Music
Page: 30
Lola Young’s “Messy” moves up two spots to No. 1 on Billboard’s Pop Airplay chart (dated May 17). The song tops a second individual-format radio ranking, after it led Alternative Airplay for a week in April. “Messy,” on Day One/Island Records and promoted to radio by Republic, becomes just the sixth song by a solo […]
When John Cena dropped his 2005 debut album, You Can’t See Me, critics wondered if the wrestling powerhouse had more brawn than bars. What began as a perceived gimmick evolved into a two-decade-long run, marked by unfiltered charisma, sharp wit and unshakeable confidence. Sure, his popularity and in-ring dominance made him box office gold, but when he unleashed his mic skills — especially over Jake One’s soulful beats — Cena cemented himself as the godfather of the rap-wrestling crossover.
Explore
See latest videos, charts and news
See latest videos, charts and news
Released on May 10, 2005, You Can’t See Me — a collaboration with his cousin, fellow rapper TradeMarc — debuted at No. 15 on the Billboard 200, also reaching No. 3 on Top Rap Albums — proof Cena had real appeal on the mic. Even while locking up with heavyweights like Triple H, Randy Orton, and The Undertaker each week, Cena carried that same grit and resilience into the booth. On tracks like “Just Another Day” and “If It All Ended Tomorrow,” Cena’s raw candor and introspection made him surprisingly easy to root for. As he raps on the latter: “You the new kid, now you gettin’ some shine/ When every vet sayin’ that it’s not yo’ time/ My hustle is non-stop and it’s not yo’ grind/ Plus I hear very clear, I’m not so blind.”
And though Cena was dubbed WWE’s Superman, his rap heroics on You Can’t See Me became every critic’s kryptonite. His bravado and swagger leglocked the doubters into submission. The album’s title track became his armor — its hook both a taunt and a shield — as he swatted away skepticism with a single phrase: “You can’t see me.” The song became both a gift and a curse: a champion’s anthem and rallying cry, but also a punchline for detractors who turned it into an easy jab, diminishing Cena even as he continued to dominate.
Now on his final lap as a professional wrestler, Cena’s recent partnership with Travis Scott — rap’s latest generational leader — speaks volumes about his influence across both arenas. WWE is in the midst of a renaissance, with pop culture once again reinvigorated by its presence. Hip-hop’s footprint in the ring is larger than ever: WaleMania just celebrated its 10th anniversary at WrestleMania, while wrestlers like Montez Ford and Trick Williams proudly showcase their rap chops with original music, and genre superstars like Drake, Metro Boomin, Lil Yachty, and Quavo now flood wrestling arenas with the same fervor and excitement as the everyday diehards beside them. Much of this stems from Cena’s early efforts to meld both worlds — what began as a desperate bid to save his WWE career ended up bridging a gap between music and wrestling, one that remains tightly connected to this day.
And while we may never get another album from the 48-year-old multi-hyphenate, You Can’t See Me still deserves a spin — for everything it gave to hip-hop, wrestling, and pop culture at large.
She’s got a bit of a potty mouth, so when Ashley Cooke released a track titled “the f word,” her friends weren’t particularly surprised.
“I have the mouth of a sailor,” she says, “so [that title] didn’t really bother me, because it was just so brilliant. And I love that it was something that caught your attention off the bat. In today’s world with music, I feel like you kind of have to push the boundaries a little bit and do something that maybe shocks people and makes people curious.”
The phrase “the f word” is designed to hide a term that makes some folks uncomfortable. Oddly enough, “the f word” didn’t follow its inspiration to the letter, because “f” wasn’t the initial plan.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“I had written ‘The B Word’ down on my phone,” songwriter Emily Weisband (“If I Die Before You,” “Looking For You”) remembers. “I was talking to my friend one day, and she was like, ‘Could you see him being my boyfriend?’ I was like, ‘Ooh, you said the B word, dirty mouth.’ I just made a joke about it, so I wrote ‘The B Word’ down in my phone. And then as I thought about the idea more, I said, ‘You know, ‘the f word’ might be a little cooler, a little more potent.’”
Trending on Billboard
Weisband had a Zoom writing appointment on Oct. 30, 2021, with Lori McKenna (“Humble and Kind,” “Girl Crush”) and Gordie Sampson (“Jesus, Take The Wheel,” “God, Your Mama, And Me”), and she suggested writing “the f word.”
Zoom presents some co-writing challenges, so under the circumstances, some F bombs were definitely dropped. “I’m gonna say just a couple – maybe 55, 60,” Sampson jokes.
The title looks like a novelty, so an uptempo song seems obvious. They took an unexpected turn, and wrote “the f word” as a ballad. “I love the juxtaposition sometimes when it’s a sad song that is upbeat, or a happy song that’s slow,” Weisband says. “I think that can be a really beautiful ‘art’ thing sometimes, so I kind of felt, because the title was a little gimmicky, [we should] balance that out.”
The thing was, the payoff line for “the f word” would be a surprise. Listeners would certainly expect the song to use a swear word, based on the title. But the writers had a different F word in mind. The goal was to tease the listener a bit, hinting at the implied four-letter term while introducing clues to the song’s actual F expression.
“I try not to swear” became the opening line, and they kept that first verse short, using just six lines until they got to the end of the pre-chorus: “I should wash my mouth out with soap.”
“If you, the listener, have granted us that you’re going to click on this, we owe it to you to keep you there and get to the point right off the top, instead of dilly-dallying and making them wait,” Sampson says.
“I said the F word in front of your mama” – the opening of the chorus – was dramatic enough, and they unwittingly dropped in a “what the hell” in the third line, before they finally got to the F word: “I’d probably spend forever with you.”
“Forever” may work in fairytales, but it often scares men away. And the singer in “the f word” keeps using it – she says it “in front of your sister” in the second chorus, and at “4 in the morning” in the third. Since the guy is still there, the risky “forever” word paid off.
Matching the surprise lyric, they stocked “the f word” with a couple of surprise chords at key moments. Sampson created a demo after everyone left Zoom, and a few weeks later, Weisband applied an almost-dreamy lead vocal. “We used a very mellow, reverbed-out, clean guitar in the background to stay out of the way of the lyric,” Sampson says. “We had to make a lot of space in the track for the lyrics, so that it would be out front and very present, so you could hopefully get reeled into it.”
A number of artists liked it, but “the f word” hung around unrecorded until Weisband emailed it among several songs to Cooke on Aug. 28, 2024. The title intrigued Cooke, and the “forever in front of your mama” line nailed it; Cooke had once made the mistake of telling her boyfriend’s mother over sushi that he had changed his mind and was ready to get married – before he was ready for his mom to know.
“He looked at me like I was a psycho person,” Cooke recalls. “I heard the song, and it took me immediately back to my sushi restaurant.”
Cooke performed it live for the first time during a Feb. 19 date at Nashville’s Brooklyn Bowl, with Weisband singing harmony, and she cut it with producer Dann Huff (Keith Urban, Rascal Flatts) before heading to Australia in March. Huff kept the spirit of the demo, though he turned the guitar background into a subtly morphing sound, the tones shifting indiscernibly from Derek Wells’ atmospheric guitar into Alex Wright’s glassy keyboards into Justin Schipper’s tangy steel. Jerry Roe snuck into the arrangement gradually, and Jenee Fleenor applied shimmering fiddle to a couple of spots, emulating a string quartet in the second verse.
“To me, there’s a dance to this song,” Huff says. “Jenee studied classical music when she was young, so she has the repertoire… She can be as bluegrass as she can be classical. That’s kind of where we went with this thing.”
Huff felt the track needed a fourth chorus, allowing them to repeat “I said the F word in front of your mama.” Cooke had her doubts, but they cut both options, and once she saw live audiences attempting to repeat the “mama” line when they sang along, she agreed with Huff. “We let it sit and marinate, and came back to it, and she chose that [extra chorus],” Huff says. “I’m glad she did, because I think it’s the right way to do it.”
Will Weatherly produced her lead vocal, and the final product turns a title that initially looks edgy into a sweet moment that feels, as Cooke says, “like ‘90s rom-coms.”
Big Loud released “the f word” to digital service providers on April 18, but there’s a chance it could go to radio. Programmers have responded well, recognizing that it lets adults in on the joke while keeping it clean for kids.
“It seems controversial, but it’s not,” Cooke says. “I’ve heard from a lot of program directors [who say] when the title comes across their dashboard, [fans] are curious, and so it makes them want to turn it up and listen to what’s happening. And when they hear it, there’s no profanity or negativity in the song. So it’s actually the best thing for them, because it catches attention without having to worry about the viewership and the age groups. It’s a really cool thing. We’ll see what happens.”
Behold, a new offering. In the last five years, an enigmatic rock band named Sleep Token has bent metal to its will. Emerging from the pandemic shadows of 2020, the masked group quickly established itself as an amorphous entity, syncing guttural screams with pop melodies, hip-hop drums and reggaetón grooves to the growing curiosity of […]
It’s hard to imagine Shakira‘s discography without the 2006 smash hit “Hips Don’t Lie,” but according to the star, the song very nearly didn’t come out when it did.
In an interview with Jimmy Fallon on The Tonight Show Thursday (May 8), Shakira recalled having to plead with her record label to release the now-iconic Wyclef Jean collaboration on a reissue of her album Oral Fixation, Vol. 2, even though the original LP was already out on store shelves. “I remember my album was already distributed, and then this idea came up, and Wyclef and I met,” she began, noting that she’d had a prophetic dream about the Haitian rapper just before he reached out asking to work with her.
“This song came about,” she continued. “I knew I had a hit, so I called Donny Ienner, who was in charge at the time of [Sony Music Label Group U.S.], and I said, ‘Donny, you have to pick up the albums from the stores.’ He was like, ‘No way, this album is already out there.’ I was like, ‘You’ve got to believe me. You’ve got to trust me. You do that, we have a hit.’”
Trending on Billboard
To great reward, Shakira’s team ended up doing just that. Released in February 2006 on a repackaged version of Oral Fixation, Vol. 2, the track would ascend to the top of the Billboard Hot 100 and spend two weeks at No. 1, marking the four-time Grammy winner’s best performance on the chart to date. As Shakira put it to Fallon, “It changed my story.”
Shakira’s sit-down chat with the late night host comes just two days after she and Jean reunited on The Tonight Show to perform “Hips Don’t Lie” in celebration of its 20-year anniversary. She’s currently gearing up to embark on the United States leg of her Las Mujeres Ya No Lloran World Tour, which kicks off May 13 in Charlotte, N.C., following a run of Latin America dates earlier this year.
Just last year, however, Shakira gave fans a taste of what’s to come when performed a surprise concert in Times Square in March 2024 for 40,000 fans. The show was truly something to behold, but according to the “She Wolf” singer, she thought it would be a complete failure in the hours leading up to it.
“The funny thing is I was so scared to do that performance, because I thought people were not going to show up,” she told Fallon on Thursday. “We announced it, like, two hours before the appearance, and half an hour before the appearance, I just saw cars. I was peeking through the window, I was so scared, I was like, ‘Oh my god, this is the end of my career.’ And then in the last 20 minutes, it was a sea of people.”
Watch Shakira’s full interview on The Tonight Show Starring Jimmy Fallon above.
Fat Joe and Jadakiss have a new podcast called Joe & Jada where they talk about all things music, sports, and culture. On their recently released premiere episode, the two rap legends — who’ve seen their fair share of rap beef — talked about the one-year anniversary of the kick-off of the historic rap battle between Kendrick Lamar and Drake.
Explore
See latest videos, charts and news
See latest videos, charts and news
Jada started things off by clarifying that what went down wasn’t exactly “beef,” and that he couldn’t believe that it’s been a whole year already. “One year since the Kendrick and Drake discrepancy. What they like to call it ‘beef’ in the media world,” Jada quipped. “Thank God nothing really happened to anybody, physically. Personally, I thought it was about four or five months ago. I can’t believe it’s already been a year.”
Trending on Billboard
Joey Crack couldn’t believe that it’s been a year either, and then sparked a light debate between the two when he said he noticed that Lamar gets more airplay than other West Coast legends did in their prime. ‘Kiss fired back by saying, “Everybody from L.A. gets spins on L.A. radio.”
Joe then asked him when was the last time Jadakiss was out there, with both of them saying they were recently in L.A. and Joe adding, “Yo, bro, I never seen nothing like this. Every single song, they like, ‘Turn the TV off,” causing Jada to agree that Kenny does indeed get a lot of spin in Southern California.
“It’s a fact. Kendrick Lamar gets played nine out of every 10 songs in L.A. right now,” the Bronx rapper proclaimed. “Not even Snoop Dogg, not even Tupac Shakur — nobody from L.A. has dominated the paint like this guy. That last year? What they’re doing in L.A. — if you’re from L.A., you probably think there’s only one guy on Earth, Kendrick Lamar. I’m just keeping it a buck with you. You turn on that radio in L.A. — if you from L.A., you work at Target, Amazon, you’re delivering some s–t, you working at the bakery, panadería, wherever, East L.A., holmes — you thinking it’s one man breathing in hip-hop, it’s called Kendrick Lamar.”
Joe then shifted the conversation to rap beef in today’s landscape, asking the Yonkers MC what he thinks about historic hip-hop battles. “For me, I thought it was always good if you take it all the back to Wild Style and LL and Kool Moe Dee and all the way up to us and 50,” he began. “It’s always good as long as it stays on wax. “When it first started, somebody say something about you, you gotta go to the studio, you gotta immediately work on getting one back at there, knock the stick off your shoulders like a fight after school at three o’clock. Now, as the technology evolved, it turns into movie skits, animations, retrieving fake information… It got a little wacky for me. I like it to be beats and rhymes and keep it like that. Once it got out of my pay grade, it’s a little bit of disinterest to me because it’s turning political now.”
Fat Joe agreed about things getting political and brought up Drake’s controversial UMG lawsuit. “There’s even lawsuits behind rap diss records now. I never saw that,” he said, to which Manteca Jada replied, “That’s over my head, I don’t really understand… I just wanna see rhymes and song and hip-hop s–t.”
You can watch the full episode below.
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
This week, Miley Cyrus returns with a ballad, Sleep Token unveil an opus and ROSÉ joins the F1 fun. Check out all of this week’s picks below:
Miley Cyrus, “More to Lose”
As she collected pop smashes over the course of her career, Miley Cyrus has also demonstrated a richness as a balladeer — and with “More to Lose,” a stirring new sample from her upcoming album Something Beautiful, Cyrus drifts above a complex tangle of classic pop production and smashes home the emotion as the song ramps up, making for a song that’s going to sound spectacular whenever it’s performed live.
Trending on Billboard
Sleep Token, Even in Arcadia
Whether you’re steeped in the lore, headbanging through the breakdowns or both, the masked British alt-metal group Sleep Token has turned its singular combination of detailed backstory and rock ambition into arena-headliner status — and with Even in Arcadia, the group is not only poised to have its biggest commercial moment to date, but will do so with a sprawling, uncompromising collection of songs.
ROSÉ, “Messy”
One week after Don Toliver and Doja Cat dropped “Lose My Mind” to kick off the rollout of the F1 soundtrack, ROSÉ has gotten in on the racing-drama fun with “Messy,” a cinematic love ballad in which the BLACKPINK star declares “If it’s messy / Then you know it’s really love,” while learning to understand her partner’s flaws, on a song that sounds primed to play over a contemplative second-act montage.
Kali Uchis, Sincerely,
On her first full-length since becoming a mother last year, Kali Uchis slows down the tempo from 2024’s Orquídeas and offers the most intimate glimpse of her mental and emotional state yet: Sincerely, revels in its personal flourishes, a new stance from a genre-hopping singer-songwriter who has written anthems in English and Spanish but has never navigated her own feelings this deftly.
PinkPantheress, Fancy That
From the super-short pop tracks of To Hell With It to the commercial breakthrough of “Boy’s a Liar Pt. 2” to the sonic exploration of Heaven Knows, PinkPantheress has darted through different eras with lightning speed — and Fancy That, a bright, engrossing mixtape that riffs on ‘90s dance and garage, sounds like an artistic reset in the best way, taking the UK pop star back to the effervescent songwriting of her beginnings.
Kid Cudi, “Neverland”
Kid Cudi is a stylistic godfather in modern hip-hop, but that doesn’t mean the veteran is resting on his laurels: “Neverland,” a new single that precedes a short film of the same name, aims at summer-anthem territory, with Cudi gently crooning in the verses and then singing his lungs out on the chorus as trap drums sizzle beneath his full-throated cries.
Maren Morris, Dreamsicle
Maren Morris has described fourth album Dreamsicle as “a love letter to myself,” which explains the new set’s healing aura: Morris has changed up her style and spoken openly about her process of self-discovery over the past few years, and her latest full-length complements that journey with warmth and optimism, briskly moving forward as Morris does the same.
Editor’s Pick: Halsey & Amy Lee, “Hand That Feeds”
During the same week that Evanescence was back in the news — thanks, The Rehearsal! — band leader Amy Lee has released a harrowing new collaboration with Halsey that accentuates both artists’ respective talents: “Hand That Feeds,” from the upcoming Ballerina soundtrack, harkens back to Halsey’s alt-rock streak while giving Lee a much-deserved new platform to showcase her soaring delivery, resulting in what sounds like a no-brainer rock-radio staple.
If it feels like it’s been a minute since you heard from Gretchen Wilson you’re not wrong. The Grammy-winning “Redneck” woman country star known for her independent streak hasn’t released an album of all-new material since 2017’s Ready to Get Rowdy or a single since 2024’s scorching “Little Miss Runner Up,” a one-off sequel to 2005’s “Homewrecker.”
But after winning season 13 of The Masked Singer this week, Wilson tells Billboard she’s ready to crank things up again after a long time out of the spotlight due to a run of serious health issues with an all-star Taylor Swift-style reboot.
“I had some post-COVID health stuff, I’m a long-hauler. I’ve got medications I’ll have to take for the rest of my life — high blood pressure, asthma — these are all things I didn’t have right before COVID,” Wilson told Billboard in her Masked Singer exit interview about why she’s been off the radar a lot over the past few years. “I also was dancing with a 6-year-old boy at a wedding, spinning, spinning, spinning, then I lost myself and I shattered my ankle and my leg, so I spent eight months in a wheelchair in a cast.”
Trending on Billboard
Wilson says the cascade of health issues got her wondering if she might still have the stamina to “do a 75-minute show in Yuma, AZ” outdoors in August. But, after the reality singing show came knocking and she had a season-long run nailing rock, pop, R&B and Latin dance pop she realized she was ready to return to the spotlight.
Saying she has “lots of irons in the fire” at the moment, Wilson, 51, reveals the most exciting thing on tap this year is a “re-creation” of her breakthrough 2004 album, Here For the Party. “I am gonna do my version, sort of the way Taylor did, but on my label [Redneck Records],” she says. “But instead of just recreating it the same way, I am going to have a guest vocalist on each song. I’ve got a few absolute yes’s so far, but I was waiting for this [post-Masked Singer] moment so that when I make the rest of the calls they are quicker yes’s.”
While it’s still a work in progress, so far Wilson is proud to tease a duet with Travis Tritt on an unnamed song, something she’s been wanting to do her whole career. “I can’t think of another voice that would pair up with me perfectly,” she says. In addition, she’s re-worked her song “Chariot” with country trio Chapel Hart and has a number of feelers out to some “huge names” that she’s not able to talk about yet.
“I want to make sure [they know] I’m not trying to reinvent myself with the album, I’ve got other things going on and this will be good for them,” she said of the message to the A-list collaborators she’s shooting for.
One of those other irons is a role as “tour manager” or, as she dubbed it “tour momager” on the upcoming music competition series The Road. The show executive produced by Taylor Sheridan (Landman, Mayor of Kingstown), Blake Shelton, David Glasser, Lee Metzger and Keith Urban is slated to premiere in the fall on CBS and stream on Paramount+.
“Tour manager is the hardest job because it all comes down to you,” Wilson laughs. “Obviously on this production I didn’t have to do all the jobs a tour manager does — I wasn’t wrangling the buses or hotel rooms — but in the venue I was doing all the other parts a tour manager does: getting them on and off the stage, making sure they’re taking care of themselves, discussing songs changes, keys, modulations with the band on their behalf… just being the last face they see before they go on and the first face they see when they get off. It’s more like a tour momager role.”
She says none of the contestants on the show are “super young,” but most are younger than her and she calls them “kids” because, let’s be honest, they don’t have nearly the experience she’s had on the road. From playing in three or four bars bands at the same time at 16, to touring the world, Wilson says her road dog experience is worth its weight in gold as she helps the contestants make their way across the country. “What my role was to bring them my experience, any knowhow I’ve gained over the years, any tricks or secrets I know,” she says. “It’s not hard: go to be early, shut up, don’t talk too much, save it for the show. Just somebody to bounce ideas off of, to yell at.”
In the meantime, Wilson has a summer full of shows on her calendar, including slots at the Natchitoches Jazz and R&B Festival in Natchitoches, LA this weekend, as well as a spot at the Hoofbeat Country Fest in Cadott, WI the weekend of June 26-28 and a Grand Ole Opry House show on July 8 in Nashville.
Susanna Hoffs, Muni Long and more have been added to the lineup for the 2025 Grammy Hall of Fame gala, presented jointly by the Recording Academy and Grammy Museum. The event is set for Friday (May 16) at the Beverly Hilton in Beverly Hills, Calif. – the site of the first Grammy Awards ceremony in 1959.
Performances will pay tribute to the 2025 Grammy Hall of Fame inducted recordings, which were announced on Feb. 13.
Trending on Billboard
Susanna Hoffs of The Bangles will perform Cat Stevens’ “Wild World” from the singer-songwriter’s 1970 album Tea for the Tillerman. Emmylou Harris, her producer Daniel Lanois, and jazz drummer Brian Blade will perform selections from Harris’ 1995 album Wrecking Ball. Leslie Odom Jr. will perform the title track from Luther Vandross’ 1981 album, Never Too Much, and Ledisi will perform Clara Ward’s 1951 song “How I Got Over.”
Latin Grammy nominee Leslie Grace will deliver Miami Sound Machine’s 1985 breakthrough hit, “Conga.” Percussionist Cindy Blackman and guitarist Orianthi, joined by longtime Santana band member Andy Vargas, will perform Santana’s “Smooth” from the band’s 1999 album Supernatural; Blackman is married to Carlos Santana.
Eddie Floyd and Jody Stephens, drummer of iconic power-pop band Big Star will perform Floyd’s 1966 hit “Knock on Wood.” Stephens is also expected to perform a track from Big Star’s 1972 album #1 Record. The other five 2025 Grammy Hall of Fame inducted recordings are: J.D. Crowe & The New South’s J.D. Crowe & The New South; Jay-Z’s Reasonable Doubt; Fela Kuti & Afrika 70’s Zombie; Linda Martell’s “Color Him Father”;and Geeshie Wiley’s “Last Kind Words Blues.”
In addition, John Mellencamp, Conan Gray and Long will perform as part of a tribute to this year’s label honoree, Republic Records. Atlantic Records was the initial label honoree at last year’s gala, which marked the first time there was a stand-alone event to honor the inducted recordings. Last year’s gala was held at the Novo Theatre at L.A. Live.
Jon Batiste, the inaugural recipient of the Ray Charles Architect of Sound Award, will also perform. This new annual honor, created in partnership with The Ray Charles Foundation, recognizes an artist whose creative legacy reflects the visionary innovation of Ray Charles.
Returning as host is CBS News journalist Anthony Mason. The show will again be produced by Ken Ehrlich, alongside Ron Basile, Lindsay Saunders Carl and Lynne Sheridan. Ehrlich produced or executive produced the annual Grammy Awards telecast for 40 years. Cheche Alara, a Grammy and Latin Grammy Award-winning composer, producer and conductor, will serve as musical director for the event.
This year’s additions to the Grammy Hall of Fame meet the main requirements – they exhibit “qualitative or historical significance” and are at least 25 years old. Eligible artist(s), producer(s), engineer(s), and mixer(s) of these 13 recordings will receive a certificate from the Recording Academy.
The Grammy Hall of Fame was established by the Recording Academy’s national trustees in 1973. Inducted recordings are selected annually by a member committee drawn from all branches of the recording arts with final ratification by the academy’s national board of trustees. Counting these 13 new titles, the Grammy Hall of Fame totals 1,165 inducted recordings. The full list of past inducted recordings can be found here.
The Grammy Hall of Fame Gala serves as a fundraiser to support the Grammy Museum’s national education programs. It includes a cocktail reception, dinner, and concert program. Tickets are on sale now. Individual tickets are $1,250. For more information, visit this site.
An online auction is currently underway, featuring a collection of guitars signed by such artists as Chappell Roan, Charli xcx, Chris Martin, Sabrina Carpenter, and Lady Gaga & Bruno Mars. They are also auctioning off platinum tickets to the 68th Grammy Awards and more. Proceeds will benefit the Grammy Museum’s education programs. For more information, visit this site.
E-40 is back with his first solo single since 2023, and Billboard has the exclusive premiere of his new music video. On Friday (May 9), E-40 dropped off his new track “Beating They Ass” alongside a new music video. The minimalistic, black and white visual includes a memorable cameo from Vital Versatility CEO Didier Morais […]