Jelly Roll is learning firsthand just how physically challenging it can be to prepare for a WWE match.

The country music hitmaker has been training in preparation for the WWE SummerSlam for the past few months, and in a recent ESPN interview, he shared that he was injured the very first week of training.

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Jelly Roll and his tag team partner, WWE superstar Randy Orton, appeared on a recent episode of ESPN’s Get Up. During the chat, Jelly Roll said, “I broke my pinky week one of training by accident…it’s a constant collision.”

Gesturing to Orton, Jelly Roll added, “Look at this mountain of a man. I walked in and I looked small compared to the guy I’m wrestling.”

Orton replied, “Well, that’s because you lost 200 freakin’ pounds,” referring to Jelly Roll’s much-publicized, successful journey toward getting healthier.

“Yeah, baby!” Jelly Roll said with his signature enthusiasm.

Earlier in the interview, Jelly Roll offered up praise and admiration for the professional wrestlers of WWE.

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“I gave it everything I had for a couple of months, I dedicated my life to it, and I still can’t crack half of the code, a quarter of the code, that actually is this thing. But it’s been awesome. It taught me a lot about myself,” he said.

He also added that the challenges of training were intense. “Listen, man, that ‘Wrestlin’s fake’ stuff has to go out the door. There’s no fake way to land on a piece of plywood in front of 60,000 people. There’s no fake way to go over a cable rope in front of 65,000 people.”

The WWE SummerSlam takes place Saturday (Aug. 2) and Sunday (Aug. 3). Orton and Jelly Roll will take on Drew McIntyre and Logan Paul.

Watch the interview below:

Eminem made a memorable cameo in Happy Gilmore 2, in which he played the role of Donald Jr. Now, Netflix has released the outtakes from his hilarious scenes, which Em posted to Instagram on Friday (Aug. 1).

In the sequel, Slim Shady pays homage to his character’s father — played by late comedian Joe Flaherty in the original film — by shouting “jackass” during Happy Gilmore’s (Adam Sandler) backswing.

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Instead of handling Donald Jr. himself, Happy Gilmore instructs his kids in the flick to take care of him, disposing of him in a nearby pond. Unfortunately, Donald Jr. meets his demise while attempting to wrestle with a family of gators.

“Come on, fake a— dinosaur, you ain’t got a d—k,” Em jokes while battling the alligators in the outtakes. “Put some respect on my name, b—h! F—k you, Detroit, what? I get some Advil, I’ll be back in 20 minutes.”

Fans seemed to enjoy seeing Eminem back in the acting world. “That was awesome! Detroit what,” one person wrote in the Instagram comments. “You should get out more man, do more of this kind of stuff. Us stans need MORE!”

Another added in his comment section: “You’re naturally funny! Please release the whole 1 hour video of you in Happy Gilmore!”

Happy Gilmore 2 hit Netflix on July 25. On the The Dan Patrick Show last month, Sandler revealed how he convinced Em to be part of the sequel.

“I love Eminem. I’m friends with Eminem, but I don’t want to bother the man,” he said. “And everybody kept saying, ‘Man, Eminem would be so funny in this part.’ I was like, ‘I don’t want to ruin this guy’s time. He’s hanging out. He’s in Detroit. He’s doing his life making records.’”

Eventually, Sandler caved after agreeing that Em would be a perfect fit for the role. “Let me bug Marshall and give him a call and say, ‘Dude, I know it’s a pain in the a—, but it’s pretty funny. You mind shooting out to us for a day?’” To which Eminem obliged and the rest is history.

Watch the outtakes clip below.

Stevie Nicks has had a change of plans after suffering a recent injury, with the Fleetwood Mac frontwoman announcing Friday (Aug. 1) that her next two months of shows will be postponed as she heals.

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In a note shared to her social media accounts, Nicks’ team wrote, “Due to a recent injury resulting in a fractured shoulder that will require recovery time, Stevie Nicks’ scheduled concerts in August and September will be rescheduled.”

Noting that the star will proceed with her shows in October as scheduled, the message concludes, “Stevie looks forward to seeing everyone soon and apologizes to the fans for this inconvenience.”

Fans with tickets to any of the postponed performances are encouraged to hold onto their seats, as all previously purchased tickets will be honored at their corresponding rescheduled shows. More information can be found at point of purchase.

Nicks had been slated to perform in a handful of cities across the United States and Canada across August and September, including Detroit, Toronto, Boston, Cincinnati and Brooklyn, N.Y. All of the postponed shows have already been rescheduled to new dates in late October, November and the first couple of weeks in December, as listed in the rock star’s post and on her website.

The news of Nicks’ injury comes more than three months after she first announced her solo tour in April, writing at the time that she couldn’t “wait to share these nights with you.”

The Rock & Roll Hall of Famer had also been supposed to tour with Billy Joel this year, but the Piano Man similarly had to cancel all of his 2025 and 2026 performances as he battles a condition called normal pressure hydrocephalus. In July, he provided an update on how he’s faring, telling Bill Maher, “I feel good … They keep referring to what I have as a brain disorder, so it sounds a lot worse than what I’m feeling.”

Nicks is currently working on a new album, her first in 14 years. The Grammy winner first revealed that she was getting back into the studio as she was being inducted into the Pollstar Hall of Fame.

“I call it the ghost record,” she said in her speech. “It just really kinda happened in the last couple of weeks because of, you know, the [Los Angeles] fires. I was sitting in a hotel for 92 days, and at some point during that last part of the 92 days, I said, ‘You know what? I feel like I’m on the road, but there’s no shows. I’m just sitting here by myself, because everybody else is at the house, doing all the remediations and everything, and it’s just me, sitting here.’ And I thought, ‘You need to go back to work.’ And I did.”

See Nicks’ post below.

MGK has flexed his acting chops on the silver screen in a plethora of roles, but he turned down a chance to star in the Ryan Coogler-directed blockbuster Sinners over the audition’s requirement of using the “n-word.”

Kels stopped by The Pat McAfee Show on Thursday (July 31), where he opened up about skipping out on a potential audition for a vampire role over the inclusion of a racial slur in his script.

“Like Sinners, I was supposed to be in that,” MGK explained. “The vampire, they had me set up to do the audition — it’s the one that’s in the house, so he’s the second vampire, the one that the guy comes and eats the family. In the audition, he has to say the ‘n-word’ and I wouldn’t do it.”

Former NFL player and The McAfee Show co-host, Darius Butler, appreciated the Cleveland native’s gesture to turn down the role, proceeding to give him a fist-bump.

It seems Kelly was describing the role of Bert, the racist KKK member turned by Remmick (Jack O’Connell) in the first act of the film. The role ultimately went to actor Peter Dreimanis, while Ryan Coogler brought out a loaded cast for Sinners, including stars Michael B. Jordan, Hailee Steinfeld and Miles Caton.

The horror thriller’s release has been a major blockbuster success, as Sinners has grossed over $45,000,000 domestically and more than $60,000,000 at the global box office since its April arrival.

Elsewhere in the interview, MGK had a message for Hollywood directors looking to cast him. “Hey dude, I’d like to be in cinema while I still look young,” he said. MGK is gearing up for a busy August, which will include the release of his Lost Americana album on Aug. 8.

Watch the interview below. Talk about Sinners takes place after the 10-minute mark.

Some earnings results are more difficult to interpret than others, and Spotify’s were no exception. Like Universal Music Group’s Q2 earnings, which contained a jumble of metrics headed in opposite directions, the streaming giant’s results were a mixed bag of wins and losses — a contrast to previous quarters when the metrics were in much better alignment.

The market seemed to take the Spotify results poorly, as the company’s share price dropped more than 11% following Tuesday’s earnings release. (Importantly, a pullback of that scope isn’t a surprise given Spotify’s share price was up 112% over the last year through Monday, July 28.) Analysts, however, were more sanguine and focused on the company’s long-term prospects rather than the quarter-to-quarter bumpiness.

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Some of the factors that influenced Spotify’s mixed quarter were under its control (subscriber growth, lower-than-expected advertising performance). But some factors were out of its control (foreign exchange losses) while others were a combination of external and internal forces (higher stock-based compensation expense related to Spotify’s soaring share price). That’s a lot to digest.

Spotify’s earnings results highlighted the tension between investors’ desire for neat, linear growth and the untidy realities for companies that report earnings every three months. For a variety of reasons, some quarters will be better than others, and CEO Daniel Ek encouraged investors “to be prepared” for those instances where Spotify spends more money to grow the business over the long term.

A drop in advertising prices, for example, might spur Spotify to “double or triple” its marketing expense, Ek explained. “We generally expect to see more efficiencies as we’re leveraging better and better tools,” he said, “but sometimes that efficiency may mean that the right thing is to actually spend more in the short term to then get it back in the long term.” Translation: The path to success isn’t a straight line.

Equity analysts, who love a clean narrative as much as anybody, tried to make sense of the contrasting indicators. J.P. Morgan analysts called it a “messy” quarter for its mix of positives and negatives. Some analysts slightly lowered their forecasts for revenue and operating income. Everybody pointed to the fact that Spotify will encounter some bumps in the road as it makes investments (which are a drag on earnings) in pursuit of long-term growth (which, to Ek’s point, could help earnings down the road).

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But there was nothing in Spotify’s results and executives’ comments that changed analysts’ overall theses. Investors want to see year-over-year growth every quarter, but analysts know that isn’t realistic. In their notes to investors, analysts focused on long-term opportunities to attract subscribers, benefits from current investments and Spotify’s ability to generate additional revenue.

Analysts believe that Spotify will continue to succeed if it makes the platform more engaging. Some of them homed in on two statistics that Spotify mentioned during the earnings call: 350 million users have streamed a video podcast, and video consumption is growing 20 times faster than audio-only consumption. Spotify’s investments in AI could also lead to better engagement. Spotify now has AI playlists in 40 countries, and user engagement with its AI DJ has “nearly doubled” in the last year, Gustav Söderström said during Tuesday’s earnings call.

Another factor in long-term growth is Spotify’s ability to generate revenue in different ways. For most of its history, Spotify has made money selling ads and subscriptions based on music listening. That has changed in recent years, and J.P. Morgan analysts believe the company has the ability to improve monetization outside of the record label/music publisher royalty structure. In other words, podcasts and audiobooks have the potential to help drive revenue without giving 70% of that revenue to music rights holders.

In the end, analysts’ valuation models didn’t change much, if at all. Guggenheim lowered its price target to $800 from $840 and maintained its buy rating. J.P. Morgan maintained its $740 price target. Cantor Fitzgerald left its $640 price target unchanged and reiterated its neutral rating. Bernstein kept its $840 price target and outperform rating. There’s a $200 variance in price targets within those four examples. But considering Spotify closed Friday at $627.15, it’s clear all the analysts feel there is upside for investors willing to hold on through occasional rough terrain.  

Metro Boomin is taking us back to early aughts ATL with his new double-disc mixtape, A Futuristic Summa.

Hosted by DJ Spinz, the nostalgic tape is made strictly for summertime gatherings. Featuring 21 acts across 23 tracks, the sprawling double-disc experience includes appearances from Quavo, Young Dro, 2 Chainz, Lil Baby, Future, T.I., Waka Flocka Flame, Gucci Mane and Young Thug, as well as some serious throwback talent. JMoney, Roscoe Dash, Young Dro, and Rocko all also enter the chat, catering to the real millennials tapping in with the tape.

A Futuristic Summa comes one year after Young Metro’s insane 2024 run with Future. We Don’t Trust You and We Still Don’t Trust You both debuted atop the Billboard 200, with the former snagging a Grammy nomination for Best Rap Album and the latter scoring a nomination for best melodic rap performance for its title track. Not to mention, the Billboard Hot 100-topping “Like That” with Kendrick Lamar kickstarted last year’s rap war between K-Dot and Drake (and was also Grammy-nominated for best rap song and best rap performance).

Following the album’s release, Metro echoed Tyler, The Creator’s sentiment about his own latest effort, and said this album was also meant to be celebrated, and that everyone should put away the phones. “PUT THE PHONES DOWN TOO!!!!! DANCE AGAIN!! PARTY AGAIN!! HAVE FUN AGAIN!!!!” Metro wrote on X on Wednesday (July 30).

So, as Metro starts to get the party started, which tracks slap the hardest? Here is Billboard‘s ranking of every song on Metro Boomin Presents: A Futuristic Summa.

It’s been nearly 30 years since Busta Rhymes released his The Coming debut album, and Bus-a-Bus was honored with a star on the Hollywood Walk of Fame on Friday (Aug. 1).

Prior to Busta, a star-studded lineup of guest speakers took the podium, including LL COOL J, whose flow Busta mimicked when penning his first-ever rhymes, Big Daddy Kane and Public Enemy’s Chuck D.

“I worked so hard and I never asked for a shortcut, I never asked for a cheat code,” Busta said while teary-eyed on stage. “I was never raised by a support system that made it seem okay to try to go around honestly earning your rite to passage. I want to thank those people.”

The New York native recalled times of hustling leading him to trouble with the law at 12 years old, forming his Leaders of the New School crew and Chuck D being the one to give him his iconic rap name.

“I want to thank you Chuck for giving me my first shot and being one of the first to believe in me. I say you gave me the name even though you say you presented it,” he explained. “If you didn’t present it, it probably wouldn’t have been one of the greatest gifts in my life because my name before Busta Rhymes was Chill-O-Skee.”

Busta continued to “big-up” plenty of people who helped him on this journey, like his children, Epic Records CEO Sylvia Rhone, members of his team and his mother.

“I feel complete today. As we completed this chapter and started giving birth to a new one. I’m no longer Daniel-San in this s—t, I’m Mr. Miyagi now,” Busta said in a mic drop moment to finish off his speech.

Busta Rhymes then posed for photos alongside LL COOL J, radio royalty Big Boy, Chuck D and Big Daddy Kane.

In addition to receiving his Hollywood star, Busta has a role in The Naked Gun reboot, which was released on Friday. He’s also plotting the arrival of his Vengeance album in September.

Watch the full ceremony below.

Led Zeppelin‘s Jimmy Page and a songwriter have reached a settlement to resolve the latest lawsuit over the disputed credits to the band’s iconic song “Dazed and Confused,” according to new court filings.

The agreement, filed in court Friday (Aug. 1), will quickly end a copyright case filed this spring by Jake Holmes, a songwriter who has claimed for years that he actually wrote “Dazed and Confused” and that Page simply performed it without credit or payment.

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Terms of the deal were not disclosed in public filings, other than to say that it “resolves the entire case” and will be formalized in the weeks ahead. Notice of the settlement was filed by attorneys for Holmes and was not signed by lawyers for Page or other defendants.

Reps for Page did not return a request for comment. An attorney for Holmes declined to comment.

Holmes wrote and recorded “Dazed and Confused” in 1967; Page later reworked it into a song for his band The Yardbirds, then into the famed 1969 Zeppelin track. Decades later, in 2010, Holmes filed a copyright lawsuit against Page. That case quickly settled, and the credits for Zeppelin’s track now say it was “written Jimmy Page, inspired by Jake Holmes.”

But in May, Holmes sued Page again, accusing the legendary rocker of flouting that earlier agreement and violating his rights. The case centered on newly released recordings of Yardbirds performances and the recent documentary Becoming Led Zeppelin.

“By falsely claiming that the Holmes composition is the Page composition, … Page [and others] have willfully infringed the Holmes composition,” Holmes’ lawyers write. “Defendants…have ignored plaintiff’s cease and desist demand and continue to infringe.”

The case against Page was still in the earliest stages, and he and the various other defendants (which also included music publisher Warner Chappell and film studio Sony Pictures) had not yet formally responded to the accusations with court filings of their own.

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Wrangler just launched their 2025 all-terrain gear with the help of country music star Tucker Wetmore.

The collection was made to suit any and all environments. That’s the beauty of that “all-terrain” label. The brand’s 2025 offering includes a slew of pieces that blend both form and function, rooted in Wrangler’s commitment to durability and quality. The “Wine Into Whiskey” singer grew up in Kalama, Washington, making his way in the world working on a farm before he honed in on his music career.

“Getting to team up with Wrangler for this campaign feels like a full circle moment,” Wetmore said in a Wrangler press release. “I’ve been wearing their jeans since I was a little kid attending my first ever rodeo and now I get to represent the brand while doing what I love. The All Terrain Gear line fits right into my lifestyle, no matter where the road takes me — on stage, out on the water, you name it. It’s the real deal.”

Wetmore lends a unique perspective to the collection with his experience as an outdoorsman and musician. To help you make the most informed decision while shopping the collection, we’ve rounded up some of our favorite pieces from utilitarian jackets to tees made for adventure.

How To Shop Wrangler & Tucker Wetmore's All-Terrain Apparel

Wrangler All Terrain Gear Men’s Tech Wrange Reversible Vest in Bistre

A reversable vest in a tan and olive green colorway.


The durable reversible vest is basically two clothing items in one. Retailing for $99.99, the layering piece is comprised of a Bistre tan and an olive green colorway that gives way to cream sherpa lining on the reversible side, allowing you to change up your look whenever the mood is right.

Snap closures give way to a water-repellent and wind-resistant nylon shell on one side, accompanied by UV protection, giving the piece functionality. Pocket detailing is affixed to the breast of the vest, along with a more subtle zippered chest pocket and hand pockets on the reverse side. Wrangler branding can also be spotted throughout the vest, subtly branding the piece. If the Bistre colorway doesn’t tickle your fancy, there’s also a more versatile Jet Black colorway to snatch up. Sizing options range from medium to 3X.

How To Shop Wrangler & Tucker Wetmore's All-Terrain Apparel

Wrangler All Terrain Gear Men’s Campsite Flannel Shirt in Port Royal

A flannel shirt in a graphic orange and blue print.


Every good outdoorsman needs a good flannel shirt. This one from Wrangler is unlike any flannel we’ve seen before, in that the print is not traditional flannel. The style, in the Port Royal colorway, consists of a geometric print, Wrangler’s Checotah print, with horizontal orange striping and a collared neckline.

The bodice of the flannel is adorned with two deep pockets, perfect for storing the essentials. We can see this long-sleeve being worn open, layered over a breezy cotton tee and denim or worn solo with tailored slacks of your choosing. The piece is western-esque with utilitarian details that make it outdoorsy, like built-in UV protection that allows the wearer ample time out in the sun. The flannel also comes in a blue and gray Dark Slate colorway. Sizing options range from medium to 3X.

How To Shop Wrangler & Tucker Wetmore's All-Terrain Apparel

Wrangler ATG™ Men’s Jackson Utility Pant in Elmwood

Utility pants in a khaki hue.


Wrangler’s ATG Utility Pant in Elmwood is a khaki-colored dream. The style is built for those who love roughing it in the outdoors with a regular fit, a mid-rise and a straight leg that conveniently fits perfectly over hiking boots. You’ve also got articulated, reinforced knees that offer durability when dealing with rough terrain.

Other utilitarian details include a utility zip pocket, reinforced kick plate, moisture-wicking properties and a UPF 30 protection that blocks out harmful ultraviolet rays. Whether you’re out riding ATVs or camping out under the stars, these Utility pants will take you there. If the Elmwood hue isn’t your thing, you’ve got five other neutral hues to choose from. Sizing ranges from 30 to 44.

How To Shop Wrangler & Tucker Wetmore's All-Terrain Apparel

Wrangler ATG™ Men’s Salida Shirt in Dusty Olive

A collared button-up shirt.


Another western-inspired piece that we’re sure Wetmore would just adore, the Wrangler ATG™ Men’s Salida Shirt in Dusty Olive is a must-have. Retailing for $49.99, the piece comes in four colorways, but our favorite is the neutral Dusty Olive hue. Mixing style and function, the shirt is constructed of a slightly stretchy, lightweight cotton blend with a moisture-wicking finish that keeps you nice and dry if you’re out roughing it in the rain. The piece’s versatility is what makes it so great. Its neutrality makes it so easy to style in numerous ways. The top also has built-in UPF 40+ to shield you from the sun’s harmful rays. Sizing ranges from medium to 3X.

The Corporation for Public Broadcasting (CPB) outlined plans to wind down operations on Friday (Aug. 1), including letting go of a majority of staff by the end of September after Congress approved President Donald Trump’s request to claw back funds earmarked for public broadcasting last month.

The U.S. House of Representatives voted to rescind $9 billion in federal funds, including $1.1 billion to the CPB, which it was due to receive from the federal government for its next two budget years through 2027.

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“Despite the extraordinary efforts of millions of Americans who called, wrote, and petitioned Congress to preserve federal funding for CPB, we now face the difficult reality of closing our operations,” said CPB president/CEO Patricia Harrison in a statement. “CPB remains committed to fulfilling its fiduciary responsibilities and supporting our partners through this transition with transparency and care.”

Founded by Congress in 1967 as a private, nonprofit corporation, the CPB was tasked with distributing funds earmarked by the federal government to some 1,500 local public television and radio stations in the United States.

On Friday, the group said that most staff positions will be eliminated when the CPB’s fiscal year ends on Sept. 30, with the remaining staff kept on through January 2026 “to ensure a responsible and orderly closeout of operations,” according to the announcement. Those employees will see through final distributions to affiliate public radio and TV stations and ensure all legal compliance and long-term financial obligations are met, including “ensuring continuity for music rights and royalties that remain essential to the public media system.”

The elimination of funding puts the future of CPB-supported music programming like Austin City Limits (ACL), the longest-running music program in TV history, which is produced and owned by Austin’s local PBS station, in jeopardy. The station is expected to lose $3 million from the cuts, ACL’s executive producer Terry Lickona previously told Billboard.