Zero” — plus collaborations and remixes with Jon Batiste and J.I.D. And not only have they been consistent with timing, but with quality as well, which is arguably even more important. 

Jason Lipshutz: NewJeans’ rapid ascent — first with songs like “OMG” and “Ditto,” and now with this chart-topping EP — is due to their combination of their K-pop fan appeal and their smart, natural deviation from traditional K-pop production. The group has been able to tap into a massive listenership while offering them something new, and reaching non-K-pop fans in the process: the video for “Super Shy,” for instance, contains the group choreography and individual personality showcases typically affiliated with a K-pop visual, but the song’s rhythmic base and shuffling hooks are just as likely to beguile R&B and hyperpop fans. NewJeans offer a new, broadly enjoyable flavor of popular music, and it’s connecting.

Andrew Unterberger: NewJeans are clearly on pop’s cutting edge for 2023 — their sound plays in any language, for any audience — and they have the songwriting, hooks and personality to back up the production. It’s a recipe for success — which, unlike with many of their peers, can already be seen in streaming hit singles as well as in robust album sales.



2. While several K-pop outfits have topped the Billboard 200 already this year, NewJeans has separated itself from the pack of rising stars by scoring a trio of Hot 100 entries already — led by Get Up’s “Super Shy,” at No. 48 this week in its third week on the listing. Do you think it will grow into an even bigger pop hit, or is this the best showing it will likely have?

Rania Aniftos: It’s probably just the beginning. Now that the album has topped the Billboard 200, even more potential fans will get introduced to the group and check out their music. “Super Shy” is such a fun song, so I can’t imagine that NewJeans fans won’t continue to boost its success.

Kyle Denis: I think “Super Shy” can definitely grow into a bigger pop hit. Obviously, with TikTok anything is possible, and we just saw FIFTY FIFTY make history on pop radio for South Korean all-female groups with “Cupid.” Given the heavy Jersey club influence of “Super Shy,” the song wouldn’t sound out of place next to PinkPantheress and Ice Spice’s “Boy’s A Liar, Pt. 2” or Bad Bunny’s “Where She Goes,” so the potential for growth is certainly there. 

Lyndsey Havens: I think it’s both — and that’s sort of the genius of it all. The soundtrack was so perfectly tailor-made for the film — and yet, it also stands strong on its own as original songs by Dua Lipa and Billie Eilish would sound just as at home on projects of their own. (The real test will be if Eilish live debuts “What Was I Made For” during her headlining set at Lollapalooza this weekend). Plus, having physical formats available on release date allowed people to buy in right then and there, and helped the soundtrack to exist as a separate, tangible entity. 

Jason Lipshutz: I’m not sure exactly how high it will climb, but “Super Shy” is one of the most immediately enchanting pop singles of the year — catchy, bubbly, carrying a sense of space and a feeling of intimacy. The recent success of FIFTY FIFTY’s “Cupid” makes me feel even more bullish that K-pop singles can cross over to U.S. top 40 radio — a platform that has generally shrugged off tracks by non-stadium headliners — and I think “Super Shy” will make some inroads at pop stations in order to enter the top 40 of the Hot 100.

Andrew Unterberger: They’ll get one soon enough. “Super Shy” seems like a good bet to be that official crossover breakthrough, but if it’s not this one it’ll probably be another within a year’s time.

3. Meanwhile, Barbie posts the best single-week number for a soundtrack since 2019. Is that mostly just a function of how big the accompanying movie has already become, or do you think the soundtrack establishes a character of its own as a full listen? 

Rania Aniftos: Both! In my experience, I listened to the soundtrack because I was so excited about living the Barbie fantasy, but then realized that there are some really good songs on there that stand perfectly on their own without the movie’s context. I find myself listening to some of the soundtrack’s hits on repeat even though the Barbie hype is starting to subside, and I’m sure I’m not the only one who feels that way.

Kyle Denis: As a complete package, I’m not crazy about the Barbie soundtrack. Nonetheless, there are enough songs on the album that double as memorable and pivotal moments in the film for the soundtrack to stick. Obviously, the record-breaking success of the film helped these first-week numbers, but with four tracks — “Barbie World,” “Dance the Night,” “Speed Drive” and “What Was I Made For?” — growing into legitimate streaming and radio hits, I anticipate some impressive stability for the soundtrack’s consumption numbers in the weeks to come. 

Lyndsey Havens: I think it will continue to grow, especially following the EPs impressive debut week. And while NewJeans has already explored the remix format, “Super Shy” seems like an ideal follow-up — and I would imagine the list of artists willing to hop on is quite long by now.

Jason Lipshutz: My wife and I were driving around the other day, listening to the Today’s Top Hits playlist on Spotify, and “Barbie World” played back-to-back with “Dance the Night” — a pretty good sign for a big-budget soundtrack! The success of the Barbie film, which has practically become a cultural phenomenon, obviously boosted the debut sales week of its accompanying album, but the main reason why the soundtrack has done so well is because it has hits that can stand on their own. Some function within the context of the Barbie film more than others, but when you have big artists delivering their A-games and scoring real chart achievements, your soundtrack is going to do big numbers.

Andrew Unterberger: The soundtrack is a very fun and fairly coherent listen front to back — not every song is a gem, but every song keeps the momentum up, and a handful of tracks do feel like real hits. As someone who still hasn’t seen the Barbie movie (I know, I know, I’ll get to it soon enough), if I was at a party or in a car ride and someone threw on the soundtrack, I’d still be able to enjoy myself pretty thoroughly — a rarity for OSTs in 2023, to be sure.



4. Barbie also claims six songs on the Hot 100 this week: Nicki Minaj and Ice Spice’s Aqua-featuring “Barbie World” (No. 8), Dua Lipa’s “Dance the Night” (No. 12), Billie Eilish’s “What Was I Made For?” (No. 18), Charli XCX’s “Speed Drive” (No. 73) and Ryan Gosling’s “I’m Just Ken” (No. 87). Which of the bunch, if any, do you think makes for the best listening when removed from the larger Barbie context?

Rania Aniftos: I’m torn between “Dance the Night” and “What Was I Made For.” As we’ve seen with “Levitating,” Dua knows how to keep a disco-pop track on the charts, on the radio, in the clubs and basically anywhere you can listen to music. “Dance the Night” is very similar to me, so I’m guessing it will have a similar impact. Meanwhile, I’ve already been seeing “What Was I Made For” striking a chord with listeners on TikTok, as this new generation of music listeners seem to be more existential. They’re connecting the songs with their own experiences of feeling used or unseen for who they truly are, and I think the song is going to stick around for a while. 

Kyle Denis: “Barbie World” is such a fun flip of the Aqua sample that you can’t help but bop along, but, for me, the real star of the soundtrack is Billie Eilish’s “What Was I Made For?” It’s an absolutely devastating ballad that boasts the best placement in the film, but the lyrics and production of the song are just as effective when removed from the context of Barbie. Sure, it’s a bit of a heavy song for the summertime, but you can’t deny its greatness. Then again, if you’ve truly tapped into the Kenergy within you, Ryan Gosling’s “I’m Just Ken” is always a great listen. 

Lyndsey Havens: Personally, I have not been able to stop listening to “I’m Just Ken” — like really, it’s becoming an issue. But that song is arguably the most tied to the film… as is “Barbie World.” Which is why, I think, “Dance the Night” and “Made For” have been the most affecting for me; Both sound like they could have been left on the cutting room floor of Future Nostalgia and Happier Than Ever, respectively. But in the context of the film, they also sound like they were only made with Barbie in mind. That kind of duality — to resonate with something so specific and so universal all at once — is why I think those two songs will keep climbing. 

Jason Lipshutz: “Dance the Night,” for sure. Maybe the Barbie single isn’t Dua Lipa’s strongest glittery disco-pop single to date, but I’ll be damned if we weren’t starving for a new glittery disco-pop Dua Lipa single, now nearly three and a half years removed from the release of Future Nostalgia. The song has grown on me, sounds great on pop radio, possesses one of the best bridges of any hit single this year, and will keep performing well whenever the Barbie hype starts to dissipate.

Andrew Unterberger: It’s almost comical to me how good “What Was I Made For?” is — Billie and Finneas could’ve very easily phoned in their Barbie ballad, but instead reached so deep inside with this one that it sounds like a particularly emotionally wrought therapy session. Given how relatively uncommercial the song is and how much listeners are still responding to it, you can tell that it’s resonating far beyond the Barbieverse.

5. It hasn’t always been the most exciting year for new pop blood on the charts, but the combo of NewJeans and the Barbie hits is one of the better infusions we’ve had in a bit. What other pop artist, currently scheduled (strictly or loosely) for an upcoming 2023 release, are you most excited to hear a new album from this year?

Rania Aniftos: Olivia Rodrigo, of course. She’s coming to save 2023 pop. Trust me.

Kyle Denis: I’m very excited for the upcoming records from Reneé Rapp (Snow Angel) and Holly Humberstone (Paint My Bedroom Black). 

Lyndsey Havens: Well, we already got a new album from Posty, so even if we call it here and now I’m ending the year on a high. That said, I’ve been listening to a lot of Selena Gomez lately and would be excited about a new album from her… And then, of course, there’s Ariana. Perhaps with production paused for Wicked she’ll venture back into the studio… There’s certainly a lot of inspiration for another hit (or several) these days. 

Jason Lipshutz: “Rush” has me buzzing with anticipation for the new Troye Sivan album, which is due out in October. Could he finally cross over as a hitmaker? How many songs will approach the sky-high quality of that lead single? I’m amped to see what Sivan has in store, and what he can accomplish commercially.

Andrew Unterberger: It’s been a long road to Chappell Roan’s debut album, and you just hope that it gets the attention it’s sure to deserve as one of the year’s most fun and funniest pop sets.

03 Aug 2023

LE SSERAFIM Is Releasing a Collab With Demi Lovato: Here’s When It Arrives

LE SSERAFIM is adding another collaboration to its list. The K-pop group — which consists of members Sakura, Kim Chae-won, Huh Yun-jin, Kazuha and Hong Eun-chae — is releasing an English version of its single “Eve, Psyche & The Bluebeard’s Wife” featuring Demi Lovato, the group announced on Thursday (Aug. 3).

The news was revealed via the K-pop group’s TikTok account with a snippet of Lovato’s sizzling verse, as well as a peek of the song’s visualizer video.

“I see it written on your face, yeah/ I know you want a little taste, yeah/ You know I’ll put you in your place/ You’re crawling on the floor/ Begging me for more, ooh/ I’m sicker than the flu/ Come put me in the mood/ My body touching you, do you like that?/ Ooh, just watch the way I move,” the Disney Channel alum sings on her sultry verse.

Lovato is the latest star to hop on an iteration of “Eve, Psyche & The Bluebeard’s Wife.” A remix with Rina Sawayama was released on July 28, while a version with UPSAHL arrived on July 14. The English version of the track was also released on July 6. Lovato’s collaboration is slated to arrive on Friday, Aug. 4.

“Eve, Psyche & The Bluebeard’s Wife” is the second single from LE SSERAFIM’s first studio album, Unforgiven. The track peaked at No. 1 on Billboard’s Hot Trending Songs chart dated June 3, while the album it’s on peaked at No. 6 on the Billboard 200.

Listen to the teaser for Lovato’s verse on “Eve, Psyche & The Bluebeard’s Wife” below.

03 Aug 2023

NewJeans’ Hanni Reacts to ‘Get Up’ Reaching No. 1 on Billboard 200: ‘ARE YOU KIDDING ME!!!’

After a tight race to No. 1, NewJeans‘ second EP, Get Up, edged out Barbie: The Album for the top spot on the Billboard 200, dated Aug. 5. Following the news of the release going No. 1, the group’s Hanni took to NewJeans’ fan app, Phoning, on Thursday (Aug. 3) to share her excitement about the quintet’s latest achievement.

“Billboard 200 # 1 ??!!! ARE YOU KIDDING ME!!! I don’t know how this could happen…Honestly I can’t believe the fact that Get Up is there,” she wrote. “Didn’t hit me yet but I am very happy and relieved that it’s there!! Not only for this album, but a lot of people helped and took a lot of time on all our songs so I’m just really happy to know that all of the effort and everyone who participated in creating this amazing album has been recognized!! Bunnies too, it’s hard to explain but I think you just know my feelings <3>

The feat makes the girl group — which also consists of Danielle, Haerin, Hyein and Minji — the second all-female group to reach the chart’s summit in less than a year, after BLACKPINK’s Born Pink crowned the chart last September.

Get Up also marks NewJeans’ first entry on the Billboard 200, as well as its first No. 1. On the Aug. 5-dated Billboard Hot 100, tracks “ETA” and “Cool With You” debuted at Nos. 81 and 93, respectively, while lead single “Super Shy” rose to a new peak of No. 48.

NewJeans’ victory lap will take place at Lollapalooza Chicago on Thursday. Hanni, 18, expressed happiness at being on a U.S. stage for the first time following the album’s charting success. “Now today I’ll see a lot of people through the stage and connect through the music with everyone and I’m really gonna enjoy myself!!! To the fullest!!!!!” she shared on Phoning. “LOLLAPALOOZA JUST YOU WAIT!!!!! NewJeans is coming~!”

See Hanni’s message in full below.

03 Aug 2023

How WWE Superstar Cody Rhodes Is Building His ‘Kingdom’ Brick by Brick

Imagine being the son of a lauded WWE Hall of Famer and wanting to fill his iconic wrestling boots. That was once the story for Cody Rhodes — the son of the legendary Dusty Rhodes — whose gripping promos and electric matches with Ric Flair, Tully Blanchard, and Lex Luger made him the standard in pro wrestling during the 1980s. Once grappling with the legacy and shadow of his late father, Cody is no longer chasing ghosts. 

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Since his return to the WWE in 2022, Rhodes is arguably the company’s top star, courtesy of his charisma, in-ring prowess and captivating entrance theme, which doubles as a rallying cry for his audience. Created by the alternative rock band Downstait in 2016 during Rhodes’ departure from the WWE, “Kingdom” tells the story of the wrestler seeking fans’ support while on his road to greatness. Though Rhodes’ journey wasn’t the most glamorous, as he wrestled in gyms for hundreds of people during the early stretches of his indie run, he pushed forward in hopes of reestablishing his name and identity in the wrestling world. 

By 2019, Rhodes flourished and became a ubiquitous star in the indie circuit, wrestling for companies such as Evolve Wrestling, Ring of Honor, TNA and New Japan Wrestling. After hosting a successful pay-per-view titled All-In with acclaimed indie wrestlers in 2018, Rhodes launched a new wrestling promotion titled AEW alongside Matt and Nick Jackson of The Young Bucks and Kenny Omega to rival WWE. Though Rhodes left the company in 2022 to return to his first home, his song “Kingdom” followed him after he and the band endured an excruciating battle with WWE over song rights and royalties. Today, “Kingdom” sits at a whopping 28 million plays on Spotify, and continues to be among the most popular themes in WWE, propelling Rhodes further into the hearts of the WWE Universe amid his quest for the championship. 

Billboard spoke to Rhodes about “Kingdom,” his new Peacock documentary, American Nightmare: Becoming Cody Rhodes, his similarities to LeBron James and more. 

When Downstait first made “Kingdom,” I read they were struggling financially and working regular jobs. How did his song eventually become a win not only for you, but for everyone involved?

It was so nice when I left WWE initially and I went into the unknown — I wanted to be prepared for it. I almost felt like I was drawing up blueprints for what I wanted my career to be like, now that I was my own boss and I was going to be in charge. And those guys, Downstait, have done music for WWE for years and they’ve done multiple themes of mine already, which I didn’t even know. There wasn’t that connection between the artists and the artists, I supposed. They were banging out banger themes left and right, but I contacted them and they were game to do it.

They put together lyrics that were kind of this rallying cry — because that’s the trick with sports entertainment and wrestling music. The song can be good, sure; it could be a good song, a good beat, a good melody, but it also has to be catchy. You gotta remember it. In the case of today, I’d say today that we have the catchiest of songs because, it creates this whole moment that happens multiple times throughout its play-through, with the “Whoas.”

But their journey, Downstait — you mentioned them going through it and the struggles — their journey mirrored my own. So for us to pair up, take it, and then for me to be so specific with everyone to the point [where] in plenty of meetings, people did not love how absolutely adamant I was about this being the song: This is the song. There’s no other song. Maybe one day, but this is the song and it goes everywhere I go. That’s just the way it gotta be — and I’m glad we stuck to our guns on that one, because those guys are great. They do music for tons of folks and they’ve made a very catchy song.

Considering you’re near the apex of your career — I say near because I know that elusive belt is something you’re still chasing — are there any lyrics from “Kingdom” that still hit home and resonate with you today?

I think probably the No. 1 [thing] in the lyrics that resonates is the part about following you til the end — in terms of, I was asking fans when I left [WWE], flat out, “Hey, will you go with me?” Doesn’t mean you don’t watch WWE still, but will you go with me to Evolve in Joppa, Maryland in front of 400 people? Will you go with me to NorthEast wrestling? Will you go with me to All-Pro Wrestling? Because as much as these independents are in high-school gyms and in myriads of places, they’re streamed. You can get them, you can see them. I wanted to have fans ride with me. That’s why I created the list of the different opponents that I would want.

I think that following me until the end has become a genuine [feeling] for those who were onboard and for those who’s just getting onboard tomorrow, or today even. I’m gonna do everything I can to get to the finish — and then of course, who knows what happens after that? Because you mentioned being near the apex of my career — there’s really this one thing that I’m looking to tackle, and what will happen if we’re able to get that chip. But that line about following you until the end sticks with me, because I’m always looking at the people when I hear it in the speakers in the ring, and it’s a very real transaction that we have. 

From “undesirable to undeniable” is a quote I always hear from announcer Corey Graves when describing your journey. At what point in your journey did you hit the undeniable chapter of your life? 

I think probably when you can no longer say, “OK. He was disenfranchised and he didn’t like what he was doing, so he quit.” I think when you had to turn the narrative into, “no, he had a point,” was around the first All-In. When [wrestling columnist] Dave Meltzer said we couldn’t get 10,000 people in an arena and we got 11,236 in under an hour. We shut the site down, and there’s a plaque on the side of the arena. That was the one where you could no longer be denied — and what I tried to do after that was if anyone showed up then and there like, “no, no, this is a fluke,” I kept trying to put them through the goal post.

At that point, our industry really changed. If you ever interview any of the big wigs or the top brass behind the scenes, this might be the area where they don’t love my story — because it meant everyone had to get paid a lot more. I’m so glad I had Matt, Nick, and Kenny for that — because that’s something that’s pretty cool, whenever someone comes up to you and says, “Thank you. I got the biggest deal of my life because of this silly show you guys did and this gamble that you took.” That’s a very, very rewarding feeling that I never anticipated would ever come up in my career. But I think that that point was where the whole concept of “I will not be denied further” [came from]. It emboldened me. 

I see a similar storyline arc between you and LeBron in terms of starting your career at home, going elsewhere to find success and then coming back to where it all began. Am I crazy for drawing that comparison?

I can’t say that and here’s why: LeBron’s the GOAT, or if not, one of the GOATs. It’s LeBron. So I can’t just go like, “You know I see my story is a lot like LeBron James.” [Laughs.] For you to say it — I’ve thought the same thing about my time away very much. It was this needed thing where we were doing something unique and special. But then to be able to come back to what was your home and deliver. .. Not just come back for any other reason, but to come back and deliver, it’s very similar from that arc. So I’m happy to be discussed in the same vein as somebody like LeBron. 

I think your finest promo was the one you cut with Paul Heyman earlier this year. Then, I think about your time at the Howard Fine acting school when you were younger. How much do you credit your skill-set in promos to your natural poise and charisma versus the acting classes you once took?

When I’m able to go out there, I always flip the mic. I flip it before I start talking. It almost feels like you’re this gun slinger when you have a mic, because that’s such a powerful thing, knowing you’re gonna tell [the fans] how you feel, why you need something and hope they’re in agreement with you. You’re gonna hope they find it entertaining or they have fun with it. All you’re doing is talking. There’s no wrestling going on in this ring, you’re talking in this ring.

I don’t know if it’s charisma. I feel like [my brother] Dustin got all my dad’s charisma. I don’t know if it’s Howard skills, because Howard skills are more about things that wouldn’t happen in your life. You’re really pretending. You’re acting — whereas what happens in the world of sports entertainment, where you’re in-between sport and entertainment, a lot of what I’m just saying is real.

The biggest part of why I’ve had success with promos and interviews is I prepare it like it’s a dissertation. I prepare that week before if I know I’m going to speak to them. [I’m] very, very in-depth about how I wanna deliver this message, because what I’m telling them is biographical. What I’m telling them is real to me.

You mentioned the Paul Heyman one, Mr. Heyman. That’s authentic. He gave my dad this job that changed the trajectory of my dad’s life. So as much as that problem with him and I exist, that is an area where I’ll always kind of nod my head and have a respect for [him]. I needed him to know it. He did not know that story until that show. I really needed him to know that this thing you did had a very, very large effect on my whole family. So to this day, I have a ton of respect for Mr. Heyman.

But I think with my promos and interviews, I think my preparations been key. I prepare heavily to speak to them. People complain sometimes that I use big words, but I never want to talk down to them. I feel like the sports entertainment wrestling audience is incredibly intelligent — and for some reason, maybe the stigma of the industry of old — some people don’t realize that, but that’s how I talk to them. We’re educated superstars and wrestlers in the ring and this is an educated audience. So I don’t dumb it down.

Your first match in the WWE was against Randy Orton. If and when the Viper returns, what would a Cody Rhodes versus Randy Orton match look like? 

It almost feels like it’s a first-time-ever match, because we wrestled against one another. We tagged together, we traveled together, but Randy arrived in WWE and was ready to go right out of the box. I have taken every piece of that little broken road that I’ve been on to really build what the American Nightmare is. Who I am when I step into the ring, and having that confidence, knowing my skillset, strengths and weaknesses. That’s why it comes across to me like this match never happened before, and I can only hope that Randy gets healthy and gets back to what he does — because he’s so, so, great at it. That would be quite a match. I think that’s one people are whispering about right now, and I feel both of us would be open to it, if not very open to it.

You were an incredible heel during your first run in the WWE. Because you’re the top babyface this time around, can you ever see yourself being a bad guy again, or do you think you’re stuck in this good guy role?

At the end of my AEW run, I felt we were doing heel — but apparently it wasn’t heel enough? Apparently, you have to say you’re a heel, and when you say you’re a heel, then you’re cool? So the definition of it was “the least cool, boo this guy out of the building.” That’s what I want out of my bad guys and bad girls, so I’m not stuck in it. I’ll say there’s probably less likely a chance of it happening, only because one thing I noticed, I’m really big on making eye contact with the audience. I noticed that my audience for me in particularly when you see the Nightmare shirt and the hat, it’s a lot of kids. That’s an important thing.

I don’t know if I’m a standard for them or anything of that nature, but if I even stand a chance of being someone that inspires them, I feel like I’m careful with screwing that up and letting them down. It felt like there was a spot in WWE after John [Cena] had left that maybe nobody was really filling and I don’t know why. But the youngest of our audience has really taken into what’s going on — which is funny, because if they watch this documentary, they might not even know about any of this stuff that even happened. They might just know the guy with the robe who says “Whoa” and the fireworks go off. But with them in mind, I don’t know if turning heel is as likely as it used to be.

American Nightmare: Becoming Cody Rhodes streams now and WWE SummerSlam streams August 5, only on Peacock.

03 Aug 2023

Nashville Songwriters Hall of Fame to Induct Keith Urban, Kix Brooks, David Lee Murphy & More

Keith Urban and Kix Brooks are among the five newest hitmakers set to be inducted into the Nashville Songwriters Hall of Fame.

The two country artists — who each wrote several of their own hits — will join the hall alongside fellow inductees Casey Beathard, David Lee Murphy and Rafe Van Hoy.

Since its founding in 1970, the Nashville Songwriters Hall of Fame has honored many of Music City’s premier songcrafters, inducting 235 songwriters, including Bill Anderson, Bobby Braddock, Garth Brooks, Felice and Boudleaux Bryant, Don and Phil Everley, Harlan Howard, Loretta Lynn, Kris Kristofferson, Willie Nelson, Dolly Parton, Hank Williams, Cindy Walker, Fred Rose and Cindy Walker.

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During a press conference held at Nashville’s historic Columbia Studio A on Thursday (Aug. 3), the Nashville Songwriters Hall of Fame executive director Mark Ford and chair of the board of directors Rich Hallworth revealed that Beathard and Murphy will be added to hall’s ranks, inducted into the contemporary songwriter category, while Van Hoy will be inducted in the veteran songwriter category. Urban will be inducted as the contemporary songwriter-artist, while Brooks will be inducted as the veteran songwriter-artist.

During the press conference, Urban recalled his early days in Nashville, his first time visiting the Bluebird Café and his years spent in writing rooms along Nashville’s Music Row. He also expressed gratitude for being inducted alongside Brooks.

“Kix was one of the first that came along, who sat at [Nashville venue] Jack’s Guitar Bar to hear me play, and later took me on tour. He’s been a champion ever since. I’m honored to be here with you,” Urban told Brooks.

Urban penned many of his own hits, including “But For the Grace of God,” “Somebody Like You,” “Wasted Time” and the CMA Award nominated songs “Tonight I Wanna Cry” and “Better Life.” His 2009 song “Sweet Thing” was named SESAC’s country song of the year, while 2012’s “For You” was featured in the film Act of Valor and earned Urban a Golden Globe nomination for best original song.

Country Music Hall of Fame member (as part of the duo Brooks & Dunn) Brooks had a hand in writing many of the duo’s hits, including “Brand New Man,” “My Next Broken Heart,” “Lost and Found,” the 1995 ACM song of the year nominee “You’re Gonna Miss Me When I’m Gone” and the 2003 CMA song of the year nominee “Red Dirt Road.” He has also written chart-toppers including John Conlee’s “I’m Only In It For the Love,” Nitty Gritty Dirt Band’s “Modern Day Romance” and Highway 101’s “Who’s Lonely Now.”

Brooks said, “I walked in here and saw these guys and was like, ‘We’re doing this together?’” He recalled a time when he and David Lee Murphy were sweeping floors at what is now the Musicians Hall of Fame. He wrote “I’m Only In It for the Love” with fellow inductee-elect Van Hoy.

“I came here as fan of songwriters. That’s all I wanted to do,” Brooks said. “My heroes were not just artists, but artists who wrote their own songs. To even think I would even be recognized in the same sentence as the mention of their names …”

California-born, Virginia-raised Beathard moved to Nashville in 1991; by 1998, he earned his first writing deal and penned the title track to Kenny Chesney’s I Will Stand album. In 2002, he earned his first No. 1 with Tracy Byrd’s “Ten Rounds with Jose Cuervo.” Additional hit writing credits followed, including “Find Out Who Your Friends Are” (Tracy Lawrence), “Cleaning This Gun” (Rodney Atkins), Kenny Chesney’s “Don’t Blink,” “No Shoes, No Shirt, No Problems” and “The Boys of Fall.” He’s also frequently collaborated with Eric Church, writing “Like Jesus Does,” “Hell of a View” and “Like a Wrecking Ball.” He also penned “There Was Jesus,’ recorded by Dolly Parton and Zach Williams. Beathard was named BMI’s country songwriter of the year in 2004 and 2008, and was named NSAI’s songwriter of the year in 2008.

“I’m just grateful to God and to everybody in this room … for considering me,” Beathard said. “It’s humbling beyond words and I’m just grateful.”

Murphy moved to Nashville in 1983, before forming the band The Blue Tick Hounds and eventually signing with MCA Records a decade later. In 1994, his debut album spurred the hit singles “Party Crowd” and “Dust on the Bottle.” In the 2000s, he began writing songs for other artists, penning several hits for Kenny Chesney, including “Living in Fast Forward,” “Here and Now” and “Everything’s Gonna Be Alright,” which Murphy performed as a duet with Chesney. The song earned Chesney and Murphy the 2018 CMA Award for musical event of the year. Murphy also penned hits including “Big Green Tractor” (Jason Aldean), “Why We Drink” (Justin Moore) and “Are You Gonna Kiss Me or Not” (Thompson Square).

“It’s a huge honor to be here today,” Murphy said. “Most writers, this is one of those ten feet off the ground moments … The songwriter community in Nashville is such a tight-knit community … guys that I write with all the time. It’s a special group of people that are songwriters in Nashville. They are supportive and hugely talented and creative. That makes it even more special that I am here today with these guys … this is something I will always remember.”

Raised in Bristol, Tenn., Van Hoy and his family moved to Nashville after he graduated from high school in 1972. Curly Putman signed him to Green Grass Music, which led to a publishing deal with Tree International. In 1976, Van Hoy found success as a writer on the George Jones/Tammy Wynette classic “Golden Ring.” His catalog of writing hits would grow to include the 1983 best country song Grammy-nominated “Baby I Lied” (Deborah Allen), “Friday Night Blues” and “I’m Only In It For the Love” (John Conlee), “Hurt Me Bad (In a Real Good Way)” (Patty Loveless), “Let’s Stop Talkin’ About It” (Janie Fricke) and “What’s Forever For” (recorded by artists including Michael Martin Murphey, Anne Murray, Johnny Mathis, B.J. Thomas and Olivia Newton-John).

“To be in the Hall of Fame is something I always dreamed of,” Van Hoy said. “To be included with the club of brilliant minds and brilliant songwriter that are in the Hall of Fame is unbelievably humbling and immense gratitude from my heart.” He also noted that earlier in the day, his phone started playing Tammy Wynette’s “’Til I Get It Right.” “I hadn’t touched it,” he said. “It was like my buddies [the song’s writers] Red Lane and Larry Henley were saying, ‘Welcome in.’”

The honorees will formally inducted into the prestigious organization during the 53rd Anniversary Nashville Songwriters Hall of Fame Gala on Wednesday, Oct. 11, to be held at Nashville’s Music City Center.

03 Aug 2023

BLACKPINK’s Jisoo & Actor Ahn Bo-hyun Are Dating

Jisoo is a lovesick girl no longer, as the 28-year-old BLACKPINK star is dating actor Ahn Bo-hyun.

The news follows local media reports that the new couple was spotted together in Seoul. Ahn’s team also confirmed the relationship, telling CNN, “The two are in a stage where they are getting to know each other slowly with good feelings. We would appreciate if you could watch the couple with a warm gaze.”

According to the news network, BLACKPINK’s label YG Entertainment provided a similar statement to South Korean news agency Yonhap.

Jisoo becomes the only BLACKPINK band member to be in a confirmed relationship, though rumors regarding the love lives of Rosé, Jennie and Lisa frequently swirl. For instance, Jennie was thought by some to be dating BTS’ V as recently as May of this year.

The “FLOWER” singer’s new beau has a few years on her; at 35 years old, Ahn has been in dozens of movies and TV shows. After getting his start as a model, the Busan native made his acting debut in 2014 and is known for his roles in K-dramas such as Itaewon Class, Yumi’s Cells and Descendants of the Sun.

When she isn’t putting in hours with one of the world’s biggest girl groups, Jisoo also acts. Most recently, she starred opposite Jung Hae-in in the television series Snowdrop.

Jisoo and her bandmates are currently approaching the end of their Born Pink World Tour, which launched in October in support of BLACKPINK’s 2022 sophomore album, Born Pink. The record debuted at No. 1 on the Billboard 200, marking the girls’ first project to top the chart, and spawned two No. 1 singles on the Global 200 chart: “Pink Venom” and “Shut Down.”

Reflecting on BLACKPINK’s success, Jisoo recently shared her thoughts on whether the quartet has earned credit for being “trailblazers” of K-pop. “Maybe half and half?” she mused to Elle Korea, the cover of which she graced in July. “We also walked the path that others have made, but I think there are parts that we pioneered, as we debuted at a time when the platform was expanding and accessibility to K-pop was increasing.”

“Just as there was a part where we walked on a polished road, I hope we can help make the path of those who will come after us smoother,” she added. “It would be nice if they could pioneer their own thing and connect with each other. Anyway, that’s a nice expression.”

03 Aug 2023

Hot 100 First-Timers: Ryan Gosling’s ‘Barbie’ Hit ‘I’m Just Ken’ Debuts

He’s just Ken … but with a Billboard Hot 100 hit. Ryan Gosling is officially a Hot 100-charting artist, as he scores his first appearance on the latest ranking (dated Aug. 5) as “I’m Just Ken” debuts at No. 87.

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The song, released July 21 alongside the new Barbie film, begins with 5.2 million U.S. streams and 2,000 downloads sold in its opening week, according to Luminate. It also debuts at No. 4 on Hot Rock Songs and No. 5 on Hot Rock & Alternative Songs, as well as No. 39 on Digital Song Sales.

The track debuts along with the Barbie: The Album soundtrack, also released July 21 via Mattel/WaterTower/Atlantic Records. The album opens at No. 2 on the Billboard 200 with 126,000 units, as well as No. 1 on the Soundtracks chart and No. 2 on Top Album Sales. It’s the highest charting soundtrack on the Billboard 200 since Encanto led the list for nine nonconsecutive weeks (January-March 2022). Barbie is also the highest debut for a full-length theatrical film soundtrack since the Beyoncé-led The Lion King: The Gift also opened at No. 2 four years ago (Aug. 3, 2019, chart).

While “I’m Just Ken” is Gosling’s first entry on the Hot 100, it’s not his first overall chart appearance. He’s charted once before, with “City of Stars” from his 2016 film La La Land. His solo version spent two weeks at No. 1 on the Jazz Digital Song Sales chart, while a version with co-star Emma Stone reached No. 8 on the Hot 100’s Bubbling Under ranking and No. 45 on Digital Song Sales.

Gosling’s musical endeavors predate La La Land. The actor broke through at age 13 as a member of the Disney Channel’s The Mickey Mouse Club (from 1993 to 1995). He performed song and dance numbers alongside future Billboard hitmakers Christina Aguilera, Britney Spears and Justin Timberlake, among others.

In between Mickey Mouse Club and Barbie, Gosling has forged a hugely successful career in Hollywood, starring in box-office hits including The Big Short; Blue Valentine; Crazy, Stupid, Love; Drive and The Notebook. He has two Academy Award nominations for best actor under his belt, for Half Nelson in 2007 and La La Land in 2017.

03 Aug 2023

Here’s How Tina Knowles Responded to Speculation That Beyoncé Shaded Lizzo With ‘Break My Soul’ Omission

No, Beyoncé did not shade Lizzo at her Renaissance World Tour show in Boston on Tuesday night (Aug. 1). At least according to the Knowles matriarch, Tina Knowles. The mother of Beyoncé and Solange Knowles took to Instagram Wednesday (Aug. 2) to shut down speculation that Beyoncé purposely skipped over Lizzo’s name during the performance of “Break My Soul.”

At the Renaissance World Tour, Queen Bey combines the original solo version of her Billboard Hot 100-topping “Break My Soul” with the Madonna-assisted “Queens Remix,” which boasts the lyric “Betty Davis, Solange Knowles Badu, Lizzo, Kelly Rowl’.” At Tuesday night’s show, Beyoncé did not say Lizzo’s name, and instead chanted “Badu” four times. Both Badu and Lizzo’s names appeared on the screen behind the superstar.

Mama Tina pointed out that Bey “also didn’t say her own sister’s name” in a comment on The Jasmine Brand’s Instagram post about the rumored diss, putting to bed any accusations of Beyoncé shading Lizzo. The “sister” Tina refers to appears to be Beyoncé’s former Destiny’s Child group member Kelly Rowland, as the star chanted the name of her biological sister, Grammy-winning multidisciplinary artist Solange, in the Tuesday performance. The proud mama also made sure to tell online speculators that they “should really stop.”

Although Beyoncé does not sing every name in the “Queens Remix” at every tour date, fans latched onto to the apparent omission of Lizzo’s name because, just earlier that day, news broke that the “About Damn Time” singer is being sued by three of her former tour dancers, who claim that they were subjected to sexual harassment and a hostile work environment.

03 Aug 2023

Taylor Swift Announces More Eras Tour Dates in U.S. & Canada for 2024: ‘Turns Out It’s NOT the End of an Era’

The Eras Tour is just like karma: It’s coming back around. Just when fans thought Taylor Swift was about done with her shows in the U.S., she announced Thursday (Aug. 3) that more dates in Miami, New Orleans and Indianapolis, Ind., as well as Toronto have been added to her trek.

The second North American swoop won’t come until fall of 2024, with the pop star taking on Miami’s Hard Rock Stadium on Oct. 18. From there, she’ll make her way through Caesars Superdome in New Orleans and Lucas Oil Stadium in Indiana before closing out with six consecutive shows in November at Toronto’s Rogers Centre.

“Turns out it’s NOT the end of an era ?” Swift posted on Instagram. “Miami, New Orleans, Indy and Toronto: The Eras Tour is coming to you in 2024 with @gracieabrams! Verified fan registration for all shows is open now – visit TaylorSwift.com for more information.”

As Swift mentioned, fans can now register for Ticketmaster’s Verified Fan presale, after which they’ll be sent an email next week with next steps. (With luck, the buying process goes a lot more smoothly than last time around).

The newly announced dates will follow more than a year of upcoming shows in Latin America, Europe, Asia and Australia, for which Paramore and Sabrina Carpenter will both serve as support. The Eras Tour has already swept through the States this summer, and Swift is currently gearing up to play six nights at SoFi Stadium in Inglewood, Calif., starting Thursday (Aug. 3) — previously thought to be her final set of shows in America.

See Swift’s announcement below: