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An Argentinian judge has charged two hotel workers in relation to Liam Payne‘s death, Rolling Stone reported Tuesday (Dec. 10), citing new documents.
According to the filings — which come about two months after the One Direction star suffered a fatal fall from the third-story balcony of his hotel in Buenos Aires — the publication reports that the two are CasaSur Palermo employees. The first is reportedly the hotel’s manager, while the second person is the receptionist head who called 911 leading up to Payne’s Oct. 16 death.
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It is not clear from the documents what specifically the two parties are being charged with, per the publication. The judge has only asked that the manager and receptionist be notified of the charges, calling for all suspects in the case to be questioned amid local authorities’ ongoing investigation into what played out the night of Payne’s fall, according to Rolling Stone, citing the documents obtained.
“Since there is sufficient reason to suspect that they have participated in the investigated act, we ask that the following people give a statement,” reads the filing.
Three others were previously charged in connection to the case: two individuals who work for the hotel are accused of supplying the “Strip That Down” singer with drugs, as well as a friend accused of abandonment of a person followed by death. All of them were detained by police in November.
All five individuals named by the judge will now have to face the courts. After interrogations, it’ll be up to the judge to decide whether they should be further prosecuted or dropped from the case.
Payne died Oct. 16 of multiple traumas. Toxicology reports showed that he had multiple substances in his system at the time, including alcohol, cocaine and prescription antidepressants.
Leading up to his fall from the balcony, the reception head named in the new documents placed two 911 calls. The first was to report that a guest was “trashing the entire room,” and in the second call, he urged that the guest’s life “may be in danger.” The receptionist also asked the dispatcher to send only emergency medical services, and to abstain from sending the police as well, according to a transcript of the call.
The latest update in the investigation comes about three weeks after Payne was laid to rest in a private service attended by his One Direction bandmates, family and girlfriend Kate Cassidy.
Mariah Carey has a million reasons to be thankful this holiday season. In fact, the Queen of Christmas has 16 million reasons according to the RIAA, which recently announced that Carey’s yuletide classic single, “All I Want For Christmas Is You,” has been certified 16x Platinum. The perennial holiday favorite — which was once again […]
In March 2020, Elena Rose was a songwriter in her mid-twenties who had helped craft hits for Latin superstars like Becky G and Myke Towers. She was content with her day job, but as lockdown began to take hold, the Venezuelan American had an early-pandemic revelation.
“I really thought that the world was coming to an end,” she says. “When I saw that my voice had not been heard, it made me sad.”
While Rose continued to work behind the scenes — her songwriting credits to-date include Billboard chart entries and collaborations with Selena Gomez, Bad Bunny, Marc Anthony, and the Becky G-Karol G team-up “MAMIII,” which reached No. 1 on the Hot Latin Songs chart — she made her singing debut as an independent artist that May with the Latin urban song “Sandunga.” She paired the release with a colorful music video that showcased her striking presence and alluded to her superstar capabilities.
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Today, the 29-year-old has fully realized her potential, breaking through in recent months on the Billboard charts as a performer with “Orion,” her collaboration with Panamanian star Boza.
Born Andrea Elena Mangiamarchi in Miami to Venezuelan parents, Rose grew up between Puerto Rico and Venezuela before returning to her hometown due to sociopolitical and economic crises in the South American country. No matter her location, she loved to sing anywhere and everywhere: initially, she began as a performer, singing in bars, restaurants and at parties.
She met mentor and producer Patrick Romantik in Miami in her early twenties, who brought Rose to the studio and taught her the ins and outs of the technology, while also letting her observe sessions to learn about the songwriting process. “And my years of silence began,” she reflects. “I remember they told me, ‘OK, you can be here, but we cannot feel you.’ ”
During that time, she watched writers and producers such as Servando Primera, Yasmil Murrufo and Mario Cáceres create hits including Becky G’s “Mayores” featuring Bad Bunny in 2019, which reached No. 74 on the Billboard Hot 100. Along the way, she gained an informal music education as a hitmaker.
“When I worked in bars in Miami, the musicians were Ricky Martin’s percussionist, Alejandro Sanz’s pianist, the bassist who had played with Stevie Wonder,” Rose says. “It was my best school because they were people who had experienced music, understood it and wanted to preserve it.”
Elena Rose photographed September 26, 2024 at Grove Studios in Miami.
Mary Beth Koeth
She continued to self-release new singles through the next few years, such as “La Ducha” and “Picachu” and made appearances at key industry events such as Billboard Latin Music Week, where she has participated every year since 2021 either as a panelist or a performer. In summer 2022, she signed a record label deal with Warner Music Latina.
“Her lyrics, her voice, her presence and the ability she has to convey emotions is unparalleled,” said the label’s president Alejandro Duque at the time. In September of the following year, she agreed to a management deal with OCESA Seitrack, whose artists include superstars such as Sanz and Alejandro Fernández.
“The day I sat down a year and a half ago to have dinner with her, I was blown away,” says OCESA Seitrack founder/CEO Alex Mizrahi. He adds today that he recognized her as “a diamond in the rough” with the potential of becoming “the next Karol G” in terms of success.
In the year-plus since then, she has released soulful solo songs, including the empowering “Me Lo Merezco” in March. But her collaborations with artists spanning genres on her November EP, En Las Nubes (Con Mis Panas), and elsewhere have taken her to new markets — chiefly with “Orion.” Sophisticated in both its lyrics and production, the song is a captivating fusion of reggaetón, salsa and Afrobeats. It has an irresistibly playful bridge from Boza, and with Rose’s evocative writing, the single shows new layers to both artists.
“I made the song ‘Orion’ at a [writers] camp in Miami a year ago,” remembers Boza. “I heard it with the producer, Daramola, and the songwriters, Essa Gante and Omar, and at that moment we already knew that we needed a female voice. Together with my team, we thought of Elena.”
Adds Rose: “When this song came to me, I remember saying, ‘OK, it has a soul, it has something nice. If you allow me, I want to take it to my world and see how I can give it a little more of myself.’ I remember that was when I gave love to the chorus, changed the lyrics, and wrote my verse. I feel that, for me, the concept of ‘Orion’ became a source of information on emotional intelligence.”
The song was released May 29 on Sony Music Latin (Boza’s record label), with an official music video arriving the following day. Though Rose recorded her part separately, they got together to shoot the video in Panama, which has since tallied more than 105 million views on YouTube. “Orion” steadily began to take hold at radio as well, and by mid-September, it debuted at No. 20 on the Latin Pop Airplay chart. Three weeks later, it arrived on the overall Latin Airplay ranking. It has held ever since on both, with “Orion” spending the last six weeks at No. 2 on the Latin Pop Airplay chart. It has also reached a No. 15 high on Latin Airplay. “Working with her is like traveling to another planet,” Boza says of Rose.
As her public profile reached new heights fueled by the song’s success, so did her status within the industry: in September, she earned three Latin Grammy nominations, for song of the year for “Caracas En El 2000” with Danny Ocean and Jerry Di; best pop/rock song for “Blanco y Negro,” a LAGOS song featuring Rose; and best regional song for her hand in Becky G’s “Por El Contrario,” which she co-wrote with Latin hitmakers Edgar Barrera and Keityn. (The year prior, she was the only woman to be nominated when the songwriter of the year category was inaugurated.)
Rose has continued to prioritize her collaborative efforts, releasing both the country-tinged ballad “A Las 12 Te Olvidé” with Ha*Ash and a Latin pop song infused with cumbia and urban rhythms, “Pa’ Qué Volviste?” with Maria Becerra, as non-EP singles in November. And while her success with Boza has made her a recognizable face in Panama — Rose coyly says that a recent flight she was taking was delayed after the co-pilot requested a photo with her — Mizrahi teases that more duets are on the immediate horizon, which aim to bolster her following in other countries.
In the coming months, there are plans for releases with Camilo and Morat (both from Colombia), Sanz (Spain) and Los Ángeles Azules (Mexico). She is also scheduled to perform at both Lollapalooza Argentina and Lollapalooza Chile in March 2025. “The goal is to bring Elena’s music to the world,” Mizrahi says, “to make her a global artist.”
Elena Rose photographed September 26, 2024 at Grove Studios in Miami.
Mary Beth Koeth
A version of this story appears in the Dec. 14, 2024, issue of Billboard.
The lineup for Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest 2025 has added a galaxy of stars to this year’s lineup. The West Coast portion of the show will include Alanis Morissette with special guest Reneé Rapp, as well as Dasha, DJ Cassidy’s “Pass the Mic Live!” with Ja Rule, Fat Joe, Slick […]
Honoring the Grateful Dead without including co-founder Jerry Garcia, which the Kennedy Centers Honors program is doing this year, would be like honoring Earth, Wind & Fire without including Maurice White. Oh wait – the Kennedy Center did that too, in 2019, when they honored three members of the groundbreaking R&B group, but not its principal architect.
It’s not that the Kennedy Center is unaware of what a crucial role Garcia and White played in those groups. It’s just that they reserve their honors for artists who are living. Garcia died in 1995, 29 years before the group was chosen for the Kennedy Center Honors. White died in 2016, three years before EWF got the nod.
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This year’s Kennedy Center Honors were presented on Sunday Dec. 8 at the John F. Kennedy Center for the Performing Arts in Washington D.C. The show, hosted by Queen Latifah, will air on CBS on Sunday Dec. 22 at 8:30 p.m. ET/PT.
The members of Grateful Dead who are being honored are drummers Mickey Hart and Bill Kreutzmann, bass guitarist Phil Lesh and rhythm guitarist Bobby Weir. Lesh died on Oct. 25, three months after this year’s honorees were announced. (The Kennedy Center allows posthumous inductions if the honorees were selected before they died.)
Two other groups received Kennedy Center Honors without key members who had died by the time the groups were included. The Who was honored in 2008, but without drummer Keith Moon, who died in 1978, or bassist John Entwistle, who died in 2002. Led Zeppelin were honored in 2012, but drummer John Bonham, who died in 1980, was not posthumously included.
The Kennedy Center Honors’ site makes plain that the awards “provide recognition to living individuals (emphasis added) who throughout their lifetimes have made significant contributions to American culture through the performing arts.” (Here’s a link to the site’s list of previous inductees.)
Eagles were selected for the Kennedy Center Honors in 2015, but founding member Glenn Frey was too ill to attend, so the honor was postponed one year. By that time, Frey had died, but the Center included him as a recipient anyway – on the grounds that the group was selected before he died. I’ll take it, but a better reason to honor him would have been that he co-founded the genre-bridging group with Don Henley and it wouldn’t have been what it was without him.
Mercifully, all four members of U2 were alive when the band received the honors in 2022. So were both members of The Nicholas Brothers, a popular dance duo of the 1930s to the 1950s. But if one of them had passed away, should that have precluded them from receiving the honor?
The Beatles, the GOAT of all pop and rock groups, are conspicuous by their absence on the roster of Kennedy Center Honors recipients. Paul McCartney was honored as an individual in 2010. A century from now, people looking over the list of Kennedy Center Honors recipients will find it strange that McCartney was honored but the group in which he did his best and most lasting work was not. Why haven’t they been? John Lennon died in 1980, followed by George Harrison in 2001. Their deaths are tragic losses, but why should those deaths keep the group from receiving an award it undisputably deserves?
Bee Gees were never honored. Instead, Barry Gibb got a solo nod in 2023, after the deaths of his brothers Maurice in 2003 and Robin in 2012. Even Barry Gibb would probably say it would have made more sense for him to be saluted alongside his brothers. Almost all of their successes as recording artists were as a unit.
The Beach Boys were never honored. Instead, Brian Wilson got a solo nod in 2007. He was unquestionably the group’s resident genius, but the quintet was one of the most iconic American groups of all time. Unfortunately, Wilson’s brother Dennis died in 1983, followed by Carl in 1998.
There are a few cases where it’s debatable whether it would have made more sense to honor an individual or the entire group. The Kennedy Center honored R&B great Mavis Staples in 2016. Two other members of The Staple Singers had died by that point – Pops Staples (in 2000) and Cleotha Staples (in 2013). In similar fashion, Gladys Knight was honored in 2022. Two other members of the mighty Gladys Knight & the Pips had died at that point – Edward Patten (in 2005) and William Guest (in 2015). There are arguments to be made on both sides about whether it made more sense to honor Staples and Knight as individuals or with the groups in which they had most of their greatest successes, but the fact that group members had died should not be the deciding factor.
When the Kennedy Center Honors finally get around to The Rolling Stones (and what are they waiting for?) it would be nice if they included drummer Charlie Watts, who died in 2021. Other groups that are (or should be) on their list of future inductees which have both living and dead members include Fleetwood Mac, Chicago, Pink Floyd and Queen.
It’s a sad fact of life that artists die. But with our greatest artists, their work lives on. The Kennedy Center should modify its rules so all key members of groups and duos are honored, whether they’re still living at the time of their inductions or have taken their final earthly bows.
The Kennedy Center Honors has become perhaps the most prestigious honor in American arts and entertainment. Who they choose to honor matters. That’s why they should take a close look at this limiting policy.
If they start to honor group members who have died, should they also change their rules and honor individuals who have died – maybe one per year? I certainly wouldn’t object. They could start with Elvis Presley and Bing Crosby, who died in 1977, the year before the Kennedy Center Honors got underway. And they could catch up to some other great artists they missed, including Prince, Michael Jackson, Whitney Houston and Burt Bacharach.
This year’s other honorees, in addition to the Dead, are Bonnie Raitt, jazz musician Arturo Sandoval; director and filmmaker Francis Ford Coppola; and The Apollo, which will receive a special Honors as an iconic American institution.
The Roots are taking it all the way back to ’95. The legendary hip-hop crew and Tonight Show house band announced the line-up for their 2024 Roots Picnic Experience, which will take place at the Hollywood Bowl in Los Angeles on June 8, 2025.
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The show, “A Roots Picnic Experience: The Class of ’95,” highlighting a roster of classic acts from the mid-1990s will feature a set from the hosts, as well as performances from Lil’ Kim, Redman & Method Man, Bone Thugs-N-Harmony, DJ Quik, Raekwon, E-40, Goodie Mob, Havoc (of Mobb Deep) and others. The group brought their annual event to Los Angeles for the first time this June, where they were joined by Nas, Jill Scott, Lil Wayne, Trombone Shorty, J. Period, Fantasia and many more for a show titled “Hip-Hop Is the Love of My Life.”
Tickets for the 2025 Hollywood Bowl show will go on sale on Wednesday (Dec. 11) at 10 a.m. PT. In the announcement, the group also promised their hometown fans that they shouldn’t fret, they’ll be back home next year for the event that launched in 2007. “DON’T WORRY PHILLY, WE’LL BE BACK FOR YOU IN 2025.”
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In a statement, drummer Ahmir “Questlove” Thompson said, “Well: 1995 was our true arrival. Nineteen eighty-seven was the Year of the Creative Adhesive, the year that tied together Tariq’s world and my world in high school, and 1991 was the Year of the Green Light, the year we gave ourselves permission to take our resources and passion and pursue our dream. But 1995? That was the Year It All Came Together, the year when our first major release, Do You Want More?!!!??! was sent into the world. Hip-hop was an entirely new ballgame back then, on an entirely new playing field. Those were the days when there were still things like mainstream terrestrial radio, bloated video budgets, and creativity at both the regional and the global levels. Those were the days that produced classic album after classic album, unleashing countless new ideas about art. Those were the days when the world was our oyster. This is the story of those days.”
Jack White has shared details of a new U.K. and European tour, set to kick off in Feb. 2025. Find a full list of dates below.
The run of shows follow the soloist and former White Stripes member’s surprise sixth studio LP No Name, which hit No. 33 on the Official U.K. Albums Chart and No. 108 on the Billboard 200 upon release in August.
The tour will commence at Paris’ La Cigale theatre on Feb. 21, before taking moving on to venues in Utrecht, London, Birmingham and Glasgow over the following two weeks. The dates will wrap up with a show at the latter’s Barrowland Ballroom on March 3.
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Details of a special fan presale will be shared with those signed up for White’s newsletter, while remaining tickets will go live at 10 a.m (GMT) on Thursday (Dec. 12). Further ticket sale information can be found via the 49-year-old’s official website.
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Shortly after No Name was unveiled, White played a string of surprise club and bar show in southern U.S. states. Taking to social media on Aug. 13, the songwriter and guitarist posted a statement about how these intimate shows were part of a wider unconventional campaign in support of the album.
“People keep saying that these are ‘Pop up shows’ we’ve been playing, well, you can call them whatever you want, but we are on tour right now,” he said at the time. “Lots of love and rock and roll to you all and you are blessed for giving that love to others, we hope that we see you out on the road soon, if not let’s get coffee and a slice of pie sometime? Music is sacred.”
The newly announced U.K. and European gigs will form part of a larger world tour through spring 2025 that includes more U.S. dates as well as concerts in Australia, New Zealand and Japan.
Jack White U.K. and European 2025 tour dates:Feb. 21 – Paris, France @ La CigaleFeb. 22 – Paris, France @ Le TrianonFeb. 23 – Paris, France @ Le TrianonFeb. 25 – Utrecht, the Netherlands @ TivoliVredenburg (Ronda)Feb. 26 – Utrecht, the Netherlands @ TivoliVredenburg (Ronda)Feb. 28 – London, England @ TroxyMarch 1 – London, England @ TroxyMarch 2 – Birmingham, England @ O2 AcademyMarch 3 – Glasgow, Scotland @ Barrowland Ballroom
Limitless Live has announced its return to London’s Roundhouse for its fourth consecutive year on May 4, 2025.
The event — billed as the U.K.’s largest free live music show with social purpose at its core — seeks to inspire young people from underrepresented backgrounds across the capital. All tickets will be free of charge and will be distributed through youth charities and community organizations. Further details can be found via the Roundhouse website.
Limitless Live 2025 will be headlined by grime MC and rapper Ghetts, who released his fourth studio album On Purpose, With Purpose, through Warner Records in February. The record peaked at No. 29 on the Official U.K. Albums Chart, and went on to receive a nomination for the prestigious Mercury Prize in September.
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Also on the line-up are hip-hop duo Young T & Bugsey, and singer/songwriter Nafe Smallz, with further acts to be announced next year. Limitless Live will partner with KFC and Viagogo to provide free transport for young attendees wishing to travel to the event from other cities across the U.K., including Manchester, Birmingham, Liverpool and Leeds.
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Previous iterations of Limitless Live have included six-time BRIT Award winner RAYE, as well as Stefflon Don, Krept & Konan, Unknown T, and Ms Banks. Over the years, its founder, Tolu Farinto, has offered 12-month internships to a portion of attendees, alongside helping other ticket-holders to secure work placements at Universal Music’s London office.Speaking in a press release earlier this year, Farinto said: “Limitless Live continues to be a beacon of light representing a continued commitment to supporting the aspirations and wellbeing of young people, ensuring that as we navigate a cost of living crisis, underrepresented young people still have access to live music and the best acts in the U.K.”
James Taylor is hitting the road next summer with his all-star band for an extensive 2025 North American tour. The 23-date outing will feature support from vocal harmony trio Tiny Habits, with a presale for the show slated to open today (Dec. 10) at 10 a.m. local time; a JamesTaylor.com account is required in order to participate in the presale.
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The tour is slated to kick off on May 5 with a show at the Footprint Center in Phoenix, AZ, followed by amphitheater gigs in San Diego, Santa Barbara, Milwaukee, Cincinnati and Toronto before winding down at the BankNH Pavilion in Gilford, N.H. on July 1. The outing will feature a few double-downs, including a pair of nights at the Rady Shell at Jacobs Park in San Diego, a pair at the Santa Barbara Bowl in Santa Barbara, CA, two at the Chateau St. Michelle Winery in Seattle, WA and a double-night run at Red Rocks Amphitheatre in Morrison, CO.
A Live Nation presale for select dates will kick off on Wednesday (Dec. 11) at 10 a.m. local time here (use code JOY). The general onsale will begin on Friday (Dec. 13) at 10 a.m. local time through Ticketmaster. According to Taylor’s announcement, more dates will be announced soon.
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The 76-year-old James is headed back on the road after a busy 2024, which found him hitting amphitheaters across the U.S. and playing a benefit Concert for Carolina in October to raise funds for North Carolinians impacted by Hurricane Helene, as well as performing at the DNC and at a Kamala Harris/Tim Walz rally in October.
See James Taylor’s 2025 U.S. summer tour dates below:
May 5 — Phoenix, AZ @ Footprint CenterMay 7 — Palm Desert, CA @ Acrisure ArenaMay 8 — Highland, CA @ Yaamava TheaterMay 10 — San Diego, CA @ Rady ShellMay 11 — San Diego, CA @ Rady ShellMay 13 — Santa Barbara, CA @ Santa Barbara BowlMay 14 — Santa Barbara, CA @ Santa Barbara BowlMay 16 — Stanford, CA @ Frost AmphitheaterMay 17 — Lincoln, CA @ The Venue at Thunder ValleyMay 19 — Bend, OR @ Hayden Homes AmphitheatreMay 21 — Nampa, ID @ Ford AmphitheaterMay 23 — Ridgefield, WA @ RV Inn Style Resorts AmphitheatreMay 25 — Seattle, WA @ Chateau St. Michelle WineryMay 26 — Seattle, WA @ Chateau St. Michelle WineryJune 13 — Morrison, CO @ Red RocksJune 14 — Morrison, CO @ Red RocksJune 17 — St. Paul, MN @ Xcel CenterJune 19 — Highland Park, IL @ RaviniaJune 21 — Milwaukee, WI @ SummerfestJune 23 — Cincinnati, OH @ Riverbend AmphitheaterJune 24 — Cuyahoga Falls, OH @ Blossom Music CenterJune 27 — Toronto, ON @ Budweiser StageJune 29 — Canandaigua, NY @ CMACJuly 1 — Gilford, NH @ BankNH Pavilion
Paul McCartney’s ambitious yet ultimately abandoned collaboration with legendary sci-fi author Isaac Asimov has been unveiled in vivid detail through a new book, The McCartney Legacy, Volume 2: 1974–80, by Adrian Sinclair and Allan Kozinn.
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Released Tuesday (Dec. 10) via HarperCollins, the book dives into a little-known chapter of McCartney’s post-Beatles career, shedding light on the surreal project that never came to fruition.
The proposed film, tentatively titled Five and Five and One, featured an eccentric plot that intertwined aliens, McCartney’s band Wings — consisting of his wife Linda and ex-Moody Blues guitarist Denny Laine — and their efforts to take Earth by storm. McCartney’s original treatment for the story was brief, about 400 words long, but Asimov expanded it into a more detailed 1,800-word version. A fragment of McCartney’s treatment reveals the unique premise:
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“A ‘flying saucer’ lands. Out of it get five creatures. They transmute before your very eyes into ‘us’ [Wings]. They are here to take over Earth by taking America by storm and they proceed to do this supergroup style. Meanwhile — back in the sticks of Britain — lives the original group, whose personalities are being used by the aliens…”
McCartney personally approached Asimov in 1974 to collaborate on the script, meeting in New York since Asimov had an aversion to flying. He quipped about the author’s reluctance: “He can imagine himself into far-off galaxies, but he wouldn’t get on a plane.”
Asimov expanded on the story, evolving the alien invaders into “energy-beings” from a dying planet who sought to occupy the Wings members rather than clone them. However, the beings were unable to comprehend human emotions like love, adding a philosophical layer to the narrative.
Despite the intriguing concept, the project stalled. By early 1975, the collaboration was shelved, with Asimov reportedly leaving a pointed critique scrawled on the first page of his treatment: “Nothing ever came of this because McCartney couldn’t recognize good stuff.”
The new book, part of a larger series chronicling McCartney’s career, follows the first volume covering 1969–1973, which was published in 2022.
To capture the full scope of this era, authors Sinclair and Kozinn interviewed former Wings members, producers, and recording engineers, offering readers an in-depth exploration of McCartney’s post-Beatles years.
Paul McCartney’s Billboard achievements are nothing short of extraordinary. He has written or co-written a record-breaking 32 songs that have topped the Billboard Hot 100 chart. This includes not only his work with the Beatles but also his solo hits and collaborations with Wings, Linda McCartney, and other artists.
McCartney achieved the remarkable feat of having the No. 1 song of the entire year on Billboard three times: “I Want to Hold Your Hand” in 1964, “Hey Jude” in 1968, and “Silly Love Songs” in 1976—an accomplishment unmatched by any other artist in the chart’s history.
