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Randy Rainbow is back in his election era, and he’s using the music of pop superstar Taylor Swift to ridicule former president Donald Trump.
In a new parody video posted on Monday (Sept. 30), Rainbow created a “Donald’s Version” of Swift’s hit 1989 single “Blank Space,” switching up the lyrics to openly mock the Republican nominee’s latest statements in a divisive campaign for the White House.
Rainbow started off his new clip pretending to be the moderator at the presidential debate earlier in September, using clips of both Trump and Vice President Kamala Harris to underline his jabs at the former president. “Mister former fake president girl sir, you have been critical of your opponent’s immigration record. Would you care to elaborate by making up some crazy-a– bulls–t?” Rainbow asks in the introduction before replaying clips of Trump making the false claim that Haitian immigrants in Springfield, Ohio, were kidnapping and eating pets.
Launching into his song, Rainbow donned his best Taylor Swift drag and immediately went after Trump’s increasingly strange public comments at both his rallies and the Sept. 10 debate. “Pushin’ garbage, playin’ games/ Got more tall tales than bankruptcies,” Rainbow jabbed in his first verse. “Hey girl, you OK? Do you believe a word you say? Can’t believe a word you say, ’cause we’ve been tryna ditch you for damn near a decade.”
On the song’s choruses, though, Rainbow opted to sing directly to his audience, urging them to get to the polls on Nov. 5. “Soon it’s gonna be November, and we’re gonna get the final say/ Better get your act together, or he’s gonna take your rights away,” he sings. “Got our foreign rivals rooting, he’d be their Christmas gift/ ‘Cause he loves Kim Jong and Putin, but hates Taylor Swift!”
The pop singer made news shortly after the debate when she publicly endorsed Kamala Harris, stating that the vice president “fights for the rights and causes I believe need a warrior to champion them.” Swift also made it clear that she would not support Trump’s election bid, despite AI-generated photos (shared on social media by Trump) that claimed to show her lending him her support. “It really conjured up my fears around AI, and the dangers of spreading misinformation,” she wrote. “It brought me to the conclusion that I need to be very transparent about my actual plans for this election as a voter.”
Closing out his parody video, Rainbow dressed up as Swift in her endorsement post to deliver one final string of insults at the former president, calling him a “narcissistic weirdo,” a “low-IQ, hot-headed nutjob” and even an “orange fecal stain.” For his final punchline, Rainbow called up Swift’s classic lyric to taunt Trump: “He’s got a blank space, baby/ And it’s in his brain.”
Watch Randy Rainbow’s parody of Taylor Swift’s “Blank Space” above.
Sabrina Carpenter copped to possibly having a role in last week’s first-ever indictment of a sitting New York mayor. During her headlining show at Madison Square Garden in New York on Sunday night (Sept. 29), Carpenter took a moment to respond to the historic news from Friday that N.Y. Mayor Eric Adams had pleaded not guilty to five felony charges of conspiracy, wire fraud and bribery after officials accused him of taking more than $100,000 in illegal gifts in exchange for allegedly helping out the government of Turkey.
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According to fan video of the moment, she joked, “Damn, what now? Should we talk about how I got the mayor indicted?” pulling her face away from the mic as she laughed while the crowd clapped and yelled. Carpenter was referring to reports earlier this month that tied the filming of her blood-soaked 2023 “Feather” video to one of the voluble Mayor’s friends.
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Carpenter made headlines last Halloween when just weeks after filming the visual inside Brooklyn’s Our Lady of Mount Carmel-Annunciation Parish Church in Williamsburg led to the demotion of Monsignor Jamie Gigantiello. The Church leader was relieved of his administrative duties after it emerged that he’d approved the shooting of the clip in which Carpenter, 25, bloodily offs former boyfriends and winds up in a skimpy black dress posing and wriggling on the altar in the ornate 130-year-old church next to a bedazzled coffin emblazoned with the message “RIP B–ch.”
After the video’s release, Bishop Robert J. Brennan said he was “appalled at what was filmed” at the church,” noting that the parish did not follow “diocesan policy regarding the filming on Church property, which includes a review of the scenes and script.” The song was featured on Carpenter’s 2022 Emails I Can’t Send album.
Carpenter’s name popped up earlier this month when reports said that federal investigators were also in the midst of an investigation into the relationship between Gigantiello and Adams’ former chief of staff, Frank Carone. The church was reportedly subpoenaed by federal investigators last week seeking information about possible financial and business tied between longtime friends Gigantiello and Carone, in an investigation allegedly tied to the filming of the video that has racked up more than 100 million views to date.
“It would be inappropriate to comment further on that review, which is still ongoing,” diocese officials said in a statement. “The Diocese is fully committed to cooperating with law enforcement in all investigations, including conduct at individual parishes or involving any priest.”
Adams plead not guilty last week on federal charges alleging that he accepted expensive travel and illegal campaign contributions from a Turkish official and other foreign dignitaries in exchange for political favors.
See fan video of Carpenter’s comment below.
One day after Chappell Roan announced she was pulling out of 2024’s All Things Go Festival to “prioritize [her] health,” MUNA paid tribute to the Midwest princess during their set at the music fest on Saturday (Sept. 28) night.
“We acknowledge that somebody very special is missing tonight,” said Katie Gavin, the band’s singer, from the stage at the Forest Hills Stadium in Queens. “We just want to say that we love Chappell so much. We started as a queer band in 2014, and we’ve really been given the time and the grace that we needed to be nourished as artists. We wish nothing but that times a million for her.”
Roan, who had been scheduled to play All Things Go NYC on Saturday and All Things Go D.C. on Sunday, explained she was feeling “overwhelmed” in a statement on Friday (Sept. 27) and would be canceling her All Things Go appearances to focus on her health. Prior to the cancelation, Roan had received flak from some fans and pundits for refusing to endorse Vice President Kamala Harris for president, though Roan explained she would be voting for Harris in the 2024 election.
The rock band – made up of Gavin, Josette Maskin and Naomi McPherson – went one step further than just talking about Roan, too, performing a “tribute” to the pop supernova that they pulled together at the last minute. Guitars in hand, the trio delivered a gorgeous, stripped-down cover of Roan’s “Good Luck, Babe!”, which currently sits at No. 4 on the Billboard Hot 100. Prior to MUNA’s set, a coterie of drag performers (including RuPaul’s Drag Race winner Yvie Oddly and NYC queen Beaujangless) led the crowd through a joyous Chappell Roan dance party during what would have been her time slot.
Roan wasn’t the only one MUNA dedicated a song to. Prior to “Kind of Girl” from their self-titled 2022 album, Gavin said, “We’re gonna dedicate this song to all the trans cuties that are here with us tonight.” Nor was it their only cover, with MUNA leading the Forest Hills Stadium in a sing-along to Vanessa Carlton’s 2002 smash “A Thousand Miles.”
Near the end of their set, MUNA got explicitly political, with Gavin reading a pre-written statement.
“We are staunchly against the American far-right, and we’re terrified of the way that an anti-queer and anti-trans attitude has manifested itself in our current political climate,” Gavin said. “On top of this, we want abolition. We want the wellbeing of people and animals and land to be prioritized over the wellbeing of the global market. And we want total disarmament and world peace now. And there should be nothing f–king controversial about saying that.”
As her bandmates nodded and the crowd cheered, Gavin continued. “We want to say ‘f—k fascism’ and very importantly we continue to say, ‘Free free Palestine.’” Gavin then started a brief “free free Palestine” chant that some of the crowd participated in.
Gavin’s comments dovetail with what Roan said in a TikTok video that posted on Wednesday (Sept. 25). “Obviously, f–k the policies of the right — but also, f–k some of the policies on the left. That’s why I can’t endorse. There is no way I can stand behind some of the left’s completely transphobic and completely genocidal views,” Roan said. “F–k Trump, for f–king real, but f–k some of the s–t that has gone down in the Democratic Party that has failed people like me and you, and more so Palestine, and more so every marginalized community in the world.”
MUNA’s comments arrive almost a year after a terrorist attack on Israel by Hamas militants killed more than 1,200 people on Oct. 7, 2023, including around 360 people killed at the Nova Music Festival, according to officials. During the attack, more than 250 people were taken hostage by Hamas, with around 117 of them being returned and eight freed by Israeli troops since then. The bodies of 37 hostages have been recovered, including three mistakenly killed by Israeli troops. Israel’s retaliatory military strikes in Gaza have killed more than 40,000 Palestinians, including more than 10,000 children, according to health officials in the territory. More than one million people have been displaced, leading to widespread famine and an ongoing humanitarian crisis.
Elsewhere in New York City on Saturday night, Doja Cat also addressed the ongoing wars from the stage at Global Citizen Festival in Manhattan’s Central Park. “Right now, millions of men, women and children in Gaza, Ukraine, Sudan, the Congo and all across the world are suffering. In times like this, it is important to remember that together we have the power to bring change, love, light and hope to those that need it most,” the rapper said. “Please keep using your voice to help those fleeing violence get the food, shelter and education they need and deserve.”
50 Cent has been one of the only rappers to be vocal about the alleged sexual misconduct of Diddy. He’s trolled the fallen mogul with baby oil memes and has been talking about making a documentary about his alleged accusations since earlier this year, when he posted a mock poster for a docuseries entitled “Diddy […]
HYBE has reopened an investigation against Min Hee-jin, the former CEO of its subsidiary label ADOR, with whom the K-pop conglomerate has been in a monthslong legal battle regarding her position at the company.
On Sept. 24, HYBE confirmed to Billboard that ADOR launched an investigation into whether Min improperly interfered in the company’s initial investigation into a sexual harassment claim and violated confidentiality obligations. ADOR also began a re-investigation of an ADOR VP involved in the situation. HYBE declined to comment on how long the investigations have been underway or when they plan to share their findings. Min and a representative tell Billboard she was never formally informed of the investigation through external or internal company means.
Min is pushing back on HYBE’s handling of the case, which was initiated by its sub-label ADOR, which houses NewJeans, calling the company’s internal investigations biased due to an alleged conflict of interest with the executive who replaced her as label CEO overseeing the case.
Sources tell Billboard that the investigation involves allegations that Min had covered up an incident involving a male VP at ADOR, where a female employee reported feeling harassed and bullied during a work-related dinner.
The controversy dates back to February 2024, when the ADOR VP allegedly pressured a female employee to attend a dinner with a client, claiming it would be beneficial to have a young woman present, according to an internal report shared with Billboard. During the dinner, the VP left abruptly, leaving the employee alone with a client, creating an uncomfortable situation that the report says “seemed orchestrated.” The employee reported the incident to HYBE’s internal compliance system, citing sexual harassment and workplace bullying. While an internal HR investigation was conducted, it ultimately recommended only a stern warning for the VP, as harassment claims could not be definitively proven, with the case dismissed.
Min Hee-jin’s role in the aftermath of this complaint is what has come under scrutiny. According to the report, Min doubted the credibility of the employee’s complaint and organized an all-hands meeting with both the complainant and the accused, violating the company’s standard HR procedures. An audit of the situation added that Min had coached the VP on how to respond to the allegations.
When the Korean tabloid site Dispatch first reported the incident, Min responded to the claims with a media statement and shared information about the employee on her social media, including the employee’s salary. HYBE has said that the employee filed lawsuits for defamation and privacy violations, but a representative for Min tells Billboard she, as well as the VP, are only facing a defamation suit. The rep adds that the VP has also sued the employee for defamation and claimed damages, which had not been previously shared with the media.
At the time, Min stated that the issues stemmed from poor work performance and that the employee left the company after a salary cut. Min tells Billboard the salary information she revealed through an Instagram Story post did not identify the individual and says it was HYBE, not herself, who publicly disclosed the private parties’ identities in media statements throughout their dispute.
In a phone interview last week, Min questioned the legitimacy of HYBE’s ongoing investigations and directly addressed the appointment of Ju Young Kim, ADOR’s new CEO, who replaced her and led the initial investigation that dismissed the harassment claim. During her time as ADOR’s CEO, Min claims she was not in a position to “conceal” sexual harassment cases nor in charge of such decisions.
“The one who actually made a final decision after reviewing all the statements, all the evidence and reporting, is Kim Ju Young, who is currently the CEO of ADOR,” Min says. “She made those final decisions by herself within HR of HYBE, but then later on, she brought up this issue again and accused me with different charges to try to re-open an investigation.”
Min adds, “I have been telling HYBE, ‘If you want to do an investigation or re-investigation, you need to make it formal and official by not having any investigating done by those involved in previous cases. They could hire a third party to investigate, but instead, they’re going into another internal investigation by the same person who actually made the final decision.”
The final results of the audit are expected in the coming days.
HYBE declined to comment on whether the company has spoken with or plans to speak with NewJeans directly, but Billboard learned that the NewJeans members and their parents met ADOR’s current CEO Ju Young Kim on Sept. 24 to solidify each side’s position.
Despite the ongoing investigation, ADOR shared its decision on Sept. 25 to allow Min back to the subsidiary as an internal director and producer for NewJeans, but would not honor the request to reinstate her as its CEO.
“The board has resolved to convene an extraordinary shareholders’ meeting to reappoint Min Hee-jin as an internal director,” ADOR said in an official statement (per The Korea Herald). “However, the board cannot accept the request for her reinstatement as CEO at this time. Min Hee-jin’s role and authority as the producer for NewJeans are fully guaranteed, and further discussions on specific terms will take place in the future.”
Min Hee-jin issued a press statement in Korea rejecting the proposal and requesting again to be reinstated as CEO.
Indicted hip-hop mogul Sean “Diddy” Combs has been hit with yet another civil lawsuit, claiming that he repeatedly drugged and sexually assaulted an unnamed model over a four year period.
In a lawsuit filed Thursday in New York state court, the accuser – identified only as a Florida model under the pseudonym Jane Doe – says that Combs abused her on multiple occasions from 2020 to earlier this year, often after giving her drugs and using other coercive tactics.
The allegations from the woman – at least the twelfth victim to accuse Combs of sexual abuse of over the last year – echo claims made by federal prosecutors in a sweeping indictment unsealed last week, which detailed elaborate, drug-fueled “freak off” performances involving numerous victims.
“Combs would make her ‘perform a show’ for him and would ply her with alcohol and substances until she passed out,” her lawyers write. “Throughout the four years, defendant Combs would consistently pressure Jane Doe adding other men and women into the bedroom despite Jane Doe being clear that she did not want others involved.”
The accuser says Combs and others used “coercive and harassing language” to force her to agree to his demands, including making “threatening jokes” to her that caused her to “fear for her safety if she did not comply.” She says he and others even tracked her location and monitored her conversations.
At one point in 2022, the accuser says she became pregnant shortly after a sexual encounter with Combs. After she shared the news with Combs, her lawyers say one of his associates “harassed Jane Doe by repeatedly calling her and telling Jane Doe to have an abortion.” She says she later suffered a miscarriage.
Combs, also known as Puff Daddy and P. Diddy, was once one of the most powerful men in the music industry. But over the past year, he has faced a flood of civil abuse lawsuits, starting with a high-profile case filed late last year by his former longtime girlfriend Cassie Ventura. That case quickly settled, but it was later corroborated by a widely shared video of Combs assaulting her at a hotel, and it was followed by numerous other cases with similar allegations.
Then last week, federal prosecutors unveiled a sweeping indictment, accusing Combs of operating a criminal enterprise centered on a “pervasive pattern of abuse toward women.”
“For decades, Sean Combs … abused, threatened and coerced women and others around him to fulfill his sexual desires, protect his reputation and conceal his conduct,” reads the indictment, which was obtained by Billboard. “To do so, Combs relied on the employees, resources and the influence of his multi-faceted business empire that he led and controlled.”
Even after the criminal charges, new civil cases have continued to be filed. Earlier this week, a woman named Thalia Graves filed a case claiming that Combs and another man another man “viciously raped” her New York City studio in 2001 – and that they filmed the encounter.
Combs is currently behind bars after a federal judge refused to grant him bail, ruling that he would pose a flight risk and might seek to intimidate witnesses and victims if released. The criminal case is pending, with a trial likely still months away.
A few days after the Sept. 16 arrest of Sean “Diddy” Combs on racketeering and sex trafficking charges, a book said to be based on diaries and notes from his late girlfriend, Kim Porter, became a best-seller on Amazon. (It was a best-seller within a certain category, which probably means it sold well but not hardcover-bookstore-best-seller well.) What’s really impressive is that the book did so well despite the fact that Diddy and Porter’s children say she didn’t actually write any of it.
The 60-page book, Kim’s Lost Words: A Journey for Justice, From the Other Side, was self-published under the name Jamal T. Millwood by Chris Todd, whose real name is apparently Todd Christopher Guzze. Todd has said the book is based on the contents of a flash drive, which he allegedly received from two people close to Porter and Combs, but he “didn’t ask too many questions about how they got it,” according to Rolling Stone. “If somebody put my feet to the fire and they said, ‘Life or death, is that book real?’ I have to say I don’t know,” said Todd, who says he’s a producer and journalist and hopes the book will lead other sources to come forward. (Journalists generally tend to ask too many questions.) “But it’s real enough to me.”
It would be hard to find a more ridiculous quote to describe the very serious problem that big media platforms have created. I have no idea how the book was written, of course, but Todd knows that’s not the point and presumably so do readers — it’s real enough to me, he says, so it’s real enough for them. (The story behind the book actually sounds more interesting than the book itself.) This sounds harmless enough until you realize that — wait a minute — that’s basically what Republican vice-presidential candidate JD Vance says about the claim that Haitian immigrants are eating pets in Springfield, Ohio. He heard it, then justified it as a way to call attention to a problem. (There is no evidence that anyone is actually eating pets, and the whole idea sounds racist.) Like Todd’s book, it certainly went viral. It was real enough for people — to the point that it has become an actual political issue.
Stories about scandals, real and exaggerated, are hardly new. (Diddy faces unrelated criminal charges; Porter died in 2018 of lobar pneumonia.) What is new, though, is the way online platforms create incentives to create and spread them. Amazon now sells more than a dozen books about Porter, including a “Kim Porter Coloring Book” and several books that use “lost words” in their titles. The speed and ease of selling books on Amazon’s open system has made Porter’s death a cottage industry. It’s gross — does anyone want to be memorialized by a coloring book? — and you can’t blame her kids for being upset. There’s money in it, though.
It’s a useful metaphor for streaming fraud. The problem isn’t that Amazon or online music services stand behind conspiratorial books or useless music with streaming numbers pumped up by bots — it’s that they don’t stand behind anything. Open platforms like these let people distribute their own art, which is promoted as a feature but might more often be a bug — a lot of what’s online is neither professional work nor hobbyist creations but rather get-rich-quick schemes of various kinds. Which is funny until it could affect an election.
The most common argument against this in the music business is that fraud takes money from artists, which is true, but it can be hard to get horrified about schemes to steam millions of fractions of pennies from thousands of artists. (Most of the book business works very differently, but dubious books do take money and attention that more legitimate books need.) Another argument is that low-quality material undermines the integrity of the system — consumers who hear lousy music and read dubious books might be less inclined to spend more money on such legitimate products.
The argument that ought to get more attention is that these kinds of products simply aren’t good for the overall experience platforms offer. Streaming services used to promote their vast selection, but at this point some of what’s uploaded just makes more popular music harder to find. The same applies on Amazon. A search for “Kim” and “Lost Words” brings up a half-dozen books — and even those who find and buy the one they want may be disappointed. Kim’s Lost Words has 98 reviews, which average out at three stars. Others have none at all. This doesn’t affect the value of other books, of course, but it could make them harder to find.
Any serious solution to this will involve changing the incentives. The current level of curation and enforcement won’t work once AI is more widespread. It’s one thing to sell a book that may or may not contain Porter’s words, but Amazon already sells 12. Are we ready for 12,000?
Making platforms easier to use will mean making tough choices, then pushing them down to distributors who will in turn push them down to individual uploaders. There are options, however: Platforms could hold uploaders responsible for content that hurts the user experience or pay out more to companies who have a better ratio of content users engage with compared to their total. That’s what I think — unless this all came from a flash drive someone gave me.
Soul Asylum frontman Dave Pirner is a proud Minnesotan again after having spent 25 years living in New Orleans. So it’s not surprising he’s watching this year’s presidential campaign with even more interest since a home state horse, Gov. Tim Walz, is representing as Vice President Kamala Harris’ running mate on the Democratic ticket. (Pirner was born in Green Bay, Wisc., but grew up in Minnesota.)
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“I’m excited about it,” Pirner, who launched his music career in the North Star state drumming for the punk band Loud Fast Rules, tells Billboard from a stop during Soul Asylum’s recent Jubilee Tour with Stone Temple Pilots and Live. “There’s a certain amount of excitement in Minnesota going on. It’s funny to have a dude like that representing Minnesota ’cause he does remind you of a sports dad. There’s that, ‘Oh gosh’ kind of ‘aw shucks’ thing going on. I think it was a good choice because he seems like a nice complement to (Harris) in that good ol’ boy way or something. But he’s progressive and he’s well-liked.”
Pirner does not recall ever having met Walz, a music fan who signed a bill renaming a stretch of the state’s Highway 5 after the late Prince. But Pirner says he’s “ready to go out there and support the home team. Put my name in the hat.”
He’ll have to fit any support appearances into a busy schedule, however. Soul Asylum has concert dates booked into early November, including with the Juliana Hatfield Three, but most importantly the quartet’s 13th studio album, Slowly But Shirley, comes out Sept. 27. The 12-song set is the follow-up to 2020’s Hurry Up and Wait, its debut with Blue Elan Records, and reunites Pirner and company with Steve Jordan, the current Rolling Stones drummer who helmed Soul Asylum’s 1990 album And the Horse they Rode In On, a highly regarded set that was eclipsed two years later by the double-platinum Grave Dancers Union.
“When we first worked with Steve, we weren’t that great,” recalls Pirner, Soul Asylum’s only remaining founding member. “We were still learning how to play together. And since then I’ve sort of embraced most of the things that Steve had passed on to me from back then. So I kinda knew what he wanted and I wanted to give it to him, and I think it came together in a really organic sort of way that I think you can feel on the record — I hope you can, at least. It did mark a progression.”
Pirner adds that what Jordan and the band were looking for was “just excitement and not too much thinking about what you’re doing. It was more like capturing the band playing the songs off of each other and really listening to the other people in the band and trying to come across in a way that it felt new, fresh.” To that end Jordan had the group — Pirner, drummer Michael Bland, guitarist Ryan Smith and bassist Jeremy Tappero — tracking together in the studio to capture the energy and attitude of live music.
“We’ve tried just about every single way to record something over the years,” Pirner notes. “Working on the previous records the home studio became part of the picture, and you could also take things home and work on them. It depends on the song…but in this situation each song was approached with the same sort of method, which was ‘Get out there and play it!’ It was great ’cause watching Steve and Michael work together was one of those musical experiences I kinda live for. Steve is such a player’s player, and he’s such a vibe guy in a way that he understands the concept of trying to capture lightning in a bottle, and I think that’s what we were going for. We didn’t overplay anything and we tried to get things on the third take or so. It came together pretty quickly.”
Pirner says Slowly But Shirley‘s songs came together in a variety of fashions — some jammed out by the band in rehearsals, others that he “had been working in in ProTools and computers and messing around and cutting pieces of songs together.” One track, “High Road,” has been around “forever” before being finished off this time. The album is a mélange of Soul Asylum styles, from the jangle of “Freak Accident” to the punchy rock of “Freeloader,” “Trial By Fire,” “The Only Thing I’m Missing” and “Makin’ Plans,” to the cool groove of “Waiting on the Lord” and the mellow melodicism of “You Don’t Know Me.” There’s also a funky edge to “Tryin’ Man” and “Sucker Maker,” which Pirner credits to his time in the Big Easy and having Bland, who spent seven years playing with Prince, in the band.
“I think I was subconsciously trying to take things in a direction that was a little more funky or groovy or swingy or whatever — without forgetting that I’m dealing with a four-piece punk rock band,” Pirner explains. “That’s what’s always made punk rock so interesting is it does have this kind of ‘ignorance is bliss’ adventure to it, where it’s gonna come out sounding like your sh-tty band. But sometimes people try things they probably shouldn’t be trying, and something new comes out of that. It’s discovery, which is the beauty of music.”
Pirner is planning on a long cycle for Slowly But Shirley, including more headlining dates before the end of the year and into 2025. “We’ll play at the opening of a letter, as we used to say,” he notes. This year, meanwhile, also marks the 40th anniversary of Say What You Will…, Soul Asylum’s Bob Mould-produced debut album, and Pirner says that the passage of time has not been lost on him.
“It doesn’t get easier,” he acknowledges. “It feels exactly like 40 years. It’s kind of a grind. It’s different when you’re starting out because you’re just excited about everything and you have a much higher tolerance level because everything is new. You’re living a fairly miserable experience, but it’s an adventure. I’m grateful for all of it; it’s just what I do and what I’ve always done and what I love doing. Sometimes it’s not fun at all, but I’m like, ‘Well, this is what I wished for my whole life, so shut up.’ And I much prefer this to digging a hole, I’ll tell ya that.”
Stevie Nicks has returned with a rallying cry for women, dropping new single “The Lighthouse” Friday (Sept. 27) in hopes of reinvigorating the fight for reproductive healthcare. The track opens with a melodic pinging beat and anthemic sound effects as the Fleetwood Mac frontwoman sings softly, “I have my scars, you have yours/ Don’t let […]
Pink is speaking out about a rumor that’s spread online this week linking her to Sean “Diddy” Combs following his recent arrest. The rumor in question began with people noticing that the pop singer had wiped her account clean on X. In light of the Bad Boy Records founder readying himself for trial on charges […]