Nicki Minaj hasn’t been shy about her support for Donald Trump and the Make America Great Again movement in the last year, but it took a lot for her to come out publicly and back the president, as she was initially afraid of the backlash from her peers in the music industry.
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Minaj, who has branded herself as the president’s “No. 1 fan,” went deep about her Trump support and political activism in an interview with TIME published on Wednesday (May 13).
“I felt that way already about him, just that I didn’t dare act like that publicly,” she said. “It’s been ingrained in everyone’s brain in the music business that we are supposed to be a Democratic family. I just knew they would not like me supporting Trump.”
Minaj continued: “Many celebrities feel the way I do, but they don’t say it. Sometimes you just need one brave person to get the brunt of the impact. I think I am the catalyst for that change. Hopefully, when they see me and hear me speak and feel my energy.”
For the “Super Bass” rapper, she felt compelled to speak up about her MAGA pivot after she was allegedly “completely ignored” by California Governor Gavin Newsom, following repeated swatting calls to her California home.
That’s when Republican U.S. Representative Anna Paulina Luna stepped in to have her touch base with law enforcement and a private security firm to put an end to the swatting.
“I was shocked. I’d never seen anyone in politics treat me that way,” she told TIME. “That’s what made me say that I don’t care to keep this a secret anymore.”
Minaj is open to continuing to delve further into politics and doing “whatever it is” to support Trump in the upcoming midterms. The Queens, New York, native even compared him to Marilyn Monroe. “It’s the same way Marilyn Monroe represents a vibe — Donald Trump is his own vibe,” she stated.
Continuing her war with rival Jay-Z, Minaj didn’t miss a chance to take a swipe at Hov, even while talking about Barack Obama. “Lots of rappers don’t like Jay-Z and were afraid to say it,” she claimed.
She even looked back on her disproven 2021 claim that the COVID-19 vaccinewas causing impotence and swollen testicles in Trinidad. “I guess they had examined everyone’s testicles in Trinidad and came back to tell me that I was lying,” Minaj quipped.
After months of public support, she met Donald Trump for the first time at a Trump Accounts Summit in January, where the president revealed that Minaj invested “hundreds of thousands of dollars in Trump Accounts.”
Last year, Minaj commended the Trump administration during an interview with Erika Kirk at a Turning Point USA event. She also complimented the president for threatening to take military action in Nigeria over the alleged persecution of Christians in the country.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-05-14 15:36:112026-05-14 15:36:11Nicki Minaj Claims Many Stars Support Donald Trump But Won’t Say It: ‘I Am the Catalyst for That Change’
Lizzo just got Chris Brown‘s endorsement for her new album, Bitch — whether he knows about it or not.
On Wednesday (May 13), the Yitty founder shared an edited version of the polarizing R&B icon’s recent video defending his new album, Brown. In the original clip, which Brown had posted on his Instagram Story the day prior, he’d told followers heatedly, “If you not my fan, I don’t want you to listen to my s–t. Go listen to motherf–king Zara Larsson or somebody.”
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In Lizzo’s reconfiguration, a few seconds of Brown’s video plays before cutting to a still of his face with the “About Damn Time” singer’s eyes and mouth superimposed over his. “Pre-order Lizzo’s album Bitch coming out June 5 or something,” she says with her voice pitched down after the real Brown says, “Go listen to motherf–king …”
“I CANT BELIEVE CHRIS BROWN SAID THIS?????” she wrote satirically in the caption.
Billboard has reached out to Brown’s rep for comment.
Lizzo has been a fan of the “Run It!” artist for years. In 2021, she faced criticism for stopping Brown backstage at the Millennium Tour and asking for a photo, calling him her “favorite person in the whole f–king world.”
But Brown has long been a complicated figure in music due to his long history of physical aggression, most notably for his violent assault of then-girlfriend Rihanna in 2009, to which he pleaded guilty to one count of felony assault. In May 2025, he was arrested and taken into custody in Manchester on the charge of “inflicting grievous bodily harm” during an alleged London nightclub attack two years prior; he pleaded not guilty and was released on bail at $6.75 million in June, with a trial date set for Oct. 26 of this year.
His jab at Larsson in his video on Tuesday (May 12) likely stemmed from the Swedish pop star telling Cosmopolitanin February that she has “so many artists” blocked on Spotify, including “abusers” such as Brown, whom she named specifically. The Virginia native’s reputation has definitely fed into the pushback on his album released on May 8, with Pitchfork‘s Alphonse Pierre writing, “It’s soulless, hit-chasing music with nothing going for it if you aren’t personally invested in the Chris Brown culture wars … not every musical legend deserves to be a martyr.”
As Brown said in his video, though, “I don’t give a f–k what these n—as is talkin’ about. I know exactly who my fans is and I know exactly who hearing this album.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-05-14 15:21:252026-05-14 15:21:25Lizzo Shares Edited Version of Chris Brown’s Video Calling Out Zara Larsson to Promote Her New Album
As Janet Jackson celebrates her birthday (May 16), Billboard takes a look at the superstar’s history on the Billboard Hot 100.
Born as the youngest of 10 children to Joseph and Katherine Jackson, Janet was almost pre-destined to enter the music industry with her brothers and sisters. By her fifth birthday, five of her brothers — as The Jackson 5 — had already scored four Hot 100 No. 1 hits. Following in her family’s musical footsteps, Janet made her Hot 100 debut in 1982 with “Young Love,” at 16 years old. Though that single and her second career entry, 1984’s “Come Give Your Love to Me,” both peaked outside the top 50, Jackson found her hit-making stride with 1986’s Control. Among its many hits, she landed her first of 10 No. 1s on the chart with “When I Think of You,” which reigned for two weeks.
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Through the next 15 years, Jackson remained a Hot 100 force: Her next four albums — Janet Jackson’s Rhythm Nation 1814, janet., The Velvet Rope and All for You — each all generated at least one Hot 100 champ. Thanks to her decades of hits, Jackson is one of the most influential female artists to cross through the pop, R&B and dance genres, with 19 and 15 No. 1s on the Dance Club Songs and Hot R&B/Hip-Hop Songs charts, respectively. She’s also scored seven No. 1 albums on the Billboard 200, between 1986 and 2015.
Jackson (who first broke through with TV roles on sitcoms Good Times and Diff’rent Strokes) has won five Grammy Awards and has been nominated for both an Academy Award and Golden Globe Award. She was honored as the first-ever MTV Icon Award recipient in 2001 and received the MTV Video Vanguard Award in 1990.
Here’s a look at Jackson’s top-performing hits on the Hot 100.
Janet Jackson’s Biggest Billboard Hot 100 Hits:
“Miss You Much,” peak position No. 1 (four weeks), peak date Oct. 7, 1989
“Escapade,” No. 1 (three weeks), March 3, 1990
“That’s the Way Love Goes,” No. 1 (eight weeks), May 15, 1993
“All for You,” No. 1 (seven weeks), April 14, 2001]”
Together Again,” No. 1 (two weeks), Jan. 31, 1998
“Love Will Never Do (Without You),” No. 1 (one week), Jan. 19, 1991
“When I Think of You,” No. 1 (two weeks), Oct. 11, 1986
“Again,” No. 1 (two weeks) Dec. 11, 1993
“Runaway,” No. 3, Oct. 21, 1995
“Doesn’t Really Matter,” No. 1 (three weeks), Aug. 26, 2000
“Rhythm Nation,” No. 2, Jan. 6, 1990
“Alright,” No. 4, June 2, 1990
“Control,” No. 5, Jan. 24, 1987
“What Have You Done for Me Lately,” No. 4, May 17, 1986
“Black Cat,” No. 1 (one week), Oct. 27, 1990
“Nasty,” No. 3, July 19, 1986
“Let’s Wait Awhile,” No. 2, March 21, 1987
“Come Back to Me,” No. 2, Aug. 18, 1990
“Any Time, Any Place”/”And On and On,” No. 2, June 25, 1994
“If,” No. 4, Sept. 11, 1993
“What’s It Gonna Be?!,” (Busta Rhymes feat. Janet Jackson) No. 3, April 17, 1999
“Someone to Call My Lover,” No. 3, Sept. 1, 2001
“You Want This”/“70’s Love Groove,” No. 8, Dec. 24, 1994
“I Get Lonely” (Janet feat. BLACKstreet), No. 3, May 23, 1998
“Scream”/“Childhood” (with Michael Jackson), No. 5, June 17, 1995
Janet Jackson’s Biggest Billboard Hot 100 hits chart is based on actual performance on the weekly Hot 100, through the May 16, 2026, ranking. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.
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Billy Idol has been added to the performance lineup for the 2026 American Music Awards. The punk icon will perform a hits medley and will also receive a lifetime achievement award. This will mark Idol’s first time on the AMAs stage since presenting in 2004 and his first AMAs performance ever. The rocker will be the third recipient of the AMAs’ lifetime achievement award, following Diana Ross (2017) and Rod Stewart (2025).
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Queen Latifah will host the annual special, which airs live coast-to-coast on Memorial Day, Monday, May 25, from the MGM Grand Garden Arena in Las Vegas at 8 p.m. ET/5 p.m. PT. Latifah has a long history with the AMAs, having cohosted the show in 1995 with Tom Jones and Lorrie Morgan.
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The 52nd American Music Awards will air on CBS and stream on Paramount+ on Memorial Day for the second year in a row. This is the second American Music Awards telecast since it returned following a 2-1/2 year hiatus. It’s the second show to air on CBS and the second to be held in Las Vegas. All previous AMAs shows aired on ABC and were held in the L.A. area. Tickets are now available on AXS.
Nominations for the 52nd American Music Awards were announced on April 14. Fan voting opened the same day. Voting closed on Friday, May 8, with the exception of social song of the year and tour of the year, which will remain open through the first 30 minutes of the AMAs broadcast.
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Here are all the artists who have been announced as performers on the 2026 American Music Awards. They are listed in reverse chronological order by the date of the announcement. This list will be updated as more performers are announced.
The American Music Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.
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Billy Idol will be inducted into the Rock & Roll Hall of Fame in November, but he won’t have to wait that long for a major plaudit: He is set to receive a lifetime achievement award at the 52nd American Music Awards on Monday, May 25. The punk icon and survivor will be the third recipient of the award, following Diana Ross (2017) and Rod Stewart (2025).
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Idol will deliver a hit medley, marking his first time on the AMAs stage since presenting in 2004 and his first AMAs performance ever.
“Billy Idol is a true rock legend whose influence has transcended generations and genres,” executive producers Barry Adelman, EVP, Television, and Alexi Mazareas, senior VP, programming & development, Dick Clark Productions, said in a joint statement. “From his groundbreaking music to his electrifying stage presence, Billy has left an indelible mark on popular culture and the music industry.”
The release early this year of Billy Idol Should Be Dead, a documentary about his life and career, directed by Jonas Åkerlund, has focused attention on the veteran rocker.
Between 1984 and 1990, Idol landed four top 10 hits on the Billboard Hot 100 and three top 10 albums on the Billboard 200. His highest-charting singles were a live version of Tommy James & The Shondells’ “Mony Mony,” which made No. 1 in 1987, and “Cradle of Love” from the Andrew Dice Clay-starring film The Adventures of Ford Fairlane, which reached No. 2 in 1990.
Idol is the second performer announced for the AMAs who will receive a special award. Colombian singer-songwriter Karol G will receive the International Artist Award of Excellence. Other performers set for the show are Hootie & the Blowfish, KATSEYE, Keith Urban, Maluma, Riley Green, SOMBR, Teddy Swims, Teyana Taylor and Twenty One Pilots, with more to be announced.
The 52nd American Music Awards will kick off summer with host Queen Latifah live from MGM Grand Garden Arena in Las Vegas on Memorial Day, Monday, May 25. The show will air live coast-to-coast on CBS and stream on Paramount+ at 8:00 p.m. ET / 5:00 p.m. PT.
The ACM Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-05-14 14:01:112026-05-14 14:01:11Ahead of His Rock Hall Induction, Billy Idol to Receive Lifetime Achievement Award at 2026 American Music Awards
All week long, we’re celebrating Janet Jackson Week here at Billboard.com, as the youngest Jackson sibling turns 60 on Saturday (May 16).
We celebrate her talent, her versatility and, not least, her survival. Pop megastardom is not for the faint of heart. Not many artists achieved success on Jackson’s level in her peak era as a hitmaker that went from the mid-1980s to the early 2000s, but a disheartening number of those who did died before their time, including Whitney Houston, George Michael, Prince and of course her brother Michael. Just making it to 60 in the unforgiving glare of the modern media spotlight is an accomplishment. And to assemble an impressive and richly varied body of work while doing it is even better.
In this piece, we look at Jackson’s history at awards ceremonies. Just last week, on Friday May 8, Janet Jackson’s Rhythm Nation 1814 was inducted into the Grammy Hall of Fame in a ceremony at the Beverly Hilton Hotel in Beverly Hills, California. That album had been voted into the National Recording Registry, administered by the Library of Congress, in 2020.
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On that 1989 album, Jackson ventured into social commentary on such tracks as “Rhythm Nation” and “State of the World.” A&M executives were reportedly nervous about the change in direction and probably would have been happier with another album of dance tracks similar to her 1986 breakthrough collection, Control. But when Jackson sang on that album’s title track that she wanted to be the one in control of her life and her choices, it turns out she meant it.
Jackson’s career tally of just five Grammy Awards – and just one nomination (as a lead artist) in a so-called Big Four category (album, record and song of the year plus best new artist) is enough to make you want to scream. But digging deeper into those Grammy nods, they reflect her versatility and range of talents. She has been nominated in five distinct music genres – R&B, pop, dance music, rock and rap, and for work in five professional capacities – vocal performance, songwriting, producing, arranging and as a video artist.
Jackson, who wrote or co-wrote all but four of her 27 top 10 hits on the Billboard Hot 100, has yet to be inducted into the Songwriters Hall of Fame. That honor will likely come her way, along with a lifetime achievement award from the Recording Academy and the Kennedy Center Honors.
Here are eight times Janet Jackson was in control at awards ceremonies.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-05-14 14:01:112026-05-14 14:01:11Eight Times Janet Jackson Was in Control at Awards Ceremonies
Pete Townshend, the legendary guitarist and co-founder of The Who, is partnering-up with Primary Wave Music on a range of creative rights.
Announced Thursday, May 14, the new relationship will Primary Wave sees the independent music company closely involved in the exploitation of Townshend’s name, image, and likeness and the development and exploitation of future creative projects.
Townshend, now 80, gave the world his trademark windmill guitar strum, and wrote and performed on some of rock’s most enduring anthems, including “My Generation,” “Baba O’Riley,” “Behind Blue Eyes,” “Pinball Wizard,” “Won’t Get Fooled Again,” and “Let My Love Open the Door.” But his creative output isn’t limited to contemporary music.
Over time, he has worked on rock operas, stage musicals, ballets, and in 2007 launched the interactive online project “Lifehouse Method,” projects that make for “an ideal collaboration,” a statement reads.
With Primary Wave’s hands-on approach to marketing music and Townshend’s deep catalog and vision, “the potential for branding and content opportunities is boundless,” the statement continues. Also, Townshend will have access to the company’s digital department to establish a footprint across social media channels. The veteran British artist has already begun building a presence amongst the business’ licensing and sync unit, which is said to be actively working with Townshend and the copyright owners of his catalog to place his songs across film and television.
Financial terms weren’t disclosed.
“Moving forward with my creative and performative work with Primary Wave, at this time of my life when most creatives might be slowing down, is a joy for me. Their entire team exhibit an energy that is truly stimulating. Challenging too. I need that,” Townshend comments.
As for The Who, who knows if new music will come to pass. The band has primarily operated as the duo of frontman Roger Daltrey and Townshend, since the death of two key members, drummer Keith Moon (who passed in 1978, aged 32) and bass player John Entwistle (2002, aged 57), and turned off the amps in 2025 with the completion of a final run of shows in North America as part of a farewell tour. Never say never. “We are always trying to come up with SOMETHING special,” Townshend continues, “and God Willing will continue to do that, hoping one day we can astound you the way we used to.”
Townshend, Daltrey and Entwistle first performed live together as The Detours in 1962, and officially became The Who in 1964, with Moon completing the classic lineup in May of that year. Since then, Townshend has sold over 100 million albums worldwide as a solo artist and as a member of The Who, which was inducted into the Rock and Roll Hall of Fame in 1990. Additionally, Townshend has been recognized for his work with the Brit Award for Lifetime Achievement in 1983, a Grammy Lifetime Achievement award in 2001, induction into the UK Music Hall of Fame in 2005, and in 2008 he was saluted with Kennedy Center Honors.
“Pete Townshend is one of the greatest and most influential rock icons in music history,” comments Primary Wave’s CEO and founder Larry Mestel. “We are honored that he has chosen Primary Wave as a partner and collaborator and look forward to creating new opportunities together.”
Adds Adam Lowenberg, Primary Wave’s chief marketing officer: “There is no rock music without the genius of Pete Townshend. An artist, innovator and songwriter who stands alone in his own category of icon and legend. We are extremely honored to partner with Pete on his future endeavors.”
Primary Wave already holds stakes in catalogs for Prince, Whitney Houston, Notorious B.I.G., Bob Marley and Britney Spears, among many others.
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Theodore Shapiro received the BMI Icon Award at the 2026 BMI Film, TV and Visual Media Awards, which was held on Wednesday (May 13) at the Beverly Wilshire Hotel in Beverly Hills, California. The award recognized his body of work across film and TV over the last 25 years. The event also saluted the composers of the previous year’s top-grossing films, top-rated primetime network television series, highest-ranking cable and streamed media programs and video games.
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Mike Steinberg, BMI executive vp, chief revenue & creative officer, presented Shapiro with the BMI Icon Award, stating “Teddy, it is such a privilege to celebrate your incomparable and enduring contributions to the world of film and television music. We are very proud to pay tribute to your rich legacy and beyond excited for all you will create next.”
During the ceremony, a tribute video featured messages from Shapiro’s family and many collaborators including Paul Feig, Chris Fogel, Ludwig Göransson, Karyn Kusama, Jay Roach, Sam Schwartz and Ben Stiller.
Upon receiving the award Shapiro said, “I want to thank BMI for everything you do on behalf of all of us, the work that you do in support of us is so impactful.” He went on to thank his peers and collaborators and stated, “There are so many people in this room who have taught me so much… and I feel a really strong kinship with all of you, that shared language that we have knits us into a community… it’s such an honor to accept this award in your presence.”
In addition to the BMI Icon Award, Shapiro won three regular BMI Awards for his work on Another Simple Favor, Severance and The Housemaid, bringing his total to 28 BMI Awards.
Shapiro won two Primetime Emmys in 2022 and 2025 for scoring Apple TV+’s Severance. He received his first Primetime Emmy nod in 2012 for scoring HBO’s Game Change.
Shapiro has also won multiple Hollywood Music in Media Awards. Most recently, he scored The Devil Wears PradaII, Focker in Law, and the Apple TV+ mini-series The Off Weeks.
Previous BMI Icon Award include Terence Blanchard, Mychael Danna, Alexandre Desplat, Ramin Djawadi, Harry Gregson-Williams, James Newton Howard, Christopher Lennertz, Thomas Newman, Rachel Portman (PRS), Mike Post, Atticus Ross, Alan Silvestri, Brian Tyler and John Williams.
Atli Örvarsson won the most awards of the night — six. Other multiple award winners included Dominic Lewis, Brian Tyler, Ramin Djawadi, Fil Eisler, Christopher Lennertz, Mike Post, Atticus Ross and Alan Silvestri.
Other composers honored during the ceremony include Sherri Chung for Found, Alexandre Desplat for Jurassic World Rebirth, Harry Gregson-Williams for The Gilded Age, Ludwig Göransson for Sinners, Gustavo Santaolalla for The Last of Us and Sarah Schachner for Predator: Badlands.
The event celebrated 19 first-time award winners including Joshua Carro, Zach Cregger, Ilan Eshkeri, Michael Griffin, Hays Holladay, Ryan Holladay, Alexis Martin and Antonio Sanchez.
The show was hosted by three BMI executives: Mike O’Neill, CEO; Tracy McKnight, vp, creative, film, TV & visual media; and Shapiro.
For a complete list of winners, visit the BMI site.
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After sharing the news on Mother’s Day that he and girlfriend Susana Gómez are expecting baby number two, Maluma revealed its gender exclusively to Billboard.
“It’s a boy,” he says to Billboard’s Leila Cobo. “We’re still thinking about the name, but we have many options.”
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The Colombian artist shared the exciting baby news on Sunday (May 10) via an Instagram photo featuring his girlfriend’s baby bump and their two-year-old daughter, Paris Londoño Gómez, planting a kiss on the belly.
He kept the secret under wraps for five months, expressing to Cobo: “First and foremost, for the sake of health at home. It felt lovely to enjoy a large part of my [partner’s] pregnancy without having to think about other things — simply being with my family.”
Ahead of the release of his seventh studio album Loco X Volver on Thursday (May 14), Maluma couldn’t hold back the excitement of his second child on the way, following the birth of his baby girl in 2024.
“With this baby — and especially knowing that it’s a boy — I am filled with a happiness and joy that is very different from my first pregnancy,” he admits.
Furthermore, the 32-year-old artist born Juan Luis Londoño Arias elaborates on the importance of having a son.
“This is a very old-school way of thinking, but my grandfather and dad are absolutely thrilled because the family name is going to live on,” he expresses. “For my grandfather, that is incredibly important…for me, family is very important, and if Grandpa is happy, that makes everything in the family circle work.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-05-14 13:01:062026-05-14 13:01:06Maluma & His Girlfriend Are Having a Boy: ‘The Joy’s Very Different from the First Pregnancy’
With his new album, Magnolia Sage, Jackson Dean put a different spin on his established gritty persona.
In his first Big Machine album, 2022’s Greenbroke, he declined to include more than one love song in the midst of the project’s swampy sound.
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With this latest release on the newly formed Blue Highway label, he is fully embracing a relationship, returning multiple times to amorè as he explores more soul textures in the music on the heels of a January 2026 engagement.
If Dean is thinking differently about interpersonal connection in his material, some of his willingness to take musical chances is strengthened by another key relationship, his ongoing collaboration with producer Luke Dick (Miranda Lambert, Little Big Town). The two creatives met at a 2019 party celebrating “Burning Man,” a song Dick co-wrote for Dierks Bentley and Brothers Osborne, when Dean was a mere 18. It wasn’t long before they became a musical team.
“Sometimes you just click with somebody,” Dean says in a conference room at BMI Nashville, ahead of a party for his single “Heavens to Betsy.” “When I met him, I was like, ‘Wow, this is a plethora of knowledge that I have standing right in front of me.’ I never really know how to explain, like, what it is between us. He’s Sensei, I am student.”
That’s not a fully accurate description. Dick was indeed at a different stage of life at the time — mid-30s, married with children — but they think of themselves more as musical brothers than as teacher and pupil. Like brothers, they have a fair share of similarities, particularly their mutual passion for exploring new music from a range of origins. On this particular day, they’re enamored of progressive Canadian folk group The Barr Brothers.
They’re mutually obsessive enough to dive down deep rabbit holes to find the perfect guitar solo and flexible enough to jump at a last-minute opportunity to land a song in an outside project.
But they have their differences, too. Dean arrived at BMI in a crisp, black suit and speaks slowly, quietly mulling his words as he strives to capture an abstraction. Dick showed up in a bright, striped shirt and loose, comfortable, shitabaki-style pants, and talks more forcefully, finding the right phrases to turn an inanimate concept into something a bit more tangible. That mix of ethereal creativity and concrete reality was evident for Dick when he began exploring Nashville.
“I was 20 years old, and I rebuilt this double-wide trailer in return for engineering experience and a record to be made,” he remembers. “That’s how I got schooled [on the business] to begin with, driving down on the weekends in between jobs because I couldn’t afford a record, you know, raising a kid and figuring it out.”
After their introduction at the “Burning Man” party, Dean and Dick first wrote together in June 2019. There were no figurative fireworks that screamed “We’re going to work together for a while,” but it didn’t suck either. Their tastes seemed compatible, and there was enough promise that they continued to book more co-writing sessions.
“You never know what’s going to happen,” Dick says of that first co-write. “It could be something that just doesn’t move, there’s no chemistry or something like that. But it felt really good the first time. And to me, you’re following the breadcrumb of: Are you compelled to write again? How does he feel in there? Did he want to do it again? And so you follow these little breadcrumbs one step at a time, rather than getting ahead of yourself with creativity and relationship in general.”
Musical relationships are complicated. Every A-level creative comes with a team, and reading the full panorama of personalities can be the difference between a collaborative match and a disconnect. For a producer and artist, the relationship is even more central to the results; it can be the difference between a hit and a dud.
Dean and Dick’s professional circle overlaps significantly — they’re both signed as songwriters to Little Louder Music, owned by Eric Church and Arturo Buenahora Jr., who introduced the two.
Their partnership plays out in both the writers room and the recording studio. Dick and Dean co-wrote all but one of the tracks on Magnolia Sage, and they work to maximize Dean’s creative freedom and comfort in the studio despite the underlying pressure to accomplish as much as possible from expensive musicians in a pricy room as the clock ticks.
“I’ll get on the mic and just do what I do,” Dean notes. “You know, I heard somebody talk about Robert Plant one time, how he was one of the most interesting singers, because where you think he would go up, he’d go down and do something different, and where you think he’d go down, he’d do something sideways.”
Dick’s role in that scenario is essential. He’s established a familiar core of session players who provide continuity. That gives Dean a greater sense of safety, knowing he can take chances in the performance that he might not in another environment.
Dick is “creating the space for an expression that someone doesn’t know that they need,” he says, comparing his duty in that part of the collaboration to Dean’s role. “It’s the way that things fit together. There’s the ring, and then there’s the jewel.”
Seven years since they started their journey together, the artist and producer have developed a connection that feeds their individual creative needs while building Dean’s wider relationship with a growing audience. They’ve learned how the cycle of their collaboration works — making an album can be an exhaustive process, and once it’s completed, they typically need time to generate ideas for the next one.
“You gotta let the tank fill back up,” Dean asserts.
Even as he promotes Magnolia Sage, the fuel for the next go-round is already evident. Dick saw Dean perform recently for the first time in months, and he was already sensing that Dean had developed some new creative vocal and guitar threads that are worth exploring. Dean can’t identify what that new thing is yet, but it’s in the context of their brotherhood that Dick typically brings an undefined abstraction to a clearer form. They’ll continue indefinitely on that path until one of them needs a break.
“In my purest form, I really do want people to find ways to expand themselves,” Dick says. “If that’s with me, great, and if it’s not, that’s great, too. I don’t take things personally when it comes to this. I am personal about the music. I don’t take change personally.”
75 Years Ago: When Hank Williams Got Hot With ‘Cold, Cold Heart’
The country icon’s song generated a bevy of pop covers
Hank Williams built much of his reputation as a songwriter by taking the temperature of his marriage, and one of his signature songs followed a heated confrontation.
In the fall of 1950, Audrey was hospitalized with an infection, and the two got into one of their many arguments. While complaining about her, Hank allegedly told an associate she had a “cold, cold heart,” and he recognized it as a possible song title. He authored “Cold, Cold Heart” in a scant one hour on Thanksgiving Day and recorded it four days before Christmas at the Castle Studio in Downtown Nashville. MGM released it as the b-side of “Dear John” on Groundhog Day, and in the May 12, 1951, issue, it rose to No. 1 on Billboard’s country jockeys chart. The magazine featured three country rankings at the time — including a best-sellers list and another representing jukebox play — and “Cold, Cold Heart” became the fifth of 11 Williams singles to top one or more of those charts.
Pop icon Tony Bennett recorded his own version of the song that May, and in November, it began a six-week run on the list of best-selling pop singles, subsequently adding two more weeks atop the pop airplay tally.
Bennett’s recording was one of nine “Cold, Cold Heart” covers mentioned in the pages of Billboard during the final quarter of 1951, including cuts by Louis Armstrong and Dinah Washington. In recent years, it’s been referenced in the lyrics of Maren Morris’ “My Church” and Sam Hunt’s “Hard To Forget.” — Tom Roland
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2026-05-14 11:51:012026-05-14 11:51:01Artist And Producer: Inside Jackson Dean’s Long-Running Partnership With ‘Brother’ Luke Dick