Trace Adkins appeared on Bill Maher’s Club Random podcast this week for a wide-ranging interview, one in which the four-time Billboard Country Airplay chart-topper offered up his opinions on topics including music, how his voice has improved over the years, his smoking habit, his past struggles with drinking, Elvis Presley’s death and his desire to make an album of classic “crooner” songs made famous by artists such as Frank Sinatra.

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Louisiana native Adkins, who has never been shy about offering his views on hot topics and who previously released the 2007 book A Personal Stand: Observations and Opinions from a Freethinking Roughneck, also gave his perspectives on the backlash Morgan Wallen and Jason Aldean both faced in recent years. Maher brought up the controversy that surrounded Aldean’s song “Try That in a Small Town” and its music video, which included scenes filmed at Tennessee’s Maury County Courthouse, where a Black man named Henry Choate was lynched in 1927.

Maher said Aldean likely did not know the history of the music video location when filming the video there.

“He had no idea,” Adkins agreed, later adding, “The grievance junkies turn on somebody and they try to cancel them, and all it’s going to do, he’s going to sell more records than he ever has and it’s going to make him bigger than he’s ever been. … He had no idea, man. Do you know how many music videos I’ve done that I’ve called up the director and went, ‘Hey, man, now what about this location where we’re shooting this thing?’ And if I did do that, it’s only because I didn’t know where I was going. He [Aldean] had no idea. That director picked that location because it had the look they wanted. It was just a small-town courthouse, that’s all it was. And it happened to be close.”

Maher also brought up Wallen, who garnered backlash after he was filmed using a racial slur outside his Nashville home in 2021. Though Wallen was dropped by his booking agency at the time and briefly suspended from his label and had his music pulled from radio and streaming platforms, he has since seen his music dominate music charts and his tours swell from arenas to stadium dates.

“He sold out two nights in a row, 55,000-plus tickets each night,” Adkins said. “God…cancel me,” he added with a laugh. When Maher stated that he didn’t feel that either Wallen nor Aldean was racist, Adkins answered, “I’ve been around both of those guys. They’re good guys. There’s no… they’re not racist.”

Earlier in the conversation, Adkins also recalled that his mother beat COVID “three times, and she’s 81. … The first time she got it was pretty rough, but then the next two times it wasn’t very bad. She had built up a natural immunity, I suppose.”

Adkins noted that he got COVID-19 twice, but added that he did receive the COVID-19 vaccine.

“So you didn’t think the vaccine had a chip in it to track you?” Maher asked, addressing a conspiracy theory, with Adkins replying, “You know what? I just, I don’t buy all of that crap, you know? I’m like, give me a vaccine for everything that you’ve got one for. I’ll take them. I’m not scared of that. … I don’t think they’re trying to put something in the vaccines to control us.”

Adkins also noted his love of comedy and his respect for comedians, given that that each night, a comedian’s success or failure onstage relies solely on themselves.

“I’ve got such respect for what you guys do, because you’re working without a net. I’ve got those five or six guys standing up there onstage with me. I got my gang, I got my muscle. You don’t like what I’m doing? You’re gonna have to deal with these guys. But you’re up there by yourself. I’ve got just crazy respect for what you guys do.”

Watch the full podcast interview below:

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

With the rise of VR headsets like the Meta Quest 3, PlayStation VR2 Headset and Valve Index, Apple decided to throw its hat into the VR ring with their very own headset. Enter the Apple Vision Pro, a new mixed-reality headset that’s positioned as the “ultimate entertainment experience.”

Starting at $3,499, the Apple Vision Pro is available for pre-order on Jan. 19 starting at 5 a.m. PT/8 a.m. ET at apple.com, Amazon and Walmart with release on Feb. 2.

Apple Vision Pro Available for Pre-Order Starting Friday, Jan 19

AVAILABLE ON FEB. 2

Apple Vision Pro


The Apple Vision Pro is designed to pair the virtual world with the physical world through spatial computing and digital content via the tech company’s newest operating system Apple visionOS.

Here’s how it works: Just place the headset over your head on let it rest on your eyes to begin interacting with Apple’s mixed reality format. Instead of using controllers or a stylus, you interact with apps — like Safari, FaceTime, iMessages, iCloud and others — as well as digital content — from Apple Music, Apple TV, Disney+ and more — with your eyes, hands and voice.

If you’re a Disney+ subscriber, you can watch movies — like Avatar: The Way of Water, Avengers: Endgame, Star Wars: The Force Awakens, Encanto and many others — in 3D and Dolby Vision with experiences that’s specifically designed for the Apple Vision Pro.

If you’re not a subscriber, you can sign up for Disney+ with prices starting at $9.99 for the ad-supported plan. With a subscription, you can have access to hit original programing, such as The Mandalorian, Moon Knight, The Muppets Mayhem, American Born Chinese, Turning Red and more.

Available for pre-order on Jan. 19 at apple.com, Amazon and Walmart, the Apple Vision Pro starts at $3,499 with release on Feb. 2. In the meantime, watch an introduction video from Apple, below.

Want more? For more product recommendations, check out our roundups of the best gaming chairs, best over-ear headphones, wifi extenders, laptop deals and more.

Universal Music Group (UMG) shares almost hit an all-time high on Friday, reaching 27.47 euros ($29.98) before closing at 27.22 euros ($29.21), a 1% increase for the week. That was close to the peak of 27.96 euros ($30.52) reached on Nov. 12, 2021, less than two months after the company was spun off from Vivendi, and marked a new 52-week high. The 1% gain followed a 6.9% improvement last week as investors reacted to news that the company expects to lay off staff in the first quarter. 

If French music company Believe is taken private, as has been reported, shareholders would expect a premium over the recent share price. That would explain why the company’s share price rose 13.5% to 10.18 euros ($11.11) this week — more than offsetting the 10.5% decline Believe shares experienced last week after news broke of the potential takeover. According to a Reuters report, Believe co-founder/CEO Denis Ladegaillerie and U.S. investment firm TCV have floated the idea to private equity firms. 

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The S&P 500 rose 1.2% to close at a record high of 4,839.81 on Friday, surpassing the previous peak set two years ago. The Nasdaq didn’t set a record but fared even better, climbing 2.3% to 15,310.97. Stocks in other countries didn’t match the gains in U.S. markets. In the United Kingdom, the FTSE 100 dropped 2.1% to 7,461.93. South Korea’s KOSPI composite index fell 2.1% to 2,472.74. China’s Shanghai Stock Exchange Composite Index sank 1.7% to 2,832.28.

Music stocks were slightly off last week’s record high despite Believe’s double-digit gain and the majority of music stocks finishing the week in positive territory. The 20-company Billboard Global Music Index fell 0.4% to 1,559.48 this week, down slightly from last week’s all-time high of 1,566.45. Twelve of the 20 stocks had gains this week. Other than Believe’s takeover-related jump, the best-performing music stocks had only low, single-digit gains. MSG Entertainment rose 4.1% to 33.48 and SiriusXM improved 4% to $5.42. 

The index’s most valuable companies improved slightly: In addition to UMG’s 1% gain, Spotify improved 0.8% to $204.71 and Live Nation climbed 0.6% to $91.18. Those gains were overshadowed by losses by radio giant iHeartMedia, which fell 1.7% to $2.25, and three Asian companies: HYBE, SM Entertainment and Tencent Music Entertainment.

The index’s biggest losers were K-pop companies HYBE and SM Entertainment, which fell 10.9% and 10.3%, respectively. HYBE has been on a roller coaster in January, jumping 9.6% from Dec. 28 to Jan. 11 before falling 14.1% over the next six trading days. SM Entertainment jumped 20.5% from the end of December to Jan. 11 but has only dropped 3.4% from its high point. Another big mover this week was Chinese music streamer Tencent Music Entertainment, which dropped 9.5% to $8.51. 

There was good news for all companies on Friday when the closely watched University of Michigan’s Index of Consumer Sentiment jumped 13% in January, its highest level since July 2021. Over the last two months, consumer sentiment has risen 29% and Americans’ expectations for future inflation dropped to 2.9%. Consumer sentiment is now 60% above the all-time low from June 2022 but remains 7% below the historical average. 

Music companies will soon announce earnings results for the quarter ended Dec. 31. The first companies out of the gate are SiriusXM on Feb. 1 and Spotify on Feb. 6. 

We’re guessing 6-foot-5 actor Jacob Elordi isn’t often called “baby girl,” but that’s just what Reneé Rapp and Bowen Yang label him in new Saturday Night Live promos, released Thursday night (Jan. 18).

“Reneé, you were so right. He is so baby girl,” SNL castmember Yang says after Elordi announces his hosting gig, to which musical guest Rapp responds: “I know. That’s what I said. He is so baby girl.”

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“Me? I’m a baby girl?” Elordi asks. “So what’s Reneé?”

“Oh, I’m mother,” Rapp responds — citing a moniker she’s often given by her adoring fans on social media. “And I’m big, wrinkly son!” Yang proudly declares.

Elordi is hosting the NBC sketch comedy show for the very first time this weekend after starring in his two biggest films to date last year: playing Elvis Presley in Sofia Coppola’s Priscilla and the irresistible Felix in Emerald Fennell’s black comedy Saltburn. Rapp will also make her SNL debut this weekend as the musical guest, a week after the release of the Mean Girls musical movie, in which she reprises her Broadway role as Regina George.

Elsewhere in the promos, Yang plays off Elordi’s heartthrob status, saying as he fans himself: “More like ‘Jacob Oh Lordy!’ Am I the first person to say that?”

Elordi lets Yang know that he’s not even the first person that hour to make the pun, with Rapp imploring him: “Bowen, just stop.”

“Wow, Reneé! You really are a Mean Girls,” Yang shoots back — awkward plural and all.

SNL returns on Saturday night at 11:30 p.m. ET/8:30 p.m. PT on NBC. Watch the promos below:

A U.S. District Court judge blocked JetBlue’s proposed $3.8 billion acquisition of Spirit Airlines this week, and got a little musical in the process.

At one point in his 109-page ruling, Judge William G. Young of the U.S. District Court for the District of Massachusetts quoted lyrics of “Master of the House” from Les Misérables to attack junk fees on airlines: “Reasonable charges / Plus some little extras on the side! / Charge ’em for the lice, extra for the mice / Two percent for looking in the mirror twice / Here a little slice, there a little cut / Three percent for sleeping with the window shut / When it comes to fixing prices / There are a lot of tricks I knows / How it all increases, all them bits and pieces / Jesus! It’s amazing how it grows!”

Young ultimately sided with the Justice Department in deciding that the merger would reduce competition in the airline business. If it had gone through, a merger between JetBlue and Spirit Airlines would have created the United States’ fifth-largest airline following American Airlines, Delta Air Lines, Southwest Airlines and United Airlines — who control about two-thirds of the market, per the New York Times.

The Justice Department argued that smaller, lower priced airlines like Spirit help reduce fares for customers. The Department also added that allowing JetBlue to purchase the company would harm consumers as JetBlue typically offers higher prices for their flights. Judge Young agreed, ruling that the merger would “likely incentivize JetBlue further to abandon its roots as a maverick, low-cost carrier.”

On Thursday afternoon, the history-filled Sony lot in Culver City — which was the MGM lot during Hollywood’s Golden Age, home to “more stars than there are in heaven” — welcomed film composer John Williams, after whom the studio’s musical building was being renamed.

Williams, 91, who is best known for the scores of Star Wars and 29 Steven Spielberg films — 20 of which were scored in the structure that will henceforth be known as the John Williams Music Building — was on hand, as were many of his collaborators (Spielberg, J.J. Abrams and Spielberg’s producers Frank Marshall and Kristie Macosko Krieger) and colleagues (including fellow film composer Thomas Newman).

Sony Pictures Entertainment chairman and CEO Tony Vinciquerra kicked off the festivities by noting how much “magic was made right here in this building.” Sony Pictures Entertainment Motion Picture Group chairman and CEO Tom Rothman then argued that the greatest of all time in many fields is debatable, citing the examples of Michael Jordan vs. LeBron James, Jack Nicklaus vs. Tiger Woods, Claude Monet vs. Vincent van Gogh and Stanley Kubrick vs. Spielberg — but that when it comes to film scoring, “There is no argument: John Williams is the GOAT,” adding, “I’m very sure that 100 years from now the name that will go on this building today will still be the name of the greatest of all time.”

Abrams spoke next, addressing Williams, “Johnny, you’ve filled our lives with some of the greatest art ever produced by mankind,” and the other attendees: “How lucky are we to be alive at the same time as John Williams?”

Then it was Spielberg’s turn. “Johnny, I have grown up with you,” the filmmaker said, recalling how struck he had been listening to the album of Williams’ score for the 1969 film The Reivers, vowing, “If I ever got the chance to make a movie, I would want the guy who wrote this.” The two met ahead of Spielberg’s feature directorial debut, 1974’s The Sugarland Express, and have rarely worked apart since.

“It was the beginning of a beautiful friendship,” Spielberg said, before turning to Williams: “What you did for me was something I had never been able to imagine any single creative collaborator would ever be able to do for me or the stories I was telling, and that is when I thought I’d gotten to know a film really well, by the time I turned my films over to you, I knew what my movies were, I knew what they meant to me. Then you would musically do the final draft of my films, the final rewrite, and you would bring every movie I’ve ever made to a level that I didn’t recognize it as me, I recognized it as us. The films suddenly became informed by wherever you get your inspiration… Without you, the films are running around with no clothes on; with you, they’re completely finished. I’ve often said that if my movies can bring a tear to your eye, your music makes that tear fall down the face. And it’s happened on film after film after film. This alley is where all my stress dissipates, when I finally get to this stage of a production and I know that I am in your capable hands.”

Spielberg then invited the prior speakers and Williams to the stage, took a conductor’s baton and motioned towards a sheet-covered portion of the building, and upon his cue the sheet lifted and the new name of the building was visible.

Williams then stepped up to the podium and cracked, “This is the alley where Steven destresses. This is the alley is where I stress!” He then shared that his history at the building that now bears his name dates back long before his professional career: “The first time I came to this studio was 1940 when my father brought me here to show me the stage. I was about 9 or 10 years old, and I thought [he joked], ‘Someday this will all be mine!’ It’s finally come to be — it’s only taken me 92 years to get here! [His 92nd birthday is on Feb. 8.]” He added with a chuckle, “This place, I have reverence for it. I love it. Is it perfect? No. Tom, we could use a couple more bathrooms for the orchestra.”

Williams closed by asserting, “My hope and even prayer for this hall and for future people coming into it is a hope and it’s also a challenge: that they should do as well the next 100 years as the people who have been here for the last 100 years. They need to get to work and make some good music. And that is a challenge because they are standing on very big shoulders.”

As guests posed for photographs and headed over to a buffet lunch, Rothman escorted a fellow journalist and I into the John Williams Music Building, where another great composer, Oscar winner Dario Marianelli, was scoring, with a full orchestra, the upcoming Ghostbusters: Frozen Empire, as director Gil Kenan looked on. Rothman notified them, during their session, that the name of their building had changed.

This article was originally published by The Hollywood Reporter.

Authorities in the Dominican Republic have arrested U.S. rapper Tekashi 6ix9ine, who is scheduled to appear in court on Thursday on charges of domestic violence.

The rapper, whose real name is Daniel Hernández, is being held at a jail in the capital of Santo Domingo, where he was arrested Wednesday, officials said.

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No further details were immediately available, and it wasn’t immediately clear if Hernández has an attorney.

A judge on Thursday is expected to decide whether the rapper will remain behind bars or be freed on bond as the investigation continues.

The arrest is Hernández’s latest brush with the law.

He was arrested at a seaside hotel in the Dominican Republic in October after being accused of assaulting a local music producer. Hernández and his partner, a Dominican rapper known as Yailín la Más Viral, had been recording at the producer’s studio.

Hernández was also previously accused in the U.S. of using a violent gang as a “personal hit squad,” but he avoided prison after providing testimony against the Nine Trey Gangsta Bloods, which operate in the U.S. East Coast.

In March 2023, he was assaulted by several people at a gym in Florida.

Tekashi 6ix9ine had a multiplatinum hit song, “Fefe,” with Nicki Minaj in 2018. It peaked at No. 3 on the pop charts.

Billie Eilish added another level of introspection to the Barbie movie with “What Was I Made For?.”

“What Was I Made For?” won best original song at the 81st annual Golden Globe Awards, and is nominated for record of the year, song of the year, best pop solo performance, best song written for visual media and best music video at the upcoming (Feb. 4) Grammy Awards.

If you need a guide to follow along with Billie Eilish’s “What Was I Made For?,” find the lyrics below:

I used to float, now I just fall down
I used to know but I’m not sure now
What I was made for
What was I made for?

Takin’ a drive, I was an ideal
Looked so alive, turns out I’m not real
Just something you paid for
What was I made for?

‘Cause I, I
I don’t know how to feel
But I wanna try
I don’t know how to feel
But someday, I might
Someday, I might

When did it end? All the enjoyment
I’m sad again, don’t tell my boyfriend
It’s not what he’s made for
What was I made for?

‘Cause I, ’cause I
I don’t know how to feel
But I wanna try
I don’t know how to feel
But someday I might
Someday I might

Think I forgot how to be happy
Something I’m not, but something I can be
Something I wait for
Something I’m made for
Something I’m made for

Lyrics licensed & provided by LyricFind

Lyrics © Universal Music Publishing Group, Kobalt Music Publishing Ltd.

Written by: Billie Eilish O’Connell, Finneas Baird O’Connell

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

Start 2024 with a bang, thanks to Samsung’s newest flagship smartphones for the year. Enter the Samsung Galaxy S24, the tech company’s best and brightest mobile device.

Starting at $799.99, the Samsung Galaxy S24 models are available for pre-order at Samsung, Amazon, Best Buy and Walmart with release on Jan. 31. There are unlocked models ready for pre-order, as well as models paired with mobile carriers, like T-Mobile, Verizon, AT&T or US Cellular.

For 2024, the Samsung Galaxy Series smartphone comes with three varieties: S24, S24+ and S24 Ultra with storage sizes between 128GB and 1TB — depending on which model you pick.

In addition, there are a few interesting deals, if you pre-order now through samsung.com. You can get a free storage upgrade to the next tier of storage up to 1TB, or you can get up to $100 in Samsung Credit with pre-order. The South Korean tech company is even offering 20% off Samsung Care+ that comes with repairs, replacement and expert support, as well as protects against theft and loss. Learn more about Samsung Galaxy S24 deals and offers here.

In the meantime, scroll down to learn more about the Samsung Galaxy S24 and how to reserve and pre-order yours, below:

Samsung Galaxy S24 (2024) Smartphone Series is Ready for Pre-Order

AVAILABLE ON JAN. 31

Samsung Galaxy S24

With a 6.2-inch Dynamic LTPO AMOLED 2X display, the Samsung Galaxy S24 is the entry-level model. But don’t let that fool you. It’s super fast with the Qualcomm SM8650-AB Snapdragon 8 (Gen 3) chip inside, while it comes with 8GB of RAM paired with up to 256GB of on-board storage.

As for its camera, it comes with a triple-camera system with a 50-megapixel wide shooter, a 10-megapixel telephoto with a 12-megapixel ultrawide for sharper and crisper photos. It can even record video in glorious 4K at up to 60FPS (frames per second).

The Samsung Galaxy S24 starts at $799.99 and comes in seven colors, such as Sapphire Blue (pictured above), Onyx Black, Marble Gray and more.


Samsung Galaxy S24 (2024) Smartphone Series is Ready for Pre-Order

AVAILABLE ON JAN. 31

Samsung Galaxy S24+

Want something bigger? The Samsung Galaxy S24+ features nearly the same phone and camera specs as the S24, but it has a larger 6.7-inch Dynamic LTPO AMOLED 2X display. It also has a longer battery life since it’s a larger mobile device.

The S24+ comes in seven colors: Jade Green (pictured above), Sandstone Orange, Cobalt Violet and more. It starts at $999.99.


Samsung Galaxy S24 (2024) Smartphone Series is Ready for Pre-Order

AVAILABLE ON JAN. 31

Samsung Galaxy S24 Ultra

Step up to ultra model with the Samsung Galaxy S24 Ultra, which starts at $1299.99. It features a 6.8-inch Dynamic LTPO AMOLED 2X display, a Qualcomm SM8650-AC Snapdragon 8 (Gen 3) chipset and a titanium frame design (a first ever for Samsung). The smartphone also has a quad-camera system on its rear — a 200-megapixel wide, a 50-megapixel periscope telephoto, a 10-megapixel telephoto and 12-megapixel ultrawide — for ultra pro-level photos and video.

The Samsung Galaxy S24 Ultra even comes with the Samsung S-Pen stylus and comes in seven colors, including Titanium Yellow (pictured above), Titanium Black, Titanium Gray, Titanium Orange and more.


Meanwhile, each model runs the latest Android 14 and comes with Samsung Galaxy AI features, such as Circle to Search with Google advanced image search, Live Translate real-time call and text translations, AI Photo Editing to tweak and edit photos to look their best and much more.

Samsung Galaxy S24 models are available for pre-order now at Samsung, Amazon, Best Buy and Walmart with release on Jan. 31. Prices start at $799.99 with activation from T-Mobile, Verizon, AT&T or US Cellular.

Want more? For more product recommendations, check out our roundups of the best gaming chairs, best over-ear headphones, wifi extenders, laptop deals and more.

The first time Don Omar went on tour in Spain, nearly 25 years ago, he had to sing his breakout hits two and three times every time he got onstage.

“I had no repertoire!” he admits to Billboard News with a laugh. Back then, Don Omar, real name William Omar Landrón, was a 22-year-old who was hustling. “I came from such a Puerto Rican genre, such a street genre, and then, those songs started to play everywhere.”

What a difference a quarter-century makes. On March 7, Don Omar kicks off his Back to Reggaetón Tour at the Santander Arena in Reading, Pennsylvania, and will go on to play 25 major U.S. cities, ending April 21 at the Kaseya Center in Miami, before heading to Europe and Central America.

This time, there will be no need for repeat performances.

“I’ve never had the opportunity to sing my entire repertoire because I never have enough time onstage. But this tour demands two full hours of music,” Don Omar told Billboard‘s Leila Cobo during an exclusive interview prior to his tour. Back to Reggaetón, incredibly, is Don Omar’s first major headlining tour in a decade and his first since the Kingdom Tour with Daddy Yankee in 2015.

This time around, there’s also friends knocking at the door.

“Many are demanding, ‘Don’t leave me out of this!’” he says. “And I’m treating that like a privilege. If, after 25 years of career, your colleagues still feel love, happiness and the desire to share with you, you’ve done something right.”

While the specifics still need to be ironed out, expect to see the likes of Tito El Bambino, Zion y Lennox and Wisin and Yandel somewhere on the tour.

For Don Omar, it’s not a comeback; he’s been releasing a steady supply of music for the past two years. But, he says, it’s gratifying to see so many artists who he literally saw grow up to his music as established and still close.

The first one to believe fully in him, he recalls, was Ñengo Flow, who early in his career asked him to “present” him on his debut album. “It was the first time I realized, ‘They’re looking up at me.’ Ñengo was just getting started. But I was just getting started too.”

All these years later, “I have songs Jhay Cortez wrote for me 10 years ago. And those things make me see, I do have a responsibility. To see people like Jhay and Farruko, and everyone I have great respect and admiration for, say they wanted to be like me back in the day […] it’s one of the things I love most.”

Don Omar is also testing new ground. His new EP, Back to Reggaetón, is out on his own label, and he plans to print CD copies to sell as merch on tour, as part of a broader effort to bring his music and himself even closer to fans.

“Independence allows you to put your own ideas into practice,” he says. “I’m the product of a bunch of bad experiences that made me take action and learn the business. Today, I can be independent. Today I have the economic and intellectual capacity to do so.”

Watch the full interview above.