All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

With the long-awaited sequel Spinal Tap II: The End Continues now in theaters, director Rob Reiner joins with co-creators Christopher Guest, Michael McKean and Harry Shearer to take fans on a behind-the-scenes look at the fake history of fictional rock band Spinal Tap in a new book.

On sale for $21.74 (regularly $29) on Amazon, A Fine Line Between Stupid and Clever: The Story of Spinal Tap also takes a look at the making of the original 1984 mockumentary This Is Spinal Tap and how it went from a cult classic to entry into the National Film Registry.

If you’re an Amazon Prime member, you can order now and A Fine Line Between Stupid and Clever will be delivered to your home in less than two days, thanks to Prime Delivery.

Not a member? Sign up for a 30-day free trial to take advantage of all that Amazon Prime has to offer, including access to Prime Video, Prime Gaming and Amazon Photos; fast free shipping in less than two days with Prime Delivery; in-store discounts at Whole Foods Market; access to exclusive shopping events — such as Prime Day and Black Friday — and much more. Learn more about Amazon Prime and its benefits here.

The biography is also available at BookShop.org for $32.55 (reg. $35), while A Fine Line Between Stupid and Clever can be purchased at Barnes & Noble priced at $30 (reg. $35). Additionally, B&N has a Rob Reiner-signed copy of the book for $35.

‘A Fine Line Between Stupid and Clever: The Story of Spinal Tap’

by Rob Reiner

$30 $35 14% off

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With Christopher Guest, Michael McKean and Harry Shearer

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A Fine Line Between Stupid and Clever is also available as an Audible audiobook, which is free to listen to for subscribers only.

If you’re not a subscriber, you can sign up for a 30-day free trial. Audible starts at $14.95 per month and grants you access to one best seller or new release title per month, a library of thousands of podcasts, audiobooks, and originals, exclusive discounts and more. Once signed up, you’ll receive one credit for any audiobook on Audible, including A Fine Line Between Stupid and Clever: The Story of Spinal Tap.

Meanwhile, the Criterion Collection released a new 4K Ultra HD restoration of the original 1984 film. Right now, it’s on sale for $34.99 (reg. $49.95) on Amazon, a 30% savings. The Blu-ray edition is also on sale for $27.99 (reg. $39.99) from the retail giant.

‘This Is Spinal Tapp’

Criterion Collection

$34.99 $49.95 30% off

Buy Now on Amazon

Blu-ray, 4K Ultra HD

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Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

Stefon Diggs has spoken out publicly for the first time since Cardi B revealed she’s pregnant with her fourth child and first with the NFL star.

The New England Patriots receiver was asked about the pregnancy during a press conference following practice on Wednesday (Sept. 17), and Diggs attempted to play coy.

“Oh, my personal life? I told you about that. We don’t talk too much about my personal life,” Diggs said. “But, I heard about that.”

Diggs shed more light about his thoughts regarding the pregnancy while commenting on a Cardi B Instagram post from Wednesday (Sept. 17), where The Bronx bombshell spoke about her upcoming Little Miss Drama Tour.

“Proud of you for staying focused ,” he said. “100% team boy… Thinking of Spanish names.. right now.”

Cardi B revealed she was pregnant with baby No. 4 during an interview with Gayle King for CBS Mornings on Wednesday.

“Yes, I am [pregnant]. I’m having a baby with my boyfriend, Stefon Diggs,” she said. “I’m excited. I’m happy. I feel like I’m in a good space. I feel very strong. I feel very powerful that I’m doing all this work. But I’m doing all this work while I’m creating a baby, and me and my man, we’re very supportive of each other.”

Cardi’s currently gearing up for the release of her sophomore album Am I the Drama?, which will hit streaming services on Friday (Sept. 19).

Cardi and Diggs began dating at the top of 2025 and went public with their relationship in May.

Ticketmaster remains the most dominant force in ticketing, but anyone shopping for a new provider in the past 18 months knows the market is far from a one-horse race. What was once a straightforward decision based largely on technology has become a far more complex calculation. Factors to weigh include marketing strategy, branding and fan engagement. And increasingly, venues view ticketing companies as long-term partners in addition to service providers.

A yearlong battle with the Department of Justice (DOJ) over antitrust concerns has loosened Ticketmaster’s hold on the reserved-seating business and opened the door for competitors like AXS, which is owned by AEG, and SeatGeek, which has grown its enterprise platform by signing major sports clients.

Meanwhile, the general-admission ticketing business, which serves clubs, theaters and festivals across North America, has never been more competitive. More than a dozen companies are vying for market share, from Eventbrite, Tixr, Etix and VenuePilot to brands recently acquired by larger players. See Tickets was purchased last year by German giant CTS Eventim, while indie favorite Dice was acquired by Fever in June.

For venue executives, this abundance of choice is both a welcome development and a new source of stress. Each platform offers a different value proposition: Some emphasize reach and scale, others focus on brand control and data transparency, while a newer wave prioritizes anti-scalping tools and mobile-first discovery. The real challenge is finding the partner that best aligns with a venue’s long-term vision.

Ticketmaster Vs. AXS

For much of the past two decades, Ticketmaster has dominated by sheer scale, processing hundreds of millions of tickets annually and maintaining a direct pipeline to buyers that competitors couldn’t match. Venues often accepted compromises — around fees, revenue splits and branding — because Ticketmaster’s reach was unmatched.

The 2010 merger with Live Nation strengthened Ticketmaster’s position but also sparked a movement among independent venues searching for alternatives. As part of the merger conditions, the DOJ helped prop up AXS as a competitor. But growth was slow, hampered by disagreements among early owners, including TPG Capital and QuickBooks founder Dan Gilbert.

While AXS struggled, Ticketmaster expanded rapidly, rolling out dynamic-pricing modules, secure digital ticket tokenization and verification tools for artist presales. Its biggest advantage, though, was visibility: The Ticketmaster site became the unofficial front page of live music, a default discovery and transaction platform for millions of fans.

Over the past 18 months, however, Ticketmaster has faced mounting public scrutiny and a multistate antitrust lawsuit brought by the DOJ and dozens of attorneys general. AXS, now fully owned by AEG since 2019, has taken advantage of the opening. The company has positioned itself as a venue-focused platform with innovative anti-scalping features, including its widely adopted digital waiting room to manage high-demand on-sales and prevent bot-driven purchases.

AXS has also grown its own ecosystem of fans. While it doesn’t yet match Ticketmaster’s built-in demand, it is steadily gaining traction and credibility.

The Indies: Solutions For The Midmarket

“There are a lot of ticketing companies out there that can do many different things, but the one thing we shouldn’t expect from them is to act like banks,” says Thomas Cussins, CEO of Ineffable Music, which uses five different systems across its 10 California venues.

Many platforms offer upfront payments and signing bonuses to lure promoters, but Cussins warns that relying on this financing only raises long-term costs. “We have to accept that there is a cost for the hardware and a cost for the software,” he says.

For midsize arenas, fairgrounds and expos, companies like Etix, Eventbrite and Tixr provide fully featured ticketing solutions without the overhead of major enterprise platforms.

Etix, based in Raleigh, N.C., blends traditional box-office support with mobile scanning, customer relationship management plugins and sponsorship tools. It’s popular among established promoters for its flexibility, cost transparency and attentive service.

Eventbrite, headquartered in San Francisco, powers a DIY platform favored by small promoters, local organizers and pop-up events. With minimal onboarding, users can create events in minutes and manage them without relying on a sales team.

VenuePilot, launched during the pandemic by Justin Kantor, co-founder of venue Le Poisson Rouge in New York, has grown among independent clubs and performing arts centers. It emphasizes data ownership and revenue clarity but offers fewer customization and discovery tools compared with larger platforms.

The Mobile Revolution

No companies have generated more buzz over the past two years than Dice and Tixr.

Dice has built a reputation as a discovery-first platform, leveraging integrations with Spotify and Apple Music to recommend shows, notify fans about low inventory and alert them when tickets for their favorite acts become available. Its acquisition by Fever — a fast-growing live-experiences marketplace — has expanded its reach globally. Now connected to fans across nearly 100 markets, Dice brings venues demand they could never generate alone.

Tixr has positioned itself as a design-driven, white-label alternative that gives venues a fully branded ticketing environment. Its “experience-layered” model lets fans bundle tickets with merchandise, food and beverage credits or VIP upgrades in a seamless purchase journey. While Tixr lacks Ticketmaster’s discovery engine or Dice’s global reach, its user experience is highly regarded by venues that prioritize brand control.

The Takeaway

There has never been a more diverse or dynamic moment in ticketing. Ticketmaster still holds the upper hand in scale and sales volume, but competitors such as AXS, SeatGeek, Dice/ Fever and Tixr have reshaped the conversation. For some venues, Ticketmaster’s reach and infrastructure will remain irresistible. For others, especially those seeking brand ownership, mobile innovation or stronger anti-scalping tools, new options are increasingly compelling.

Most importantly, ticketing is no longer just an operational decision. It’s a public-facing part of the fan experience. When someone buys — or struggles to buy — a ticket, that interaction reflects directly on the venue itself.

And in 2025, with fans both savvier and less forgiving than ever, the quality of that experience could mean the difference between a lifelong customer and a lost opportunity.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

BLACKPINK’s JENNIE drops her first tumbler collab with Stanley 1913. After recently teaming up with Beats for a limited-edition Ruby red Solo 4 headphone, the megastar is opting for a sleeker “Midnight Ruby” black colorway for her newly released tumbler partnership. Inspired by her 2025 debut album, the Stanley 1913 x JENNIE collection is a “first-of-its-kind collaboration” that celebrates the K-Pop star’s signature branding and self-expression as well as introducing two new inaugural Luxe products: the Quencher Luxe Tumbler and a smaller All Day Slim Luxe Bottle.

The 30 oz Luxe Tumbler is a sleek makeover of the brand’s Quencher bottle. At $75, this limited-edition tumbler features JENNIE’s style in a compact, carry-everywhere size. With double-wall vacuum insulation and an easy-carry handle, it’s made for all-day hydration without sacrificing style. There’s also collectible charms to add even more of JENNIE’s personal touches to the bottle, including a NINIBARA, an exclusive capybara design, a bear and a ‘JENNIE’ name plate.

STANLEY 1913 X JENNIE

Quencher Luxe Tumbler

$75

Buy Now on stnaley 1913

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If you’re looking for something even more lightweight and portable, the 12 oz All Day Slim Luxe Bottle features a minimalist silhouette and twist-off lid for easy on-the-go sipping. It’s slim build was also made to fit seamlessly in any bag. It’s mostly black design is broken up by silver floral accents, a heart-shaped graphic, etched logo, and JENNIE’s signature motifs.

STANLEY 1913 X JENNIE

All Day Slim Luxe Bottle

$45

Buy Now ON STANLEY 1913

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“I love how the products turned out, and I think fans will notice the ‘JENNIE’ touches that represent me,” JENNIE shared. “I hope they feel the personality and energy we poured into every detail.”

The full Stanley 1913 x JENNIE collection is available now at the brand’s website. If you love the limited-edition “Midnight Ruby” black colorway from the JENNIE collab, here are a few other best-selling, all-black tumblers, bottles and cups worthy of a spot in your bag.

Stanley Black Chroma Quencher H2.0 FlowState Tumbler

$55

Buy Now on stanley 1913

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Stanley IceFlow Flip Straw Tumbler

$35

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Stanley Adventure Stay-Chill Stacking Pint

$10

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Stanley GO Everyday Wine Tumbler

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Hundreds of artists have yanked their music from streaming services in Israel to protest the ongoing violence against Palestinian people, including Kneecap, Faye Webster and Japanese Breakfast.

Aminé, Massive Attack, Soccer Mommy, Rina Sawayama, Fontaines D.C., MIKE, Primal Scream and Fontaines D.C. are also among the artists who have joined the movement, which is called “No Music for Genocide.” The initiative is accompanied by a new website, which features educational resources and shares the full list of more than 400 acts and record labels that have made their catalogs unavailable to play on platforms such as Spotify and Apple Music in Israel.

“No Music For Genocide is a cultural boycott of Israel,” reads the project’s mission statement. “Over 400 initial artists and labels have geo-blocked and removed their music from that territory in response to Israel’s genocide in Gaza; ethnic cleansing of the Occupied West Bank; apartheid within Israel / ’48; political repression of Pro-Palestine efforts wherever we live; and the music industry’s own ties to weapons and crimes against humanity.”

“This tangible act is just one step toward honoring Palestinian demands to isolate and delegitimize Israel as it kills without consequence on the world stage,” it continues. “The successful cultural boycotts against apartheid South Africa prove that our creative work grants us agency and power. When we wield it together, we add unified pressure to a growing, global, interdependent movement, from Hollywood to the docks of Morocco.”

The movement comes just a few weeks before the two-year mark in Israel’s war against Hamas, which began after the deadly terrorist attacks on Oct. 7, 2023. Since then, more than 65,000 Palestinians have been killed in the violence — while countless others have lived in a continued state of hunger and homelessness — and a United Nations commission recently declared that Israel is guilty of genocide, which the country denies.

Though kicking off with more than 400 names on its list, the “No Music for Genocide” boycott still wants more artists who believe in the cause to follow suit and pull their catalogs from Israel as well. It marks just the latest music-related initiative to end the suffering in Gaza in recent weeks, following on the heels of the “Together for Palestine” benefit concert in London overseen by Brian Eno.

Information on how to join or support the boycott is also available on its website.