Courtney Love is not a Swiftie.

The Hole frontwoman sat down for an interview with UK publication The Standard recently, where she opened up about which female artists she likes (Patti Smith, Nina Simone, PJ Harvey and Debbie Harry) and which ones she doesn’t, leading with Taylor Swift.

“Taylor is not important. She might be a safe space for girls, and she’s probably the Madonna of now, but she’s not interesting as an artist,” Love told the outlet, before adding that she’s growing tired of Coachella 2024 headliner Lana Del Rey. “I haven’t liked Lana since she covered a John Denver song, and I think she should really take seven years off,” she said. “Up until ‘Take Me Home Country Roads’ I thought she was great. When I was recording my new album, I had to stop listening to her as she was influencing me too much.”

Lastly, Love said that she’s not a fan of Madonna either. “I don’t like her and she doesn’t like me. I loved Desperately Seeking Susan, but for the city of New York as much as her,” she said.

While Love is quick to criticize the women she doesn’t like, she also has a history for standing up for women in music. Back in March 2023, the 59-year-old rocker wrote an op-ed for the Guardian aimed at the lack of female representation in the Rock and Roll Hall of Fame. The piece, titled, “Why Are Women So Marginalised by the Rock & Roll Hall of Fame?,” opens with Love describing her lifelong obsession with rock n’ roll by stating, “I got into this business to write great songs and have fun.”

Love said that the 2023 nominations provided another reminder of “just how extraordinary a woman must be to make it into the ol’ boys club,” noting that more women were nominated this year than at any time in the organization’s 40-year history. That group included Kate Bush, Cyndi Lauper, Sheryl Crow and Missy Elliott, as well as the White Stripes’ drummer Meg White and New Order keyboardist Gillian Gilbert.

“If the Rock Hall is not willing to look at the ways it is replicating the violence of structural racism and sexism that artists face in the music industry, if it cannot properly honour what visionary women artists have created, innovated, revolutionised and contributed to popular music – well, then let it go to hell in a handbag,” Love concluded the piece.

Drake has long been able to leverage social media to his advantage when it comes to trolling and Metro Boomin is his latest victim.

After sniping for a headshot at Metro Boomin by name on Drizzy’s leaked “Push Ups,” he continued to troll the producer with a clip from 2002’s Drumline movie on Monday (April 15).

“Metro, shut yo ho-a– up and make some drums, n—a,” Drake raps on the diss track.

The blockbuster scene finds Nick Cannon’s character having his late-night drumline tryout attempting to convince band leaders he’s worthy of being on the P1 line without reading a note of music.

But instead of Cannon, Drake hilariously Photoshops Metro’s face on him playing the drums, which fittingly aligns with the bar Drake used to jab Metro on “Push Ups.”

In a way, the Instagram Story post signifies Drake’s first time publicly recognizing his “Push Ups” diss track. An earlier version of the scathing diss surfaced on the internet on Saturday (April 13) and DJ Akademiks premiered the CDQ version hours later.

In addition to name-dropping Metro Boomin, Drake appeared to have smoke for Kendrick Lamar, Future, The Weeknd, Rick Ross and more.

At this point, It’s unclear exactly what ignited the friction between Metro and Drake while some fans speculated on social media that their issues were over a woman.

At the top of 2023, a leaked Drake verse appeared on Metro’s Heroes & Villains track “Trance” and he explained not having the 6 God on the final version alongside Young Thug and Travis Scott.

“Really, it was a song I had did with [Travis Scott] and [Young Thug], originally for my album,” Metro recalled in an interview with Gangsta Grillz Radio. “I was in the studio with Drake one time because we were gonna do some stuff for my album. He just wanted to hear some songs from my album, and then he heard that one. He really wanted to get on it, but I was letting him know that it was really just done for real. I was just set on how it was. I was like, ‘Bro, I ain’t trying to sell you no dream. I’m locked in where it was.’ He had hit me and was just like, ‘Let me see if there’s anything you could add to it.’ He was like, ‘If you don’t like it, then whatever.’”

Months later, he appeared to voice his frustration on social media with Her Loss sweeping hip-hop award categories like Top Rap Album at the 2023 Billboard Music Awards.

“Yet Her Loss keeps winning rap album of the year over H&V,” he wrote to his IG Story. “Proof that award shows are just politics and not for me. Idc about awards honestly, the true award and REWARD is knowing that the music I spend so much time on brings joy to people’s everyday lives.” 

Drake subliminally responded on his Instagram Story while quoting Jay-Z’s “Heart of the City.” “Damn, little mans, I’m just tryna do me/ If the record’s two mil I’m just tryna move three,” he posted.

Find a clip of Drake’s meme of Metro Boomin below.

A radical restaging of Hollywood film noir musical Sunset Boulevard was the big winner on Sunday (April 14) at the London stage Olivier Awards, taking seven trophies including best musical revival and best actress for American star Nicole Scherzinger.

Soccer-themed state-of-the-nation drama Dear England was named best new play, while Sarah Snook and Mark Gatiss were among the acting winners.

Scherzinger was rewarded for her performance as fading silver screen star Norma Desmond in a flashy revival of Andrew Lloyd Webber’s Sunset Boulevard, three decades after the musical’s 1990s debut. Her co-star Tom Francis won the corresponding best actor prize as a struggling screenwriter fatefully drawn into Desmond’s orbit.

Jamie Lloyd took the directing trophy for the technically innovative production, which melds live video with the onstage action and also won Oliviers for sound and lighting design. It’s due to open in New York later this year, and Lloyd predicted it would “take Broadway by storm.”

Scherzinger said that when she was growing up in Kentucky, “I always wanted to be a singer and do musicals.”

“I dreamed of so many roles I wanted to do — and honestly this role, Norma Desmond, was not one of those roles,” she said. “But God works in mysterious ways.”

The prize for best new musical went to Operation Mincemeat, a word-of-mouth hit based on an audacious real-life espionage operation that deceived the Nazis during World War II. The show began life in a tiny theater in 2019 and has moved to progressively larger venues, gathering accolades along the way.

Stranger Things: The First Shadow, a dazzlingly staged prequel to the Netflix supernatural series, was named best new entertainment or comedy.

The Oliviers — the U.K. equivalent of Broadway’s Tony Awards — are celebrating a bumper year for new shows in the West End, finally bouncing back from the COVID-19 pandemic. Several winners lamented the soaring cost of theater tickets, and cuts to arts education that are squeezing working-class talent out of theatrical careers and theater audiences.

“If you don’t tell a kid to go and see a show … they’re not going to develop that habit, they’re not going to get that experience,” said Dear England playwright James Graham, who grew up in a small mining town. “So I am really worried.”

But the mood was largely celebratory as Ted Lasso star Hannah Waddingham presided over an exuberant ceremony at London’s Royal Albert Hall, opening the show by belting out “Anything Goes” alongside the London Community Gospel Choir. The show was peppered with performances from several of the nominated musicals, including Guys and Dolls, Hadestown and homegrown hit The Little Big Things.

The prizes, which recognize achievements in theater, opera and dance, were founded in 1976 and named for the late actor-director Laurence Olivier. Winners are chosen by voting groups of stage professionals and theatergoers.

Snook – the scheming Shiv Roy in Succession – beat a talented field including Sarah Jessica Parker and Sophie Okonedo to be named best actress in a play for The Picture of Dorian Gray, an adaptation of Oscar Wilde’s cautionary fable in which Snook plays more than two dozen characters.

Backstage, the Emmy Award-winning Australian performer said the solo stage show was “so much harder” than doing TV.

“I’ve never done anything harder than this,” said Snook, who said she’d asked herself “why am I doing a 60,000-word monologue with an 8-month-old baby?” She revealed she’d learned her lines for the play during filming of the final series of Succession, at night while breastfeeding her daughter.

Gatiss — co-creator of the BBC TV series Sherlock — won the best actor trophy for playing theater great John Gielgud in The Motive and the Cue, Jack Thorne’s play about the struggle to mount a 1964 production of Hamlet with Richard Burton.

Gatiss recalled that Gielgud had considered awards ceremonies “vulgar.”

“I’m very, very thrilled to be in such wonderfully vulgar company,” he said.

Gatiss beat Dear England star Joseph Fiennes and Andrew Scott, who had been the favorite to win for the solo show Vanya. The Anton Chekhov adaptation by Simon Stephens took the prize for best revival.

Will Close was named best supporting actor in a play for his performance as footballer Harry Kane in Dear England.

Haydn Gwynne, who died in October, was posthumously awarded the best supporting actress prize for her final stage role in When Winston Went to War with the Wireless, about the early days of radio in Britain.

Awards for supporting performances in musicals were Amy Trigg for The Little Big Things and Jak Malone for Operation Mincemeat.

The show ended with a tribute to the National Theatre, which turned 60 in 2023 — culminating in a star-studded cast singing the anthem “You’ll Never Walk Alone.”