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Source: AMC / The Walking Dead: The Ones Who Live
Our favorite zombie apocalypse couple, Rick Grimes (Andrew Lincoln) and Michonne (Danai Gurira), are back in the first trailer for the new limited series, The Walking Dead: Ones Who Live.
The Walking Dead has been on television screens since 2010, had 11 seasons, and is showing no signs of slowing up thanks to a plethora of spinoffs.
*Spoiler alert for those who may have checked out of The Walking Dead*
Initially set to be a theatrical release, TWD fans got their first good look at the upcoming limited series, The Walking Dead: The Ones Who Live, which sees the long-awaited return of Richonne, the ship nickname given to Rick Grimes and his katana sword-wielding boo Michonne.
The show will see Michonne on her mission to desperately find Rick while he is forced to work for the CRM (Civic Republic Military), who found and kidnapped Rick after barely surviving the bridge explosion.
Rick Grimes left in season 9 after bravely sacrificing himself to save the community from a herd of walkers by blowing a bridge. He was dead by many of his friends, including the mother of his son and stepmother, his daughter Judith.
We first met the CRM during the two-season series The Walking Dead: World Beyond, one of the many spinoffs from the long-running original franchise that finally ended in 2022.
The official synopsis for the show reads:
The Walking Dead: The Ones Who Live presents an epic love story of two characters changed by a changed world. Kept apart by distance. By an unstoppable power. By the ghosts of who they were. Rick and Michonne are thrown into another world, built on a war against the dead… And ultimately, a war against the living. Can they find each other and who they were in a place and situation unlike any they’ve ever known before? Are they enemies? Lovers? Victims? Victors? Without each other, are they even alive — or will they find that they, too, are the Walking Dead?
The Walking Dead: The Ones Who Live is executive produced by showrunner Scott M. Gimple; Gurira, Lincoln Denise Huth, and Brian Bockrath also serve as producers.
The limited series premieres Feb. 25 on AMC and AMC+. Peep the trailer below.
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Photo: AMC / The Walking Dead: The Ones Who Live
American Idol is heading “Somewhere Over the Rainbow.” In a new Wizard of Oz-themed promo, judges Katy Perry, Luke Bryan and Lionel Richie, alongside host Ryan Seacrest, make their way down the Yellow Brick Road to visit cities “big and small.” Set to air during ABC’s Seacrest-hosted Dick Clark’s New Year’s Rockin’ Eve broadcast on Dec. 31, […]
Barry Manilow turned 80 this year, but don’t think for a second that he’s slowing down. He’s too booked to even consider it. Tonight (Dec. 11) at 10 p.m. ET/PT, NBC will air Barry Manilow’s A Very Barry Christmas.
The show was filmed about five weeks ago at Westgate Las Vegas Resort & Casino where he performs his long-running show, Manilow: Las Vegas – The Hits Come Home! The special consists of half holiday songs (“Jingle Bells,” “Rudolph, the Red-Nosed Reindeer,” “Feliz Navidad” and “White Christmas”) and half Manilow hits (his three Billboard Hot 100 No. 1 hits – “Mandy,” “I Write the Songs” and “Looks Like We Made It” – and what is probably his most famous song “Copacabana”). The special was directed by Matt Askew, who directed Weekends With Adele.
A Very Barry Christmas is Manilow’s third Christmas-themed TV special. He has also released three Christmas albums and was planning to record another one this year, but didn’t get it done. “I started to lay out all the songs that I was going to do, and then this year happened,” Manilow told Billboard. “This year was like the craziest year ever.”
Manilow was honored by the New York Pops at Carnegie Hall in May. He played five consecutive nights (there are no nights off for this trouper) at Radio City Music Hall in May and June – and he’s already booked for five more shows at the legendary venue in April 2024. He was a presenter on the Tony Awards in June. Harmony, the stage musical he wrote with longtime collaborator Bruce Sussman, which had spent decades in development hell, finally opened on Broadway in November.
Manilow has probably done more TV – and used it more effectively – than just about any other pop music performer. He won a Primetime Emmy in 1977 for his first special, The Barry Manilow Special. The show, which featured Laverne & Shirley star Penny Marshall, was seen by 34 million viewers. He won his second in 2006, for the PBS show Manilow: Music and Passion.
He won that first Emmy, at least in part, because he was hot as a pistol in 1977, with a No. 1 single on the Hot 100 (“Looks Like We Made It”) and a No. 1 album on the Billboard 200 (Barry Manilow/Live). He won his second, at least in part, because his fellow professionals respected the way he had survived the ups and downs of a long career. He had “made it through the rain,” to borrow the title of one of his best songs – one that a longtime Fanilow (that would be me) ranked No. 6 on this list of his 25 top 40 hits on the Hot 100 that we posted in June to coincide with his reaching the big 8-0.
Manilow talked to Billboard on the eve of tonight’s special. This conversation has been lightly edited for length and clarity.
How did this new special for NBC come about?
NBC executives came to see my regular [non-holiday] show at the Westgate and we were talking afterwards, and they were saying they were looking for Christmas product because everybody was on strike. And I said, “I have a Christmas show. We’ve been doing it for the last four years, and everybody seems to love it.” We sent them a video of it and they loved it. Before we knew it, we were taping the show.
You’ve taken this Christmas show on the road too.
It’s always received really well. I figured out a way of not only doing Christmas songs but my hits. It goes back and forth. It still always feels like a Christmas show, even when I’m singing “Copacabana.”
Christmas songs are right in your wheelhouse because so many of them are filled with yearning and emotion.
Even the [up-tempo] ones feel emotional because we’ve heard them all of our lives. That’s the only way I write, arrange or perform. If it doesn’t make me feel something, and if it doesn’t make the audience feel something, whether it’s sad or happy, then I’ve missed; then I haven’t done it right.
When did you tape the special?
About four or five weeks ago. We did two tapings. When I did my first batch of specials back in the ’70s and ’80s, there were about five cameras. [On this one,] they brought in 12 cameras. They had every angle they possibly could. It’s a beautiful-looking special. It looks otherworldly.
Any guests?
No, but we have Santa, little children, loads of Christmas trees — and it snows on the audience.
Why do you think TV works so well for you?
I try to be as genuine and as honest with every word and everything I say as I possibly can. If I’m right, that works to the camera, just like it works to an audience. If I can’t feel that I am being truthful in every lyric that I sing, then I shouldn’t be on the stage.
Last night I watched your 2019 interview for the Television Academy’s The Interviews series. You talked about how that first special in March 1977 took you to another level of fame and recognition – which is saying something, because you had had two No. 1 hits by that point.
The next morning [after the special aired], I went to the airport and everybody was yelling at me, “Barry! Barry! Barry!” The day before that, nobody paid any attention, but after that, it changed.
Did ABC ever offer you a summer replacement TV show, like a lot of music stars did back did back then?
They did, but I turned it down. I didn’t think it was the right thing to do — but I told them I would love to do one special a year, and they were OK with that. I didn’t think summer replacement [series] were helping the artist, and I didn’t want to be the guy that introduced people and did comedy sketches. That’s really not what I do. I would be terrible at that.
I didn’t realize the term “Fanilow” came from your 2003 appearance on Will & Grace.
One of the characters [played by guest star Sara Gilbert] was waiting [in line with Will, played by Eric McCormack] for tickets to a show of mine and said she was a Fanilow. It was a joke. It was clever and people picked up on it.
That phrase was a gift to you, because it’s catchy and affectionate.
I didn’t like it in the beginning. I thought it was kind of a put-down. But people would come up to me and say, ‘I’m a Fanilow,’ and they’d be so proud that I began to like it. And now I do like it.
I’m impressed that, 50 years into your career, you played five nights at Radio City.
For a New York guy like me, just to do [one night at] Radio City would have been enough — but to sell out five nights, that was really a thrill.
I’m also impressed that you played five consecutive nights. Artists half your age take nights off.
Oh please. I don’t even worry about that. I never get tired. I don’t sleep and I don’t eat. That’s my secret.
Harmony finally opened on Broadway this year. When did you and Bruce first write it?
We got the idea in 1997. It took awhile for us to put it together. And then the producer couldn’t get [it to Broadway] so we’d put it back in the drawer. Then there was another producer waiting to try it. Most of the time, we signed with a production company for three years. Every time we had to wait [until the previous deal was up]. Most of the time they just couldn’t get it to New York.
Dionne Warwick [whose 1979 comeback album Manilow produced] got the Kennedy Center Honors last week. The ceremony will air on TV later this month. It seems to me that if they base their selections on artists who have risen to the top in many different fields of entertainment, you should have gotten it by now. You went to the top in recordings, TV and live performances. If you ever do get that call, what would it mean to you?
Well, it’s quite an honor. No, they’ve never called and asked, and I don’t think they ever will. Maybe I just don’t do the kind of thing they want their honorees to do. I don’t understand why. If they did, would it be the top of the line? It would be pretty close to the top of the line to get an honor like that.
In a way, 2023 was Demi Lovato‘s reset year. Across myriad projects spanning various genres and formats, the Grammy-nominated singer-songwriter spent the year flaunting both their versatility and their distinct star quality — two attributes that make their brand new Roku special, A Very Demi Holiday Special, an effortless winner.
They kicked off the year with “Still Alive,” an original song for the box office-topping Scream VI that earned them a best song nomination at the 2023 MTV Movie & TV Awards. The single soon gave way to the promotional campaign for Revamped, a reclamatory endeavor that found Lovato re-recording their biggest pop hits in the rock-focused style of their recent music. Included on the album were rock-ified versions of Billboard Hot 100 hits such as “Sorry Not Sorry” (No. 6), “Heart Attack” (No. 10) and “Cool for the Summer” (No. 11), all of which were included in Lovato’s MTV VMAs performance, which Billboard ranked as the fourth best of the night.
At that ceremony, Lovato enjoyed a best pop nomination for “Swine,” a blistering protest song they released two days before the anniversary of the fall of Roe v. Wade. The track peaked at No. 12 on Alternative Digital Song Sales.
By September, Revamped — which also featured collaborations with Slash, The Maine, Nina Strauss and The Used’s Brett McCracken — became their ninth career entry on the Billboard 200 (No. 60), reaching the top 10 of Top Album Sales (No. 4), Top Rock Albums (No. 10) and Top Alternative Albums (No. 8) in the process. Nonetheless, the new projects didn’t stop there.
Outside of their own music, Lovato also found time to appear Le Sserafim’s K-pop-meets-Jersey-club “Eve, Psyche & the Bluebeard’s Wife” remix and Luísa Sonza‘s Portuguese-language “Penhasco2,” both of which made the Billboard charts. They also released a cover of “Let Me Down Easy” from the Emmy-nominated Daisy Jones & the Six miniseries. Of course, the multi-hyphenate maintained their presence in the film and television arenas, appearing as Anonymouse on the kick-off show for the tenth season of The Masked Singer and guest-starring as herself in the third season of the FX comedy Dave.
Ready to wind down for the holidays and bask in her delightful new holiday special, Demi Lovato catches up with Billboard for a light-hearted conversation about family traditions, her upcoming Child Star documentary, a potential Christmas rock album and plans for new music next year.
Why was this the year for you to hop into your holiday bag and put on A Very Demi Holiday?
That’s a good question and I don’t really have an answer for it! [Laughs.] It just was an opportunity that presented itself and I had to take it because I love the holidays!
What’s your absolute favorite thing about the holidays?
I love getting to spend time with my family. I think that’s my favorite part of the holidays.
What are some family traditions that you guys hold near and dear to your hearts?
Sometimes we wear onesies on Christmas morning. Other times, we have s’mores on Christmas Eve, but those aren’t traditions we do every year. We do do this tradition where we come down the stairs and look at presents, and we’ve been doing that since I was a kid — just having my mom say, “Okay, it’s time for the presents!” and then all three sisters come down at the same time. It’s cute.
I remember you recounting those moments in the special. When it comes to getting into the Christmas spirit, what’s your personal favorite Christmas song and which performance in the special would be your top pick?
I’d say that “Have Yourself a Merry Little Christmas” is probably my favorite Christmas song. My favorite song in the special would probably [also] be “Have Yourself A Merry Little Christmas” because I got to do it with JoJo and we had a really great time performing together.
You guys have worked together previously. What was it like reuniting for a Christmas cover?
Oh, it was so great! She’s so sweet and funny and being able to work with her again was such a joy. She’s so talented. She’s such a powerhouse vocally and she’s incredible.
It’s always a treat to hear two vocalists like yourselves joining forces on a track. In terms of the music in the special, how did you guys decide which of your original non-holiday songs to include, and what was the aim of those arrangements?
You know, it wouldn’t really fit if I did a rock concert for a holiday special, although it depends on who you who you ask! [Laughs.] I wanted to have a different approach to it, so my band was different than my normal band and they were incredible. We had a really great time. I wanted it to feel more in line with the Christmas spirit, so that’s what I did!
Do you have plans for this to be a recurring special, or is this one-off thing for you?
I don’t know, we’ll have to wait and see! Wait until next year.
Between making ugly sweaters and learning the Nutcracker ballet, what was your favorite thing to really sink your teeth into and show out in front of the cameras?
I think making the meat cakes for my dog was one for the books. Paris and I had a really great time, and I would do anything for my dogs. So, getting to dress them up and see who liked the cake more was really cute.
Did you look to any past Christmas specials and concerts for inspiration for your own?
No, I didn’t. I just. I just kind of winged it! [Laughs].
What draws you to the holiday season? Why do you think that it’s such an inspiring time of the year for so many artists?
The holidays inspire so many people because there’s a lot of downtime, so there’s a lot of opportunity to be able to listen to what inspires you during downtime that you wouldn’t have normally throughout the rest of the year.
There is a segment in the special where you’re consoling this young lady whose grandmother had recently passed away and it was such a beautiful, sentimental scene. What was it like getting to involve fans in this project in such a special way?
Getting to involve my fans was really fun. It was great to be able to sing with them too, you know? We sang “Joy to the World,” and they seemed really enthusiastic. Getting to surprise my fans was really fun and gave me nerves. I had butterflies to tell each person, but it was fun!
At the very end of the special there’s this animated thing that comes across the screen and you do a voiceover where you’re talking about aliens and you’re like, “Bye, b—ches, I’m going to Mars!” Did you freestyle that?
Well, the holiday special was trying to show what it would look like if an alien came to Earth and saw what Christmas was like. It would be showing them how absurd Christmas is. How a jolly old man comes down the chimney to give gifts, and there’s a tree that we decorate, you know? So, that was kind of a through-line through the special and I don’t remember how that last line came about! Maybe I freestyled that, I’m not sure. [Laughs.]
So, for the fans that didn’t get to sing with you in the special, what can they expect from you musically come 2024?
Hopefully, I’ll have an album by then. I would love to put out new music. I’m kind of just always releasing new music, it feels like, because I’m always trying to top myself or do something that feels fulfilling in the moment. So, hopefully, I’ll have new music out or new music to release next year. But I’m also not putting any pressure on it.
Do you have any plans to officially release any of these holiday covers for fans to stream?
I don’t have any plans to do that, but maybe next year I’ll come out with a Christmas album or something!
Okay if we get a Christmas album, can we get some rock Christmas songs on there?
Yeah, that would be cool!
Outside of music next year, you’re also continuing to make some moves in the film world. You’re currently prepping your Child Star documentary, what are some updates you can give fans on that project?
I’m getting some really great people to participate in the film. I’m really excited about it and — nothing that I can share with you right now! — but it’s turning out great. I’m having some deep and meaningful conversations with people that obviously were child stars previously. I can’t wait for everyone to see it.
Okay, now it’s time for some “this or that,” holiday edition. Peppermint or Gingerbread?
Peppermint.
Eggnog or apple cider?
Eggnog!
This is the tricky one: “All I Want for Christmas Is You” or “Last Christmas?”
“All I Want for Christmas Is You!” [Laughs.]
What is on your Christmas playlist? What’s playing around your house as you countdown to the 25th?
This isn’t Christmassy at all, but I’ve become a really big fan of Lola Young. I’ve been listening to her album a lot.
When you look back on the year, what’s your favorite overall moment? What’s one moment that you’ll always remember from the making of A Very Demi Holiday?
I think my favorite moment this year — I mean professionally — I would say the VMAs performance was really fun for me. Yeah. also filming the “Swine” music video was really fun, getting to release the Revamped album was awesome. I think, personally, anytime I’ve been able to spend with my best friends, my boyfriend and my loved ones.
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Source: Michael Ochs Archives / Getty
As many offer tribute to the late television legend Norman Lear after his death, we take a look at the television shows featuring predominately Black casts he produced which changed the culture.
Source: Steve Granitz / Getty
The passing of television icon Norman Lear at the age of 101 has paved the way for a further examination of the shows that the producer and writer was responsible for bringing to the screen and in the process, impacting comedy and American society greatly with a focus on social and political themes of the time.
His work (which included having an astonishing eleven hit shows on air at one time) included shows airing in the 1970s and 1980s that showcased the Black community in roles that captured their full scope and would have a major impact on the industry for decades afterward. We take an in-depth look at the Black-focused shows of Norman Lear that had major success.
Sanford & Son
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Reworking a popular British sitcom Steptoe & Son, Sanford & Son became a smash hit when it aired on NBC in 1974. Ribald veteran comedian Redd Foxx was tapped to star as Watts-based junkman Fred G. Sanford and Demond Wilson as his son, Lamont. Featuring beloved recurring characters such as Aunt Esther (LaWanda Page), the show was Lear’s first featuring an all-Black cast and was a solid ratings giant all of its six seasons, coming in second only to Lear’s iconic All In The Family on CBS. It would end in 1977 after a contract dispute between Foxx and NBC.
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Good Times
Source: Michael Ochs Archives / Getty
A spin-off of the Bea Arthur-fronted Maude (which was itself a spin-off from All In The Family), Good Times focused on Maude’s former housekeeper Florida Evans (Esther Rolle), and her husband James Evans (John Amos) as they raised their three children in the projects in Chicago. Good Times was co-created by Eric Monte (who wrote the cult classic Cooley High) and Mike Evans, who starred as Lionel on All In The Family. The show would become another hit series for CBS, despite some turbulence with Rolle and Amos over concerns of negative stereotypes as the character of J.J. (played by comedian Jimmie Walker) was thrust into the forefront with his “Dyn-O-mite” catchphrase (which Lear actually detested at first). Good Times would go on to be revered by many, with numerous Black stars appearing on the show including Janet Jackson as Penny Gordon.
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The Jeffersons
Featuring Sherman Helmsley as the quick-tempered laundry owner George Jefferson and Isabel Sanford as his wife, Louise, The Jeffersons would become another major hit series for Norman Lear with roots in All In The Family. The Jeffersons would represent America’s first look at an upwardly mobile Black family as the couple moved from living next door to the Bunkers to the Upper East Side. With a catchy theme song (you’re humming it right now as you read this no doubt) and a unique perspective thanks to the strong cast, The Jeffersons would run for ten seasons from 1975 to 1985 on CBS.
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Diff’rent Strokes
Source: Michael Ochs Archives / Getty
This sitcom by Norman Lear first made its debut on NBC in 1978, with Gary Coleman and Todd Bridges starring as Arnold and Willis Jackson, two recently orphaned Harlem children taken in by wealthy Park Avenue widower Phillip Drummond (Conrad Bain) and their daughter, Kimberly (Dana Plato). The show would run for eight seasons on NBC and ABC highlighted by Coleman’s magnetic charm and the “very special episodes” that tacked issues like racism and drug use.
227
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Lear would be an uncredited executive producer for 227, a show that would become part of NBC’s vaunted Saturday night comedy block in the 1980s. Marla Gibbs, who rose to fame as the wisecracking housekeeper Florence on The Jeffersons, starred as housewife Mary Jenkins as part of a trio of friends and neighbors Rose Holloway (Alaina Rose Hall ) and Sandra Clark (Jackee Harry) in the same Washington D.C. apartment building. 227 was also the debut of Regina King, who played Mary’s daughter Brenda. The show would last for five seasons.
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Norman Lear, a screenwriter and producer behind several hit sitcoms that were huge in the 1970s, has died. Lear, who produced The Jeffersons and other beloved Black sitcoms, was involved with over 100 shows and worked as a producer well into the next century after his initial encounter with fame.
Norman Lear was born July 22, 1922, in New Haven, Conn. After a stint in the military in the 1940s, Lear got involved in entertainment by first working in public relations. Along with his cousin’s husband, comedian and writer Ed Simmons, Lear and Simmons wrote comedy sketches for the likes of Dean Martin and Jerry Lewis for their comedy variety show.
In 1959, Lear created his first television show, The Deputy, with Henry Fonda. Lear then became known as a comedy writer through the 1960s. In 1971, Lear saw the debut of his show All In The Family, which went on to become a hit with critics and viewers alike. Sanford & Son was another hit that came the following year in 1972.
All In The Family spawned spinoff series too such as Maude in 1972, and The Jeffersons in 1975. The Jeffersons, which ran for 11 seasons and starred Isabel Sanford, Sherman Hemsley, and Marla Gibbs, is one of the longest-running sitcoms of all time. Good Times, starring Esther Rolle and Jon Amos, was developed by Lear in 1974 although he just served one year as its lead producer.
Lear served as the executive producer of the One Day At A Time revival in 2017 for Netflix and has a credit as an executive producer for the I Got A Monster documentary in 2023.
Lear is survived by his wife, producer Lyn Davis, six children from his three marriages, and four grandchildren.
Norman Lear was 101.
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Photo: Getty
For many, thoughts of the late, Tupelo, Mississippi-born music icon Elvis Presley center around his emotional, husky vocals, genre-defying catalog of enduring recordings, signature hip gyrations, electrifying performance style, jet black hair and bedazzled jumpsuits.
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But for another Southern-born singer-songwriter, the Tennessee and Georgia-raised Kane Brown — who to date has earned 10 Billboard Country Airplay No. 1 hits, including “Heaven,” “What Ifs” and most recently, “Bury Me in Georgia” — Presley’s name and music conjure thoughts of personal connection with a beloved family member.
“My nana is a huge Elvis fan and always has been,” Brown tells Billboard via email. “Growing up, I remember her carrying around a bag with Elvis’ face on it, and my earliest memories of Elvis and his music were of listening to him with her, and how excited she is and still gets hearing his music. My nana is a superhero, and so having that connection with and memory with her and his music is something that means a lot to me.”
On Wednesday (Nov. 29), Brown will be one of several performers helping to celebrate the legacy of the late Presley — as part of the new holiday special, Christmas at Graceland, which airs on NBC beginning at 10 p.m. ET and will be simulcast on Peacock.
Christmas at Graceland marks the first live musical televised holiday special of its kind at the late Presley’s 13.8-acre Memphis, Tennessee estate, and will feature never-before-broadcast footage of Presley. In 1982, Graceland was opened to the public as a museum, which draws hundreds of thousands of visitors annually to honor the life of Presley, who died in 1977 at age 42.
In addition to Brown, other artists taking part in the Christmas at Graceland special are Alanis Morissette, John Legend, Kacey Musgraves, newly named CMA entertainer of the year Lainey Wilson, Lana Del Rey, Post Malone and 2024 Grammys best new artist nominee The War and Treaty.
Brown’s performance on Christmas at Graceland connects with his recently released holiday song, a version of Presley’s “Blue Christmas,” which features vocals from both Brown and Presley. Brown previously released a solo version of “Blue Christmas” last year, reaching No. 14 on the Hot Country Songs chart.
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Written by Billy Hayes and Jay W. Johnson, the tale of unrequited love was recorded by Presley as part of his 1957 Elvis’ Christmas Album project. Brown’s ties to the song as a country singer are notable, given that prior to Presley’s version, “Blue Christmas” had been a No. 1 Hot Country Songs hit for country singer Ernest Tubb in 1950.
Presley’s granddaughter Riley Keough will make special appearances on Christmas at Graceland, and she will also serve as an executive producer under her Felix Culpa banner with partner Gina Gammell. Christmas at Graceland is produced by Done + Dusted, Authentic Studios and Felix Culpa.
Brown recently talked with Billboard over email, discussing his recording “Blue Christmas” alongside Presley’s own vocals, his experience performing as part of Christmas at Graceland, and his own favorite family holiday experiences.
Are you an Elvis fan, and if so, what are your favorite Elvis songs?
Elvis is an internationally recognized icon and paved the way in so many different areas for artists, but I think to me what’s been really cool is — as I got older, learning a lot more about his background growing up, and just how much he had to push the meter in so may different ways, and how many times he was told “no” before he powered through to become the legend he is today. Now being an artist, having a better understanding just how amazing what he was able to accomplish was, and how he did it with his talent and by being so unique — that’s still so inspiring. It would be hard to pick just one song, but it is still something I am trying to wrap my head around that I have a duet with ELVIS. And to hear my daughters sing it at home now too — what an amazing feeling.
What was the recording session for “Blue Christmas” like, and what did you think when you heard the finished version?
Really different, in the sense that you obviously don’t have the other artist in the room while you are recording it — but the first time I heard the final track, it gave me chill bumps.
What are your impressions of Graceland?
Visiting Graceland and being able to see where he lived and what was important to him and what life he was able to build for his family, having come from nothing, is something I really connect with. I feel his spirit so much there.
What are your favorite holiday traditions you have started with wife Katelyn and your children?
The girls love to sing, and having them be old enough to sing holiday songs together has meant so much.
Are there certain things you all love to do around Nashville for the holidays?
We love being at home and getting a chance to recharge and really live in gratitude for a minute. Sometimes you blink, and it’s already a year later when you’re out on the road. Touring is amazing, and I am so grateful for what I get to do for a living and all the fans that have been with me since day one and along the way. But getting that time at home when you’re often on the road is an amazing feeling to take the time to have those little moments like having breakfast together and really do the small stuff as a family helps recharge you, and then you feel like you’re ready to get back out there and give it your all on tour. We have such an exciting year coming up next year, and getting that space to be together as family beforehand is something we don’t take for granted.
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The annual Macy’s Thanksgiving Day Parade is returning for its 97th installment this year and will air across the country on Thursday (Nov. 23).
This year’s parade is set to take place in New York City in front of a live audience, making its 2.5-mile trek through Manhattan and featuring performers and attendees as it travels from the city’s Upper West Side to Midtown.
Fans looking to watch the parade this year are in luck because there are several ways to tune in to the event with or without cable. Find out how below.
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How to Watch Macy’s Thanksgiving Parade
The 97th Macy’s Thanksgiving Day Parade will be broadcast on NBC and Telemundo from 8:30 a.m. to noon ET.
How to Stream Macy’s Thanksgiving Parade
If you have cable (or a digital TV antenna like this one from Amazon), you can watch the parade on TV through your local network NBC affiliate. The parade will also stream live on Peacock Premium (click here for more details on Peacock’s Black Friday discount).
The Macy’s Thanksgiving Parade can be viewed online, as NBC can be streamed using SlingTV, fuboTV, DirecTV Stream, or Hulu + Live TV. Most these services offer free trials, which will allow you to watch the Thanksgiving parade fun for free online without cable.
How to View the Macy’s Thanksgiving Parade in Person
There are a small number of viewing areas for the Macy’s Thanksgiving Parade, but fans can start arriving at 6 a.m. ET Central Park West between West 75th to West 61st Streets. Great views can be found on 6th avenue between West 59th to West 38th Streets, and limited public viewing on the south side of West 34th Street between Broadway and 7th Avenue will be available.
Who is performing at the Macy’s Thanksgiving Parade?
This year’s parade will feature lots of performances, including Cher, Brandy, ENHYPEN, Jon Batiste, Jesse James Decker, En Vogue, Manuel Turizo, Jabari Banks, Bell Biv Devoe, Pentatonix, Ashley Park, Chicago, David Foster, Katherine McPhee, Alex Smith, Amanda Shaw, Miss America Grace Stanke and Paul Russell.
Last year, Gloria Estefan and her family sang atop the Deck the Halls float by Balsam Hills, while Joss Stone appeared on a Hallmark Channel float, and Jordan Sparks performed on a Toys R Us float. Paula Abdul, Big Time Rush, Kirk Franklin, Cam, Betty Who, Sean Paul, Zigg Marley and more were featured during the 2022 parade. Mariah Carey, Rihanna, Miley Cyrus, and Ariana Grande are some of the stars who have performed at the Thanksgiving Day Parade in previous years.
It’s no secret that awards show ratings on traditional TV platforms have been declining, even though fan engagement in the form of social media is up. Fans want the buzzy moments and maybe to find out who won, but they aren’t as inclined to sit for three or four hours and watch the show unfold in real time.
So producers are trying to come up with fresh approaches and figure out how to survive and thrive in this challenging environment. That’s one reason that the team behind the 2023 Billboard Music Awards have created a fresh format. Performances and awards will roll out across BBMAs and Billboard social channels, as well as via BBMAs.watch, on Sunday, Nov. 19.
In what is billed as a first-of-its-kind collaboration, the BBMAs and Spotify “Fans First” will bring fans up-close-and-personal with their favorite artists at performances and award celebrations taking place around the globe, in the midst of sold-out tours and in custom venues.
Nine new categories are being added this year, including four K-pop awards and two for Afrobeats, as well as top Hot 100 songwriter, top Hot 100 producer and top rock duo/group.
To find out more about the 2023 Billboard Music Awards Presented by Marriott Bonvoy, we quizzed two of the show’s producers, Maddy Mesevage, SVP, marketing for dick clark productions, and Alexi Mazareas, DCP’s VP, programming & development, to answer all the burning questions around the revamped awards show.
Do you agree with the premise that producers are trying to come up with fresh approaches and figure out how to survive and thrive in this challenging environment?
Mesevage: When conceptualizing a newly reimagined BBMAs, it was important for us to put the artists and fans first, leaning into the existing viewing habits of today’s audience to create an awards show that speaks to a new generation. Similar to how music consumption has shifted, with 85% of music consumed digitally, how fans engage with their favorite artists and view content has also shifted. So this year, the BBMAs is meeting fans everywhere they are, and everywhere they already consume music and content.
How has the creative community reacted to this new concept for the show? What are the main questions you’re getting from artists as they approach the new concept?
Mazareas: The new concept has resonated with both artist teams and the creative community as it allows an unprecedented amount of flexibility for an awards show performance. Not being restricted to a single stage or location, we are approaching each performance as a blank slate where we can collaborate with artists to create something totally unique, and bring on creative team members specifically curated to execute that vision. We’re partnering with best-in-class creative directors, world-renowned choreographers, and of course each artist’s creative team to make every one of these performances really special. Productions will take place all around the world from a variety of locations, each with their own vision and identity.
Are you telling top artists “Give us a four-minute performance and we’ll run it,” or is it more of a collaboration between the show and the artist?
Mazareas: This is a true collaboration between the artists, dick clark productions, and some amazing creative partners. We’ll collectively develop each concept, build a bespoke execution plan based on that vision, and then jump in together. The BBMAs team is heavily involved in all phases of the process, but our core goal is to facilitate the artist’s vision and help that vision come to life. Each production is completely unique.
The BBMAs used to be a three-hour show that aired from 8-11. Could someone who likes the traditional awards show format tune in to the show in that same way if they wanted?
Mesevage: Content will roll out directly to fans, including performances, exclusive interviews, and acceptance speeches across BBMAs and Billboard social channels; artists’ social platforms; BBMAs.watch, which takes viewers to a central curation page on Billboard.com; as well as Harmony, PMC’s proprietary live streaming platform, which saw record viewership for this year’s Streamy Awards at 15 million views and Billboard Women in Music with 57 million views.
Will there be a host or presenter to welcome the audience and make transitions and say “good night”?
Mazareas: Since this is such a non-traditional format, we are moving away from traditional host and presenter patterns. The goal is to really lean in to each unique performance and winner celebration that connects the artists and their biggest fans.
Will any of the performances be live? Will they all be new performances, recorded specifically for the show? Will any of them be pre-existing clips?
Mazareas: They will all be pre-recorded. All performances are exclusive to the BBMAs.
Will artists accept awards on the show or appear in some capacity even if they aren’t going to perform?
Mazareas: Yes, artists will accept awards, and with Spotify’s help, some will celebrate their winning moments with the fans who helped them reach the top of the charts.
In the absence of a live broadcast, will there be opportunities for spontaneous moments that often arise at awards shows?
Mesevage: We have created a scenario to give viewers an exciting new experience. We are leaning into the strengths of what this adapted format provides. We are not trying to re-create a live show environment. With that in mind, each taping lends itself to spontaneous moments and content that will feel truly unique to our 2023 BBMAs.
Another attraction of awards shows is that all your favorite stars are gathered into one place for one night. They watch each other rehearse and perform and cheer each other on. Will there be any of that?
Mazareas: Those are always great moments, but we are not focused on trying to replicate that element. We are leaning into the flexibility the new format allows to create completely original and unique performance, that prioritize both artist creativity and the fan experience.
With TV ratings, it’s very clear how many (or how few) people watched the show, but how will it be measured here?
Mesevage: We will measure the audience based on views and engagement across BBMAs content.
How else will you evaluate the success of the show?
Mesevage: Success for us is not solely how many views the content receives. What we are doing with the BBMAs is re-evaluating the value proposition for the talent involved and the fans that both watch BBMAs content and consume artist content and music. We are interested in bringing value to artists and to fans. For us, working through how we can continue to further hone in on those elements will create success in the short and long term. We are also looking at how thoughtfully and intentionally we can work with brand partners within this new model and are excited to be working with Spotify, Lexus and Marriott.
The show’s new November air date means that the eligibility period now syncs up with the year-end Billboard charts. Have you been getting a favorable response to that new timing?
Mesevage: Everyone has been supportive of the change, and we’re now uniquely positioned as the only year-end awards show that’s dedicated to celebrating the year’s best in music.
How does the Spotify partnership come into play? What creative involvement do they have in the show via their “Fans First” program?
Mesevage: The Spotify partnership allows us to identify fans who have consumed vast amounts of music over the past year of our performers and helped drive their favorite artists to the top spots on the Billboard charts. These fans will receive a “golden ticket,” granting them a once-in-a-lifetime opportunity to see their favorite artist up close, in an intimate setting.
The BBMAs is unique among music awards shows because winners are determined by year-end performance metrics on the Billboard charts, which are data-driven. Fans’ consumption habits are the driving force behind this data, so the partnership with Spotify is naturally synergistic because Spotify is where many fans consume music. Together, we’re able to unite artists with their biggest fans who have directly impacted their success on the charts through streaming.
Spotify’s Fans First program offers exclusive rewards and privileges like one-of-a-kind concerts, personal artist experiences, and more. Spotify has been a great collaborative partner in working with us to create memorable and fun experiences for these top fans.
Will there be a special effort to spotlight the nine new categories on the show, including four K-pop and two Afrobeats categories?
Mazareas: There will be special global moments in the show spotlighting some of the new categories, including a couple that K-pop fans will not want to miss.
How many awards will be presented on the show? How many will be otherwise revealed or announced on the show?
Mazareas: We plan to reveal all winners on the BBMAs in a variety of ways.
This year will end as it began, with an all-star Grammy salute to hip-hop. On Sunday, Dec. 10, CBS will air the live, two-hour concert special A Grammy Salute to 50 Years of Hip Hop. An extended “50 Years of 50-Hop” segment was one of the highlights of the 65th annual Grammy Awards on Feb. 5. That kicked off a year of hip-hop celebrations that has underscored the importance and dominance of the genre.
The lineup includes Black Thought, LL Cool J and Queen Latifah, all of whom were also part of the Grammy telecast salute, as well as Bun B, Common, De La Soul, Jermaine Dupri, J.J. Fad, Talib Kweli, The Lady of Rage, MC Sha-Rock, Monie Love, The Pharcyde, Questlove, Rakim, Remy Ma, Uncle Luke and Yo-Yo. More performers will be announced in the coming weeks.
Ahmir “Questlove” Thompson of Two One Five Entertainment and LL Cool J will also serve as executive producers of the special, which tapes Nov. 8 at the YouTube Theater in Los Angeles. The show was originally set to tape on Aug. 11, which was the 50th anniversary (to the day!) of a back-to-school party in The Bronx that many point to as the beginning of hip-hop culture.
A Grammy Salute to 50 Years of Hip Hop is produced by Jesse Collins Entertainment. Collins, Shawn Gee, Dionne Harmon, Claudine Joseph, Fatima Robinson and Jeannae Rouzan-Clay also serve as executive producers. Marcello Gamma serves as director.
Questlove curated the 15-minute spot on the Grammy telecast, which featured three dozen rap acts. Collins, Robinson and Gee (Questlove’s manager and president of LNU) were also among the producers of that segment.
The segment drew universal praise. Billboard’s Joe Lynch pegged it as the best performance on the 2023 Grammys telecast. “While it’s an impossible task to sum up 50 years of any genre (much less one that fought for decades to get a modicum of mainstream respect and eventually became the dominant genre in American music), this electrifying medley brought to vivid life the charged personalities, thumping grooves, deft deliveries and unpredictable flourishes that make hip-hop a global force.”
While many will assume that the success of the spot on the Grammy telecast led CBS to hurry a special into production, the special was in the works before anyone knew there would be a segment on the telecast, according to a source.
Harvey Mason jr., CEO of the Recording Academy, hinted at the upcoming special in a statement announcing the telecast segment. “For five decades, Hip Hop has not only been a defining force in music, but a major influence on our culture,” he said. “Its contributions to art, fashion, sport, politics, and society cannot be overstated. I’m so proud that we are honoring it in such a spectacular way on the Grammy stage. It is just the beginning of our year-long celebration of this essential genre of music.”
The Grammys have not always been hip-hop supporters. The awards show didn’t have a dedicated category for rap or hip-hop until the 1988 awards, which were presented Feb. 22, 1989. D.J. Jazzy Jeff & the Fresh Prince’s genial pop hit “Parents Just Don’t Understand” was the first hip-hop recording to win a Grammy (best rap performance). But they weren’t invited to perform on the show that year.
A year later, on Feb. 21, 1990, the duo became the first hip-hop act to perform on the Grammys. “We’d like to dedicate this performance to all the rappers last year that stood with us and helped us to earn the right to be on this stage tonight,” Will Smith said before he and D.J. Jazzy Jeff launched into “I Think I Can Beat Mike Tyson.”
CBS, which has broadcast the Grammy telecast since 1973, aired another Grammy-branded special – A Grammy Salute to The Beach Boys – on April 9. That special was taped on Feb. 8 at the Dolby Theatre in Hollywood.
A Grammy Salute to 50 Years of Hip Hop airs Dec. 10 from 8:30-10:30 p.m. ET/8-10 p.m. PT on CBS. It streams on Paramount+ (live and on demand for Paramount+ with Showtime subscribers, or on demand for Paramount+ Essential subscribers the day after the special airs).