Got heartache? Olivia Rodrigo might just have the cure. Ahead of new album You Seem Pretty Sad for a Girl So in Love, the pop star will take over iHeartRadio and host her very own dating advice show, answering questions live on the air about all things romance.
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The company announced the news on Tuesday (June 9), revealing that the hour-long program will be called “u+me=advice forever,” a nod to one of the titles on You Seem Pretty Sad for a Girl So in Love. It’ll air on digital station Hit Nation at 9 p.m. ET on Thursday (June 11), just one day before the new LP drops.
In addition to advising on fan-submitted relationship queries — which listeners can send in ahead of time via iHeartRadio’s talkback feature — Rodrigo will exclusively preview unheard songs from her third full-length.
Arriving after Billboard 200-topping LPs Sour and Guts, You Seem Pretty Sad for a Girl So in Love features a total of 13 songs. So far, fans have properly heard only lead single “Drop Dead” — which peaked at No. 1 on the Billboard Hot 100 — and “The Cure,” as well as a Saturday Night Live performance of “Begged” and a surprise live debut of “What’s Wrong With Me?” alongside Robert Smith at Primavera Sound on Sunday (June 7).
In other radio-related Rodrigo news, the Grammy winner also appeared recently on BBC Radio 1 and revealed to host Greg James that “Stupid Song” from her new album is getting a music video. She also talked about how she prefers to apply her own life to the lyrics of other artists’ love songs, as opposed to wondering about the songwriter’s own personal life while listening.
“I love transposing it into my own life,” she said. “Obviously, if the song is more meaningful to someone if they project my life into it, then I’ll be it, that’s totally fine.”
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.pngYveto2026-06-09 17:06:162026-06-09 17:06:16Olivia Rodrigo to Host Live Dating Advice Show on Radio & Preview Unheard Songs From New Album
Donald Trump became the first sitting president to attend an NBA Finals game on Monday (June 8) when he viewed game three between the New York Knicks and San Antonio Spurs at Madison Square Garden.
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Cardi B, who performed the halftime show in front of the home crowd, hopped on Instagram Live early Tuesday (June 9), during which she spoke on Trump being in the building and the “dark” vibe he brought to the arena.
“It probably was,” she said in response to a fan calling Trump’s attendance bad luck. “You can’t stop the president from f–king going to a game, but it did feel a little dark in there. It’s OK.”
Cardi continued while eating a SpongeBob ice cream bar: “It felt kinda dark. You know how it felt like in there? It felt like the principal was there and everybody had to be on their best behavior.”
Billboard has reached out to the White House for comment.
With Trump showing up to the game, that meant increased security measures for fans attending the game, and also included shutting down the blocks surrounding Madison Square Garden.
Cardi, who’s been critical of Trump in the past, understood about the extra security and even got to see the Secret Service in action for the first time.
“You know how you always wonder how they look? Yeah, I saw them in person,” she said. “They were in front of my car. They were making us do mad circles. I wasn’t even gonna complain because I kinda get it.”
Cardi B hit the court for a three-minute halftime show to hype up the home crowd. Alongside the Knicks City Dancers, Cardi performed “Bodega Baddie” and her breakout smash “Bodak Yellow,” the latter of which topped the Billboard Hot 100 in 2017.
Following the performance, Cardi took in the action while sitting on the baseline next to the Spurs bench with her son, Wave, whom she shares with estranged husband Offset. “They got me right next to the opps! But I’mma be nice, ’cause I know this is a lot for them,” she said on her IG Story.
Despite the 115-111 loss for the Knicks, Cardi remains confident in the team and voiced that she wants to hop on IG Live againbefore game four on Wednesday night (June 10) to host a prayer circle with Knicks fans.
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Jennifer Lopez recently said that when it comes to romance, she’s been “doing it all wrong.” The singer/actress, who has been married four times, has been answering a lot of questions about her love life while promoting her new rom-com, Office Romance, and during a chat with Andy Cohen on Watch What Happens Live on Monday night (June 8), she revealed the worst thing a potential suitor can do to win her over.
“Do you check your DMs,” Cohen asked, to which Lopez, 56, quickly responded, “no.”
But, like, what if it was a hunky Spanish soccer player trying to slide in?
“I think they would be able to find me, no?” Lopez said, according to USWeekly. “If you really wanted to find me, you could find me.” What you’re not going to do if find her by Insta stalking her. “You have to make more of an effort than that,” she said.
An eternal optimist, Lopez — who split with former love Ben Affleck in 2024 after reconnecting in 2021 and marrying a year later — said she thinks her greatest love is “ahead of me, 100%, without a doubt.”
She also answered a fan question about whether they’d consider doing Broadway one day, saying, “I would love to do Broadway and I think it is in my future. I just don’t know when.” The multi-hyphenate, who brought the 1992 Broadway musical Kiss of the Spider Woman to the big screen in 2025, explained that it’s a matter of finding just the right project, though she has long had her eye on playing the lead role of Rosie Alvarez in the musical Bye Bye Birdie.
Lopez also retold the story about how she was originally supposed to be part of Madonna and Britney Spears’ iconic triple kiss at the 2003 MTV VMAs. Lopez said she was working on a movie at the time, Shall We Dance, and the film’s producers refused to let her leave set for the performance. “We rehearsed it and everything,” she said of the practice run at Madonna’s house with Spears, during which Madonna strummed her guitar and they all harmonized.
They did not rehearse the kiss, but Madonna told them her plan, which included Madonna being the groom in the throuple scenario.
On a more emotional note, Lopez described how hard it’s been thinking about her twins with ex singer Marc Anthony, Emme (who recently changed their name to Oskar) and Max, graduating from high school and preparing to go to college in the fall. “People have come in and out of my life, but it’s been the three of us and they’ve always been there and I’ve always been there,” she said.
With reality now hitting her in the face, Lopez admitted that she never pictured a day when the twins would not be living in her house with her. “I just never thought that far ahead,” she said. “They’re so independent. I’ve given them roots and wings and it’s great and this is how it is. This is a healthy mom thing to do!”
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.pngYveto2026-06-09 16:56:572026-06-09 16:56:57Jennifer Lopez Is a Hard No on Potential Boyfriends Sliding Into Her DMs: ‘If You Really Wanted to Find Me, You Could Find Me’
Universal Music Group (UMG) said on Tuesday (June 9) it priced a total of 1 billion euros in bonds, to be issued on the Amsterdam Euronext stock exchange in an offering expected to close on June 16.
The bonds will be issued in two tranches: the first 500 million euros are four-year notes priced at 3.375% due in 2030, and the second 500 million euros are 10-year notes of 4.125% due in 2036.
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The company said proceeds from the bond sale will go to general corporate purposes, including refinancing debt, transaction fees and expenses.
Offered through UMG’s Amsterdam-listed euro medium-term note program, the bonds will be sold to investors outside the U.S., according to regulatory rules. Bloomberg, which reported the bond issuance was planned earlier this week, reported UMG arranged a 1 billion euro bridge loan, which matures in late July, and also has a half-billion euro bond that comes due in 2027.
The bond issuance follows two months of corporate drama, in which UMG’s board rejected Bill Ackman’s Pershing Square’s offer to merge UMG with a Pershing entity and move the music company’s listing to the United States. Pershing sold its UMG stake following the rejection, of which UMG repurchased around 250 million euros through part of its billion-euro stock repurchase program.
UMG’s share price was down 1.26% at 12:30 p.m. ET at 17.96 euros.
The French banks BNP Paribas and Crédit Agricole CIB are the global coordinators on the offering, while IMI — Intesa Sanpaolo, Mediobanca, Mizuho Morgan Stanley, Santander and Société Générale are active bookrunners. Bank of America, Citigroup, Goldman Sachs and MUFG acted as co-managers on the offering.
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We are just days away from the FIFA World Cup 2026, which runs from June 11 through July 19. Soccer matches will take place throughout 16 cities in the United States, Canada and Mexico.
Whether you are backing favorites such as Spain or France, or underdogs including Morocco, Japan, Ecuador and Haiti, one thing is for sure: You’re going to need soccer gear. This is especially true if you will be attending any of the matches or plan to watch international soccer at your local sports bar.
Artists such as Peso Pluma, Bad Bunny, Drake and K-pop star G-Dragon have made it easy to snag this year’s World Cup offerings with collaborations slated to drop throughout the tournament. These artist partnerships are with notable brands, including Adidas and Nike.
Meanwhile, Nike launched an ad starring BLACKPINK’s Lisa, Travis Scott and Central Cee alongside other famous faces titled “Rip the Script” ahead of the multimatch event. The star-studded commercial conveyed a message of “ditching the playbook” in favor of creativity and trusting your gut on the pitch.
And even, Coca-Cola has gotten in on the World Cup action, participating in an official anthem titled “Jump” to celebrate the tournament. The soda company enlisted J Balvin for vocals, while Travis Barker was on drums and Steve Vai took guitar.
With so many recording artists and musicians involved, it’s hard not to get hyped for the exciting soccer matches to come. Below, we’ve rounded up a few of our favorite pieces made in collaboration with artists for the World Cup that you can shop online. These items will get you geared up for the soccer-centric season and seasons to come.
Peso Pluma x Adidas
Mexican singer-songwriter Peso Pluma will be rooting for Mexico’s national soccer team in style with his latest collaborative endeavor. Pluma partnered with Adidas to create a Mexico 26 away jersey for the team’s 2026-27 season. The collection is available now on Adidas’ website.
These performance jerseys, often labeled “authentic,” are designed for actual play time and are usually created with athletic-specific details in mind.
The collaboration is available to buy ahead of the tournament’s kickoff on Adidas’ website and at Warehouse Shoe Sale. The jersey retails for $100 and was launched alongside an away authentic jersey for $150. The design is an “elite performance style,” which means it was created for on-turf usage, making it less about fashion.
The authentic version of the jersey is moisture-wicking to help sweat evaporate more quickly, features heat-bonded seams (seams put together with heat and pressure rather than stitching) that make the jersey durable and uses lightweight materials for breathability. At $100, the Mexico 26 away jersey features a relaxed fit that is great for layering, stitched seams as opposed to heat-bonded ones and logo detailing that is embroidered rather than heat-pressed.
The non-performance-based construction explains the price difference, but you’re still getting all the Adidas quality. Think of the Mexico 26 away jersey as a fan-focused option, while the away authentic is designed for running, kicking and sweating.
This is not the “elite performance” version, but rather a replica. Mexico’s team colors can be seen throughout this design and the “authentic” model.
Peso Pluma said in a statement regarding the ambassadorship, “Representing the three stripes for Mexico and our music with Adidas is something I dreamed about since I was a kid. This isn’t just about me — it’s for my people, my culture and everyone pushing Mexico forward. I’m excited to join the Adidas family and keep showing the world who we are.”
Drake x Nike Canada x NOCTA
Drake is rooting for Canada’s men’s national soccer team as a Toronto native. To celebrate the athletes, the artist’s streetwear label NOCTA is teaming up with Nike to drop a capsule of sporty apparel and vibrant yellow footwear. The collection will be available on Tuesday, June 16, at 6 p.m. ET at Nike.com.
This is the latest sneaker colorway for Nike for summer 2026.
The Cryoshot Tiempo ’94 comes in this lovely yellow-gold hue with black graphics for contrast. The Cryoshot was created to pay homage to past Nike cleat silhouettes, such as the 1998 Mercurial Vapor R9. Essentially, the footwear is supposed to be cleats that you can wear casually. While most Cryoshot kicks feature soles encased in a clear TPU base, made to look like ice, Drake’s style foregoes this detail in favor of a simple cleated base with the word NOCTA in black on each bottom.
This is an expert nod to streetwear and athletic culture. The shoe is a lifestyle model, so not something you’d wear on turf for a game. Instead, we’d style these with baggy barrel-style denim and a graphic tee of your choosing, hopefully something soccer-related. The colorway is likely something you don’t already have in your footwear rotation and, when purchased, can act as a statement piece, adding color to any plain outfit.
This is another piece labeled for men, however, it can easily be styled for women as well. We liken this silhouette to a traditional windbreaker.
Like the Cryoshot Tiempo ’94, all of the apparel in Drake’s NOCTA x Canada x Nike line is athletic-inspired with a streetwear flair. Drake’s $110 long-sleeve shirt is similar to something a goalie might wear, down to the funky sublimated print (a digital printing technique where the design becomes embedded into the fabric). You’ve also got a maple-leaf graphic on the bodice in metallic silver, serving as a subtle nod to Canada. The top is made of 100% polyester, a synthetic fiber known for its durability and moisture-wicking, which means it will last through multiple wears and keep the wearer dry.
This is a piece for maximalists, since it is very print-heavy, or those looking to be more adventurous with dressing. We’d style this long-sleeve with basics such as black sport shorts or jorts and white sneakers to offset the loud graphics. We can envision wearers getting a lot of use out of this collaborative shirt, especially for breezy days in the summer when you want to wear something warmer that isn’t suffocating.
Similarly functional, the woven tracksuit jacket for $175 can keep the heat at bay, since it features an extra-thick polyester lining. The exterior is 100% nylon, a slippery fabric that is wear-resistant and hydrophobic, making it durable and able to withstand the elements. This jacket is a racing style with a mock neckline and red accents. Its boxy fit makes this silhouette casual and comfortable. We’d buy this piece for its style and clear longevity. Think of this as an investment piece, able to last you many years, even after the World Cup is over.
Bad Bunny x Adidas
Although little is known just yet about Bad Bunny’s soccer-specific launch with Adidas, the Puerto Rican rapper did end up appearing in the brand’s “You Got This” campaign film — and his latest collaborative endeavor was subtly teased on his feet. The F50 Ghost Sprint sneaker is set to release on Saturday, July 18, on Adidas.com and retails for $160, according to Hypebeast.
The F50 is Adidas’ traditional soccer athletic with cleats.
The shoe will launch in three colorways: dark marine, solar slime and core black. In the campaign film, it looked like Bad Bunny was wearing the dark marine style, a blue checkerboard-printed offering with black accents. This is low-profile lifestyle footwear with seemingly cushy rubber soles for support, adding comfort, while the design is playful and geometric, drawing the eye down to the feet.
Its wavy design is far out there, a unique take on an athletic-inspired model that you’d be hard-pressed to find anywhere else. If we’ve learned anything from his past Adidas collaborations, footwear fans are quick to the draw, snatching up styles in multiple sizes. If you’re a fan of Bad Bunny or you like eye-catching footwear, you’ll want to snag these before they sell out.
G-Dragon x Nike South Korea x PEACEMINUSONE
Bringing more K-pop prowess to this year’s World Cup in addition to BTS, who is playing the halftime show of the final game alongside Madonna and Shakira, G-Dragon is dropping a line of apparel and footwear with Nike in support of South Korea’s soccer team. The rapper tapped his own lifestyle label, PEACEMINUSONE, for this launch. All items in this capsule will be available to purchase on Tuesday, June 16, at 1 p.m. ET on Nike’s website.
The cleats featured on this sneaker are bright red to match the swoosh detailing. G-Dragon can often be seen utilizing daisy motifs in his work as creative director at PEACEMINUSONE.
Like Nike’s collaboration with Drake, G-Dragon was also able to reinvent the brand’s Cryoshot silhouette. This $245 offering features tan distressed synthetic suede uppers for a worn-in vintage look with a red swoosh and yellow band. The TPU soles are milky clear, allowing you to see right through to the cleats hidden inside. The insoles are affixed with daisy motifs.
This is more of an everyday shoe when compared to Drake’s interpretation. The colors are neutral, so you can pair these kicks with most items in your wardrobe, while the red pops of color add a touch of whimsy. If you’re looking for a sneaker you can wear often that is more elevated than your basic white shoes, these are for you.
G-Dragon x South Korea x PEACEMINUSONE Anthem Jacket
PEACEMINUSONE is a compound word of peace and minus one. Peace evokes hope and calm, while minus one is a disruptor, taking away from something.
G-Dragon’s capsule includes a mix of more adventurous styles balanced with neutral everyday pieces that you can integrate into your wardrobe. The zip-up $150 anthem jacket, for example, is a maximalist dream because of the added daisy print with neon accents set against a black background. The print is complex, while the silhouette — a mock-neck windbreaker model with a boxy fit — is simple.
This offers a great balance, ultimately making this jacket wearable. It’s a fashion people know and love that is meant to keep them warm and protect them from the elements, just with a touch of something more to catch the eye.
In comparison, the $110 short-sleeve top is a basic that you can style in a multitude of ways. This is because it is plain white and flatters both men and women, since it is nice and boxy. This gives a similar effect to a crisp white button-up, with its preppy style and sophistication, but the drawstring hem is a playful addition that is very streetwear. That adjustable detail also gives wearers the ability to style this tee multiple ways, creating a new and versatile look. In the thick of summer heat, you’ll want something breezy, easy and impressive to throw on. This piece hits all those marks.
Additionally, to celebrate the festivities, artists such as Tyla, Anitta, Nelly Furtado, LISA, Shakira and more hopped on an official World Cup album featuring 18 tracks that serve as the soundtrack for the tourney. You can learn more about the music acts set to perform at the international competition here.
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.pngYveto2026-06-09 16:46:592026-06-09 16:46:59From Bad Bunny to Peso Pluma: Here Are the Best 2026 FIFA World Cup Music Collaborations to Shop
In a bland office building in an unremarkable business park in a sleepy part of Los Angeles, a team of information specialists sit at their desks and protect some of the world’s most famous people.
Around them hums a command center of TV and computer screens displaying CNN, MSNBC, FOX News, weather forecasts, real time traffic maps and footage from security cameras trained on private and retail properties. On this normal Wednesday morning, each member of the team — which includes attorneys, PhDs and a woman who speaks five languages — sits at a computer, reviewing documents, scanning social accounts, reading news and ultimately synthesizing this Mission: Impossible episode’s worth of data to determine if there are any threats to the stars they’re contracted to keep safe.
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Stalkers and worse have always haunted pop culture, with countless musicians taking out restraining orders against the lurkers in their orbit, and luminaries like John Lennon, Selena and Pantera’s Dimebag Darrell being murdered by deranged fans. Social media has since made safety infinitely more complicated, as artists are urged to use platforms to connect with fans and build brands, which in turn makes us feel like we know them. This is at once a goal and a risk multiplier, intensifying perceived connections and allowing anyone with Wi-Fi to make a threat.
“Historically, threats were localized and time bound, meaning the threat was in a venue, a hotel; it was a threat against the physical,” says longtime security specialist Dave Komendat. “Threats are now global. It’s anyone, anywhere. It’s real time, and it’s amplified, because one person making a threat can reach a million people, so others may imitate.”
We collectively witnessed this Pandora’s box in March, when soccer player Jorginho publicly accused Chappell Roan of sending her security guard after his 11-year-old daughter in the dining room of an Argentina hotel, posting a statement to his 5 million Instagram followers that said, “To the fans, she does not deserve your affection.” Roan responded by saying the security guard involved in the incident wasn’t hers, and that “I didn’t even see a woman and a child.” While Jorginho later rescinded his accusations, calling the situation “a misunderstanding,” the pop star had already endured a global storm of online hate.
“I’m quite sure her security stature scaled coming out of Argentina,” says John Spesac, who founded boutique security firm Security Information Specialists (SIS) 27 years ago and notes that “security stature” refers to one’s overall risk profile and security significance as a public figure. (Spesac adds that SIS is not employed by Roan or her team.) “The miscommunication, how it was handled, all of that creates new risk to her brand and her safety. And essentially, it was an event completely created, lived and judged on social media.”
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Traditional threats also persist. In early June, Sabrina Carpenter obtained a restraining order against an alleged stalker who supposedly surveilled her Los Angeles home for a month before attempting to break in, with Carpenter’s declaration citing “significant and ongoing fear for my personal safety and the safety of all individuals residing in my home.” Taylor Swift has had a myriad of stalkers, including one whom police found sleeping in her bed. (Swift was not home when this incident occurred.) In May, a woman fired an AR-15-style assault rifle at Rihanna’s home in Los Angeles, hitting the Airstream trailer the pop icon was in with her partner A$AP Rocky.
Exterior view of police outside Rihanna’s Beverly Hills house after a report of gunshots fired on March 8, 2026 in Los Angeles, California.
HIGHFIVE/Bauer-Griffin/GC Images
These events are singular and dramatic, but for the modern celebrity, even just moving through the world can be dangerous, or at least unpleasant.
“People might see you at a hotel or restaurant and post about it, and minutes later, there’ll be people there,” says Kehlani’s longtime manager David Ali. “Somebody might take a picture and fans will know the hotel they’re at, or take a picture of them with coffee in their hands and fans can ID the store. With the internet it’s a completely uncontrolled scenario, because there are so many clues that make the game of finding people easier.”
And when we know what hotel our favorite artist stays at, or where they get their coffee, so too do we feel like we know them, with this knowing fostering a sense of familiarity and, often, expectation.
“You continually encounter fans who think they actually know the artist and may have never met them,” says Ali, who adds that Kehlani has a multi-member security team. “They’ll be sending emails, talking to them, and you see situations where they even get frustrated that they’re not getting a response.”
“Now, fans don’t admire an artist,” says Spesac. “They feel like they know them, and when you’re dealing with the deranged, that’s a problem because boundaries are confused. Admiration becomes obsession, then rejection if they ignore your DM, and now it’s anger.”
So how are security teams ensuring safety in this dystopia? “It’s being part protector, part psychologist and part brand ambassador while allowing the artist to maintain their brand and proximity to their fans,” says Spesac. “That’s today’s security profession.”
The process begins here, in the anonymous office building. Dubbed The Fusion Center, it’s the digital surveillance hub of Spesac’s SIS. He can’t reveal his client list but says it “absolutely” includes household name celebrities and Fortune 500 execs. SIS also provides security staff for businesses and for the past 21 years has run security for the Academy Awards, an event Spesac calls “one of the most significant private security operations in the world.”
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SIS employs a global 5,000-person team recruited from the military, Secret Service, FBI and various levels of law enforcement. Staff includes not only store security and bodyguards in the Kevin Costner/Whitney Houston cinematic tradition, but behavioral analysts and, says Spesac, “experts capable of verifying capability and de-escalating scenarios.” Here in the Fusion Center, this means that if a threat is determined, staff can send out a mass update notifying clients of a disturbance or directly brief teams on the ground.
“We’re scrubbing social media to understand who’s saying what, when they’re saying it and if they have the ability to carry out a threat,” says Spesac. “That work is constant in our world.” Like other online monitoring services, the team here is capable of taking derogatory information off the internet, so it doesn’t gain momentum or generate threats. Clients also receive risk assessment based on their public personas, so there’s an understanding of how they’re being perceived.
“We scour the internet and dark web for information,” says SIS’ Joana Kim. “Their phone numbers, email addresses. Who’s mentioned your address? Have people tried protesting you? Has anybody made a petition for you? [With executives especially], you’d be surprised at what’s out there about them, or what they themselves post.” These digital sweeps are also done for the client’s family, who are also often under protection.
Komendat, who’s the chief security adviser at executive protection firm Corporate Security Advisors and who has worked with Spesac for years, says the goal of digital surveillance is finding “meaningful needles in a relatively large haystack.” A meaningful needle is anyone capable of carrying out a threat. If someone posts that they’re going to kill a particular celebrity, but the team determines that this person lives thousands of miles from where the celeb is, it’s not a meaningful needle. The same goes for people who make threats but have disabilities that make it difficult for them to get around, or who don’t have money to travel.
“Then you have individuals who are mobile,” says Komendat. “So you’re able to look up their local municipality and see they’re a gun owner and that they’ve traveled. You need to pay attention to someone like that.”
Deranged people also come out of nowhere. “Someone like Luigi Mangione is an example of that,” says Komendat, referencing the man who allegedly murdered United Healthcare CEO Brian Thompson on a Manhattan sidewalk in 2024. “That’s where the physical security presence comes into play.” Spesac emphasizes that threat evaluation, digital protection and physical security must be employed in tandem to create what he calls “the security envelope. It’s an ecosphere you put together around an individual.” He adds that the annual cost of this comprehensive protection “could be less than $20 million. It’s certainly more than a dollar.”
(Spesac also says demand for security surged among corporate execs after Thompson’s killing, with security now often mandated by the board. “It’s a business resiliency exercise,” he says. “Look at what happened to United Healthcare stock after the Thompson murder.”)
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Musicians are also bringing on security much earlier in their careers. “Before, an artist was being seen by maybe 20 people in a smoky bar,” says Spesac. “Now the foundation is different because of social media and the intimacy it creates.”
Or the type of intimacy it creates. For example, I know that last September, Lady Gaga celebrated her fiancé Michael’s 42nd birthday by kissing him next to a pen of goats, and that there were strawberries on his cake, because she posted photos of these things on her Instagram. If you’re one of her 61 million followers, you probably know these “intimate” details too.
“If you were a fan of a pop star in the ‘80s, you were exposed to their music and maybe occasionally saw a magazine feature about them or saw them on late night,” says Professor Bradley Bond, who studies parasocial relationships at UC San Diego. “You’d get little blips of information about their personal life.” We are now massively more exposed to famous people, a macro shift that Bond says “strengthens the sense of a parasocial bond, as we feel we have a peek behind the curtain. We have so much more access that our parasocial relationships have become significantly more intense.”
Defined as social and emotional bonds that lack reciprocity — meaning the person you’re bonded to has no idea who you are (for example, you know there were strawberries on the cake for Gaga’s fiancé, and she doesn’t know you exist) — the term “parasocial relationship” was introduced in the 1950s by a pair of social psychologists. They coined it to describe what they felt might be transpiring as TV first entered the home, and suddenly talk show hosts and news anchors were talking directly to the screen. These researchers, says Bond, “were fascinated by the fact that they were giving us a sense of gaze.”
In the ‘90s, other researchers studied how these “close” relationships might motivate people to consume content. If people were engaged by feeling bonded with a celebrity, the celebrity could leverage that to sell people things — music, movies, clothing, entire lifestyles. These possibilities became effectively endless when Facebook, Twitter and Instagram launched in 2004, 2006 and 2010, respectively.
“Before social media, glimpses backstage were rare,” says Bond. “Now they’re common, and part of how celebrities cultivate their fandom.” As “authenticity” is now an industry buzzword for how artists should build fanbases, there’s been a natural reciprocal surge in us feeling like we know them and, as such, consuming what they’re offering.
Artists thus face tremendous pressure to share themselves online, a practice that can make the marketing of art seem more important than the art itself, and one many artists say they hate. But musicians typically get more interest from labels, agents and fans if they have large social media followings that function as a marketing platform — all while strengthening parasocial relationships.
Bond assures that parasocial relationships are something most people engage in, citing a recent study that found most U.S. teenagers have historically experimented with romance by imagining themselves in relationships with their favorite pop stars. A famous artist who seems like a great mom can fill a gap for someone who doesn’t get along with their own.
“People can be hesitant to share this stuff because they think it suggests some kind of psychosis,” says Bond, “but it’s part of human evolution. Screen technology has evolved faster than our minds, so it’s natural for us to see people and assign personhood.”
To a point. Whether someone loves or hates a musician, parasocial relationships of great intensity have been connected to, Bond says, “potential problematic behavior among people who are otherwise navigating mental health challenges.” When perceived relationships alter one’s daily routine, they’ve become something else. Research shows that such problematic celebrity relationships are often symptoms of other diagnosable challenges. Two of Taylor Swift’s stalkers, for example, were deemed unfit for trial following psychiatric evaluations and ordered into mental health facilities.
While digital tools function to help ensure that bodyguards are never really needed, those digital tools aren’t foolproof — making bodyguards an essential last line of defense. As Spesac puts it, “The point of engagement should be the very last resort.”
Prince stands up to collect the award for Best International Artist at the British Record Industry Awards, aka the BRIT Awards, held at the Grosvenor House Hotel in London, 11th February 1985. The man with the tattoo is his bodyguard, Chick Huntsberry.
eorges De Keerle/Getty Images
The giant bodyguard is a familiar pop culture figure. Prince was famously protected by Charles “Big Chick” Huntsberry, a 6’8”, 400-pound strongman. Big John Harte protected KISS, Iron Maiden and others and The Jonas Brothers have Big Rob. But Spesac says better protection comes from “people that blend seamlessly into any crowd, who are lethal because they have the skills, training, knowledge and background.” While size can still matter, inserting a person who’s quite obviously the bodyguard can create the risk of “security theater” that may draw unwanted attention to the artists and the bodyguards themselves. Spesac warns that untrained or reactive guards can “become part of the social media story because of the way they handled or mishandled fan engagement.” This can be bad for an artist’s brand, especially when everyone has their phones up.
More so, bodyguards must be strategic and smooth. At a recent show in Texas, an artist showed up to play a nightclub with a muscular but not physically massive bodyguard in tow. This person spoke clearly and respectfully to me and everyone he needed information from, making direct eye contact and quickly determining the backstage guest list, which color wristbands were needed to enter the green room and the route to the stage. It was possible to get a little thrill from helping him do it.
“People who do this work well are excellent communicators and can work with any celebrity and be just as effective dealing with a hotel valet,” says Komendat. “Respectful security personnel are effective because they build alliances, even if those alliances last for one minute.”
Both Spesac and Bond advise that AI is the next frontier of parasocial relationships and security. Artists may employ AI chatbots to engage with fans, and Bond sees a future where fans create AI avatars in the likeness of their favorite musician. “If Taylor Swift isn’t holding some personality attribute you wish she did, now you can tell AI to act as Taylor Swift, but make her a Republican.” Engaging in fake, custom-made celebrity interactions through AI is, Bond adds, “definitely the future.”
As professionals work through the new complications presented by emerging technology — and as our culture continues down a path of ever-increasing visibility — Spesac says one fundamental principle remains true: The most effective security is invisible.
“When security works well, the public doesn’t notice,” he says, “and that’s the point.”
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.pngYveto2026-06-09 16:42:462026-06-09 16:42:46Digital Surveillance, Threat Assessments, Lethal Force: How Security Teams Keep Artists Safe in the Age of Social Media
This story is part of Billboard’s Global World Cup Series, a collection of 11 cover stories which pairs top soccer stars across the world competing in the 2026 FIFA World Cup with highly-touted musicians in accompanying countries.
There come moments when the heart of an entire country begins to beat in a single rhythm. The summer of Euro 2024 was exactly that: a football championship that brought shared joy to Georgia. The success of our national team united people of different generations.
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It is true that today the world recognizes the Georgian football fairytale by the name of Khvicha Kvaratskhelia, but this historic success needed two main things: the leader of the national team, whom we tell you about in this article, and the soundtrack that became the musical companion to this great story.
For this special project, Billboard Georgia brought together the two people who gifted the fans an incredible spark: in the stadium, Guram Kashia; and on the stage, Gigi Dedalamazishvili.
The Song That Transcended the Stadium
“Sakartveloa” (“It is Georgia”) was originally created as a song for the national team, but it quickly became much more. It turned into a shared ritual of sorts. It echoed through stadiums and was sung by the fans.
Part I: The Athlete
Gigi: What was the very first song, or sound, that you remember loving from your childhood?
Guram: When I was a kid, around six years old, my father was always listening to The Beatles. The very first song I fell in love with and still remember today was Paul McCartney’s “Yesterday.” That melody is deeply connected to my childhood, and whenever I listen to it, it takes me right back to those years.
Gigi: Do you have a standout World Cup from the past or a song that reminds you of that time?
Guram: My first World Cup memory is Roberto Baggio’s missed penalty at the 1994 tournament. As for a song, it’s Shakira’s “Waka Waka.” Wherever I hear it, I immediately think of the World Cup. Though, strictly from a football perspective, the 2010 World Cup wasn’t a standout tournament for me personally.
Gigi: We were so proud that our song “Sakartveloa” connected so closely with the people during Euro 2024. As the captain, when you saw this kind of support around the team, did you feel that energy transferring onto the pitch?
Guram: “Sakartveloa” is a very special song for us players. We have amazing memories attached to it, and whenever I hear this song, I get goosebumps and fill with pride. I definitely have a unique connection with it because it associates with such good, proud moments. It’s a song that reminds the Georgian people, and especially the players, of purely joyful times.
Guram Kashia
Lasha Kuprashvili/Georgian Football Federation
Gigi: Do you listen to music before a game, and what’s on your playlist right now?
Guram: When I was younger, I used to build my motivation with music before games. Lately, I need it less. I prepare differently now. But years ago, music definitely played a huge role for me. I was an active listener of Kanye West. His energy, his lyrics, and the aggressive emotions that come with his music always motivated me. Now, I listen to calmer music that I understand better. I listen to a lot of Mac Miller, I returned to Oasis, and recently, I’ve been listening to their music very frequently.
Gigi: When we watch the games, we see you singing the national anthem with your whole heart. What are you thinking about in that moment?
Guram: Probably the thing I’m worst at, and what makes me uncomfortable in public, is singing. However, in that moment when the anthem plays, I am so proud, and everything is so emotional, that I genuinely don’t care how I sound. Performing the anthem is a special moment for me, and I always want to sing it from the heart. It’s one of the most sincere forms of expressing love for my country. When I watch the videos with my child, we often laugh heartily about it, but I truly sing with my whole heart.
Gigi: You have a tattoo connected to a legendary musician. What does that symbol mean to you personally?
Guram: My love for music started with The Beatles. Initially, my father practically forced me to listen to them. John Lennon was his favorite musician, and he made me listen to him a lot. My father passed away a few years ago, and I honored his memory by getting a John Lennon tattoo. This tattoo carries deeply special memories for me, both in terms of music and my relationship with my father. Listening to The Beatles always reminds me of him, though since he passed, I can’t often bring myself to listen to them. That music reminds me of a time that will never return, and that’s very hard for me.
Gigi: Imagine today’s national team as a music genre. What would it be?
Guram: The team’s genre would probably be punk-rock. It’s a young team, we are shaping up right now, and we play a type of football that truly suits punk-rock, especially considering our style!
Part II: The Artist
The below responses are all from Gigi Dedalamazishvili.
Gigi Dedalamazishvili
Courtesy of Billboard Georgia
Between the stage and the pitch: “I think footballers and musicians are very similar. First of all, both serve the craft they love. When you have the blessing to stand on a stage or walk onto the pitch, it comes with immense responsibility. I can only imagine the magnitude of that feeling for a footballer, especially when you represent the Georgian national team and every step you take is directly linked to your country’s name.”
A song that connects generations: “Even in my boldest dreams, I couldn’t have imagined that ‘Sakartveloa’ would connect different generations quite like this. This is football’s greatest merit. We dedicated the song to the national team from the very beginning. The first time I heard the stadium singing it, I couldn’t hold back my tears. There is no musician who doesn’t dream of their melody echoing at a national team match. Deepest thanks to the fans, and especially to these young footballers who are growing up listening to our music.”
My personal World Cup: “Speaking of football soundtracks, the first one that comes to mind is the Italian ‘Notti Magiche’ from the 1990 World Cup. My father used to listen to this anthem a lot. But my absolute favorite and standout is the 1998 World Cup. I was 12 years old, and it was the first World Cup I watched from start to finish.”
Teyana Taylor‘s epic year is about to get even more mega after BET announced on Tuesday morning (June 9) that the Oscar-nominated One Battle After Another actress/singer will receive the Icon of the Year Award at this year’s BET Awards.
The Hyundai-sponsored honor will be handed out during the show’s live broadcast on June 28 from the Peacock Theater in Los Angeles (beginning at 8 p.m ET), with comedian Druski hosting the proceedings. According to a release, the award, “celebrates the artist who is defining this moment. This distinction belongs to the creative force whose work, presence, and vision are setting the tone right now – someone whose impact isn’t measured in years but in the undeniable weight they carry in every room, every conversation, and every corner of the culture they touch.”
Taylor is a perfect fit, given her eclectic résumé, highlighted by four full-length studio albums — including 2025’s Escape Room — as well as work as a director, producer, choreographer and fashion icon. She’s also emerged as an acting powerhouse over the past decade, rising from bit parts in films such as 2011 Madea’s Big Happy Family to starring roles in the 2023 single mother drama A Thousand and One and this year’s Ben Affleck-Matt Damon drama The Rip. Her mesmerizing role as rock-jawed rebel Perfidia Beverly Hills in director Paul Thomas Anderson’s acclaimed 2025 action thriller One Battle After Another earned Taylor a best supporting actress Golden Globe earlier this year, as well as an Oscar nomination.
“Teyana Taylor is the embodiment of what it means to be an icon in this moment,” Connie Orlando, EVP, specials, music programming & music strategy at BET said in a statement. “She doesn’t ask for a seat at the table; she builds the table, designs the rooms, and sets the tone for everyone who walks in. Her fingerprints are all over culture, and it is an honor to celebrate everything she represents on Culture’s Biggest Night.”
Additional honorees, performers and presenters at the 2026 BET Awards will be announced soon.
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.pngYveto2026-06-09 16:06:012026-06-09 16:06:01Teyana Taylor to Receive Icon of the Year Award at 2026 BET Awards
From “That’s So True” to “I Love You, I’m Sorry,” Gracie Abrams has proven she can write a good breakup song. But now that she’s happy and in love with boyfriend Paul Mescal, even she wasn’t sure how her songwriting capabilities would be affected.
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In a Voguecover story published Tuesday (June 9), the pop star opened up about her cozy life with the Irish actor and detailed how she learned to approach making music differently with a steady, balanced relationship in her life. She’s settled now in the London home she shares with Mescal, who’s currently filming his portrayal of Paul McCartney in Sam Mendes’ four-part Beatles biopic in the city; their place is filled with instruments, including a piano Abrams plays most mornings and guitars for both herself and Mescal, who’s picked up the instrument for the films.
“[He’s] so much better than I’ve ever been,” Abrams said in awe of Mescal’s guitar skills.
They were also based in London while Mescal was working on Oscar-winning film Hamnet, about which the Grammy nominee told the publication, “It feels like every day you come home and read the greatest book ever — that’s what it’s like to be in conversation with someone making something like that.”
At the same time, Abrams said that the domesticity she found with the Normal People star “freaked me out” when it came to her own art. “I was worried feeling secure and stable was threatening my drive to write music.”
The interview comes a little more than a month ahead of Daughter From Hell, the musician’s third studio album. Clearly, she found her way back to writing music, thanks in part to the guidance of her longtime collaborator and producer. “I have learned from Aaron [Dessner] that it’s OK to mine deeper and refine what you are naturally inclined to do,” she told Vogue, “even if that looks less shiny and new on the outside.”
Grounded instead in memories of causing chaos and starting conflict with her family as a teenager, Daughter From Hell is set to drop July 17. On its subject matter, Abrams reflected, “I wish I could go back and spend all of the time that I spent fighting my mom just listening to every drop of wisdom she has for me.”
Daughter From Hell will follow 2024 breakout album The Secret of Us, which reached No. 2 on the Billboard 200. The project spawned five Billboard Hot 100 hits, including Abrams’ first-ever top 10 single, “That’s So True,” which peaked at No. 6.
See Abrams on the cover of Vogue and photos from the shoot below.
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.pngYveto2026-06-09 16:01:012026-06-09 16:01:01Gracie Abrams Was ‘Worried’ Her Music Would Suffer Due to Relationship With Paul Mescal
Abbey Road Studios’ managing director Sally Davies has discussed the growing influence of their Studio Four brand and her role in shaping the U.K. music industry’s response to AI.
During SXSW London 2026, the famed studios brought Studio Four — their series of panels and workshops — across from St Johns Wood to Shoreditch in east London for a second consecutive year.
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Although best known as the recording space for The Beatles, Pink Floyd and more, Abbey Road Studios is engaged with wider disciplines beyond music recording. In May 2025, they reopened the refurbished Studio One with a dance performance soundtracked by Daniel Pemberton [Project Hail Mary,Spider-Man: Into the Spider-Verse] and the space regularly hosts the prestigious Music Photography Awards.
Appearing as part of the festival’s wider programming, Studio Four used the opportunity to showcase the breadth of Abbey Road’s offerings. Sleaford Mods’ Jason Williamson appeared to discuss his creative process, while the team behind The Lord of the Rings’ iconic score revealed the technological changes over the past 25 years.
Davies, too, has expanded her role beyond just the Studios and in January was named the AI champion for the creative industries in a role that sees her lead the conversation among the industry and feedback to the U.K. government. On Monday (June 8), Davies published a report that called for greater assurances for human creatives, clearer education and confidence for users and concluded that “AI should support human creativity, not displace it.”
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Following the wrap of Studio Four’s events, Davies discussed the prevailing topics at the event and the publication of the AI Adoption Plan sent to the Department for Culture, Media and Sport.
What were the big takeaways from Studio Four at SXSW London 2026?
Last year was the first time we’d taken Studio Four out to a public audience and everything at [the venue] Colours was absolutely packed, which left us thinking that there’s a real sense of love and trust in the brand — people are generally interested in what we have to say about creativity and technology. This year we moved into a much bigger space at 93 Feet East so we tripled our footprint and that gave much more space where people could mingle, network, chat, decompress after the panels and share thoughts. It was buzzing.
Were there any familiar themes that came through in each panel or discussion?
We had quite a lot of programming in the creative lane, particularly on music, dance, photography, as well as a really strong tech track. You sit in those sessions and see examples of AI that are incredibly brilliant in front of a creative community, especially at a time when everyone’s talking about AI, and the conversation can become very negative very quickly. But I left Studio Four feeling buoyant that creativity has a place and that AI is not going to destroy the heart of creativity, but can be additive to the process.
Were you expecting AI to be a focus?
I think so. Earlier this year, I was really privileged to be offered the AI champion role for the creative sectors, and I’ve really been trying to do meaningful work in that area because the consultation with the sector last year was tough. Our sector was incredibly emotive in its response and that’s to be expected given the intensity of the creative process and because the topic of AI is so personal to human identity, creativity, integrity, trust. But I really wanted to add a pragmatic lens to it, instead of having this debate whether AI is inherently good or bad. What I can do to help is have a very pragmatic conversation with people at the coalface across all the creative sectors, and work out how do we get closer to what is the reality of adoption
Touching on that consultation, do you think we’ve turned a corner now that the opt-out approach has been put to one side and there’s a focus on licensing instead?
From a creative industry standpoint I’m feeling a lot more comfortable than I did, but we still have some way to go. There needs to be dialogue between the DCMS and industry and I want to be that bridge. I’m hosting these regular meetings with the industry, and I’m not expecting anyone to have a final position on how they feel about AI, but at the very least, let us compare notes, so that we can sit around the table across the whole sector and have a really open and honest conversation as to how are each of us grappling with this.
If you look at gaming, adoption is far more advanced than gaming in the other sectors, so I think there’s a lot of cross-pollination, sharing, peer-to-peer learning that I’m hoping to sort of stimulate in that process. Demystifying it will help us get a little bit more comfortable that some of these tools are actually super helpful.
What does Studio Four really say about the work Abbey Road is doing?
Studio Four has really captured the breadth of our ambition: Abbey Road today is not what Abbey Road was previously. We are not just a studio and I think we’re really bringing that to life in Studio Four where you see us sit very comfortably in the intersection of tech and creativity. People assume we’re just music, but we’re photography, music, film scores, gaming, fashion and dance, and you really see that in Studio Four.
On the tech front, we have [technology service] Audiomovers and all of our incubators. We’re talking about AI and we know it is a topic that creatives can find really uncomfortable, but let’s try and bring some comfort to it and break down the stigma. I think creatives feel like if they’re using AI then they’re cheating and I really want us to try and demystify some of that.
Why has Abbey Road stepped up and become such a respected voice in that conversation?
We have a lot of gravitas when we talk about it and that comes from trust. We are in the room when music is being made and creativity is being shaped, so hopefully we can use that trust in a way that’s positive for the industry. We don’t want to stop creating brilliant work. The U.K. is the third largest creative economy in the world. We punch above our weight from a population standpoint and it blows my mind to think we’re a population of 70 million and we are the third largest creative economy… but if we want to retain that position we can’t stop waiting for the government to figure out policy, we’ve got to find our way through it, and that’s through adoption.
War Child’s charity albumHELP(2) was largely recorded at Abbey Road. What was that experience like?
From a cause perspective it is a really important one. We said we’ll open our doors and literally, whatever you need, we are here to support. That was a really easy conversation. Actually seeing the artists and the children come in, you can’t help but feel that you’re doing a really good thing. I’m really happy we were able to do our bit, I’m really happy we were able to support and have that calibre of talent in our studio is always a privilege. We never take that stuff for granted.
Whether Arctic Monkeys who had a great time or Olivia Rodrigo who was in for it, it’s always great to have such global talent all coming together to do something brilliant. It’s just one of those heart-warming moments, really.
What’s next for you and Abbey Road?
We’re going to be putting recommendations for AI to DCMS which is really important. We’ve got some really exciting announcements to come in the consumer electronics space. The lead time for this stuff is typically two years, but we’re on the brink of signing something really exciting there. I’m super excited at this idea that Abbey Road will be elevating people’s experience of sound in their pockets, in their homes, in a way that you’ve never seen before. Studio Four was the first time we have stepped out of St Johns Wood, and this will be the first time that we go into the consumer lane and elevate that sort of listening experience for fans.
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.pngYveto2026-06-09 15:56:122026-06-09 15:56:12Abbey Road Boss Sally Davies on ‘Buoyant’ SXSW London Takeover & Shaping U.K. Industry’s ‘Pragmatic’ Response to AI
