A photo appears in the documentary Billy Preston: That’s the Way God Planned It in which Preston is sitting at an organ across from Barbra Streisand in a recording studio. He’s playing on the Carole King song “Where You Lead” that Streisand covered in 1971 — an accompanying snippet of which soundtracks the photo. Listening to that recording speaks volumes about the gifted, Grammy-winning musician-singer-songwriter.

“You can hear how he pushes her to a funkier extreme,” explains Paris Barclay, the Emmy Award-winning director behind Billy Preston: That’s the Way God Planned It. “When you’re talking about the foundation of popular music, it’s Black music. And Billy shows that incredibly well. Because of his foundation in gospel and the blues tradition of that, he was able to pollinate that around all sorts of pop and rock musicians going all the way through to rap artists who have sampled him.”

“It’s really a testament to Billy’s genius,” adds Stephanie Allain, a producer of the documentary. “He could just slip into any genre and, as Eric Clapton says, be the glue.”

Sparked by a book proposal from David Shaw, That’s the Way God Planned It traces Preston’s life and career trajectory starting from five-year-old gospel prodigy backing Mahalia Jackson to being mentored by Ray Charles and Little Richard. It was on tour at 15 with Little Richard that he met the latter’s young opening act, The Beatles. Thus began Preston’s legendary musical odyssey of performing and recording not only with The Beatles (earning the nickname “Fifth Beatle”) and Streisand but Sly Stone, Aretha Franklin, The Rolling Stones, Clapton, Johnny Cash and Neil Diamond, among many others. In between, Preston crafted a hit career of his own that included No. 1s like “Outa-Space,” “Will It Go Round in Circles” and “Nothing From Nothing.”

Part history lesson and part walk down a star-paved memory lane, Billy Preston: That’s the Way God Planned It — now playing in theaters across North America — is also part cautionary tale. Despite the career highs, Preston also experienced the lows of addiction and several run-ins with the law. In addition, he grappled with secrets tied to his early sexual abuse and sexuality. The latter fostered a tug of war with his faith that he came to terms with before his death in 2006.

During a recent phone interview, Barclay and Allain spoke with Billboard about illuminating a musical genius — and the troubled soul inside.

One comment early in the documentary immediately stands out: “How did we let this boy get away?”

Barclay: When Gloria Jones [a member with Preston of ‘60s gospel group The Cogics] said that, it was a thunderclap for us. It summarized a lot of the people who really love Billy. You can see that love in the film, but also their regret that somehow they missed helping him when he really needed help. So it seemed like sort of a benchmark for the film. It’s our hope that people will look at this film and think about how they can help people they love.

That’s reason enough to have a film like this out there: not just about the glory of Billy Preston, but also the cautionary tale about the next Billy Preston who might be in a similar situation. Like not finding a place in church, even though he loves God. Feeling lost and very lonely — from friends’ accounts — even though he was there with the biggest stars of the era.

Toward the end, there’s another striking comment: “Can you imagine if church was really what it says it is?”

Barclay: Coming from Sandra Crouch as a pastor really says a lot. And that’s a question we bring up. The Black church has always had a huge influence on music. But it’s also had a huge influence on the psyche of many of the people who believe and want to please God with their music and their lives. And there comes this conflict. And so what if the church was embracing and tolerant and did the things that Jesus says we should be doing? That would be something we’d all want to flock to.

Allain: And when Billy Porter says that everybody knows there are queens in the church, that’s something we also don’t talk about. I love that we touch on it in the film because, just like Paris was saying, there are so many people that are affected by this sort of hypocrisy going on.

In chronicling Preston’s life, how did you go about balancing his illustrious career, his faith and the sexual politics?

Allain: We didn’t want to do a hagiography and just talk about all the great things without really understanding him. What we attempted to do was to really get behind his smile a little bit and see what else was going on there. I think his music actually shines brighter because of it, you know. It was definitely a balancing act, though.

Barclay: We approached it through the eyes of love. When you love someone, you see everything: their faults, failings and what makes them lovable. In Billy’s case, it was not only that enormous talent, but his kindness that his smile sort of exemplified. We just really focused on that. We struggled with the balance, trying to figure out how we actually put this together in a way that expresses that love. But I think we found something that seems to work.

What’s your favorite Billy Preston song?

Barclay: I’ll go with “Morning Star,” which is pretty obscure. But you hear it in the movie after his mother dies. It’s really poetic, featuring more of his classical leanings in how he plays the piano. It’s also a love song to his mother. When I hear that song, I also think of my mother, who’s 90, and how she is my morning star, as Billy says in the song. I also think that song extends his legacy of love even further into the new generation.

Allain: I love “I Wrote a Simple Song.” Every time that comes on, I just groove to it. Then there’s “You Are So Beautiful.” And, of course, “That’s the Way God Planned It.” There’s so many, it’s hard to pick.

How did you come to choose that George Harrison-produced song as the documentary’s title?

Allain: We had a lot of different titles, but kept coming back to that one. For a character who’s a little enigmatic, that you can’t really get beyond …  it was his statement.

Barclay: It also leaves the audience with the question: Is that the way God planned it? Billy says in the movie that everything he’s done and everything that’s happened to him has been what God has planned. And when you get to the troubles that he’s had, the addiction, you wonder if that’s the way God planned it as well. Or was there something else happening here.

Did you ever feel like Billy was watching while the documentary was being filmed?

Allain: So many of our interviewees said they had dreams about Billy coming to them. Gloria Jones told us that Billy came to her in a solid gold Mercedes. Since she knew him for so long, I asked Gloria if he would approve. And she said absolutely.

Barclay: Manny Kellough [Preston’s drummer] mentioned that before his interview, he had a dream about Billy appearing, nodding to him and then disappearing. And we actually had it in the movie for a minute, although it was one of those things that has to go when you want to tell the story. But we’re feeling touched and blessed by this film.

It’s JISOO on demand! Just ahead of the premiere of Boyfriend on Demand on Netflix, Billboard has four exclusive photos from the series that give an up-close look at the BLACKPINK singer’s role as Seo Mi-rae, a young woman looking for romance in a virtual dating service that’s too good to be true.

In one of the stills, JISOO has tears streaming down her dismayed face. Another shows the performer in an entirely different light, emanating a hopeful confidence as she sits in what appears to be a classroom while wearing a pink letterman jacket.

The other two exclusive photos feature JISOO acting opposite love interest Park Kyeong-Nam, played by Seo In-guk. The scenes appear completely different from one another, with the first showing a tension-filled moment as the two characters look at each other at night outdoors, and the second depicting Mi-rae and Kyeong-Nam standing in an elevator, the former looking away obliviously as the latter’s eyes fix in her direction.

Boyfriend on Demand will hit Netflix on Friday (March 6), arriving just a few weeks after the trailer dropped. At the time, a description for the project read, “Seo Mi-rae is worn out by work. Love? It’s the last thing on her mind. But a virtual dating service sparks feelings — and maybe a real shot at romance.”

The show is far from the first acting JISOO has undertaken, with the singer also starring in Newtopia, Omniscient Reader: The Prophecy and Snowdrop. She’s currently in the midst of a comeback with her BLACKPINK bandmates ROSÉ, LISA and JENNIE, with the band finally returning for mini-album DEADLINE in late February, after four years without a new collection of songs.

Below, see JISOO convey a range of emotions in Billboard‘s exclusive photos from Boyfriend on Demand.

UPDATE (March 5): The Grammy Museum will extend the exhibition period of Selena‘s personal items until May 11 due to high ticket demand. “Selena: From Texas to the World” was originally scheduled to run from Jan. 15 to March 16, but now, fans will have the opportunity to visit for a longer period.

The show includes clothing, microphones and even the singer’s cell phone, which, for the first time, have left the Selena Museum in Corpus Christi, Texas. After her death on March 31, 1995, the museum was created to honor the memory of the greatest female artist in Tex-Mex music, who achieved the coveted crossover in the U.S., earning a Grammy and securing prominent positions on the Billboard charts.

Tickets for “Selena: From Texas to the World” are available on the Grammy Museum’s official website, priced at $22.50 and valid for 30 days from the date of purchase.

PREVIOUSLY (Jan. 16): For the first time, personal items of late Tex-Mex music icon Selena Quintanilla have left Corpus Christi, Texas, to be shown at the Grammy Museum in Los Angeles. The exhibit, “Selena: From Texas to the World,” opened on Thursday (Jan. 15) and will remain on display until March 16.

Outside the museum, as a prelude, there is a mural created by artist Mr. Toledo showcasing the star at different moments in her career. Inside, visitors can view items selected by Suzette Quintanilla, Selena’s sister, including a microphone that still bears marks of her red lipstick, her personal cell phone, instruments from her band Los Dinos, and her Grammy awards — including the Lifetime Achievement Award she received posthumously in 2021 from the Recording Academy.

Pieces of her unforgettable wardrobe, such as the white rhinestone dress by Lillie Rubin that Selena wore to the 1994 Grammy Awards, are part of the collection. Selena was a fashion icon for Latina women and designed many of her own outfits; some of her sketches are also on display.

One of the most consequential artists of her generation, Selena revolutionized Latin music with her tejano twist on norteño music and hip-swiveling techno-cumbias that showcased her versatility. With anthems such as “Amor Prohibido,” “Bidi Bidi Bom Bom,” “Como La Flor” and “No Me Queda Más,” to name a few, her music has endured decades after her death in 1995 at 23.

On the Billboard charts, she earned 24 entries on Top Latin Albums, 16 of which hit the top 10 and seven of which hit No. 1 — among them Amor Prohibido, which spent 20 weeks at the top in 1994, and the posthumous Dreaming of You, which spent 40 weeks at the summit in 1995. On the Regional Mexican Albums and Latin Pop Albums charts, the late artist placed seven and six titles at No. 1, respectively. Amor Prohibido topped the former chart for nearly 100 weeks. 

“Selena: From Texas to the World” was inaugurated by her sister Suzette and Selena’s widower, Chris Pérez. The exhibit comes a month after the death of Abraham Quintanilla, the father and manager of the Mexican-American star. The family had previously safeguarded this legacy at the Selena Museum in Corpus Christi.

For tickets, schedules, and more information, visit the official Grammy Museum website.

What’s more difficult: singing “The Star-Spangled Banner” in front of millions or appearing on Hot Ones? Charlie Puth — who performed the song at the 2026 Super Bowl — still isn’t sure.

While guesting on the episode of the show posted Thursday (March 5), the singer-songwriter barely made it through host Sean Evans’ ultra-hot wings while answering questions, one of which was about Puth’s past classification of the United States’ national anthem as the most difficult song to perform of all time.

“It’s constant tension and release,” the hitmaker told Evans of the anthem penned by Francis Scott Key. “Listen to it. It’s constant tension and release. It’s major chord, minor chord. And I don’t know, it just has a melody that soars and when you put it in 4/4 timing, it’s just good.”

Earlier in the video — before the wing-eating commenced — Puth had confessed, “I haven’t been this nervous since the Super Bowl, I’m going to be honest.” That’s saying something, as the Big Game — which is watched by tens of millions of people yearly — is famously one of the most high-stakes gigs a performing artist can snag.

Puth performed “The Star-Spangled Banner” on Feb. 8 before the Seattle Seahawks faced off against the New England Patriots, winning 29-13. He was one of a few artists involved in the pre-game show, with Brandi Carlile performing “America, the Beautiful,” Coco Jones singing “Lift Every Voice and Sing” and Green Day delivering a medley of the Bay Area band’s hits.

On X after his high-pressure performance of the anthem, Puth revealed that he’d specifically used it as an opportunity to pay tribute to another New Jersey native. “I wrote the arrangement in a very specific way to honor Whitney Houston,” he posted at the time. “I hope that was heard.”

Elsewhere on Hot Ones, Puth — who was recently named chief music officer of AI company Moises — had a progressively more difficult time chewing, burping and spitting his way through the spicy wings, at one point saying he was on the verge of an “anxiety attack” and discussing his love of SpongeBob SquarePants. He also shared his thoughts about the future of pop music.

“I like the fact on a logistical standpoint, that there’s no longer people telling you what song you have to sing in order to get played on this radio station, or to get played on Spotify,” the producer told Evans. “It’s just best song wins, which is what I’ve always wanted. I love artists like sombr, who are putting a lot of reverb on their vocals. And I do think pop music, in my opinion, will expand because of hip-hop. It’s always expanded because of hip-hop. Katy Perry, “Dark Horse,” would not be here without Juicy J, Three 6 Mafia and Memphis, Tenn.”

Watch Puth struggle to endure the Hot Ones challenge above.

Stepping into a new phase with their major-label debut, REIRIE — the duo comprised of RIE (Rei Kuromiya) and REI (Rie Kaneko) — are moving forward with renewed momentum. The two first performed together in the same group before going their separate ways, only to reunite after roughly five years apart. Soon after reconnecting, they launched REIRIE.

Reflecting on how the pair came together and the unique bond they share, they spoke to Billboard Japan about the full scope of their first major-label EP Amethyst and the thoughts behind each track.

First, could you tell us how REIRIE began as a unit?

RIE: We originally performed together in a group called LADYBABY but ended up going our separate ways at one point. Then about five years later we reconnected, and it was like, “Yeah, it has to be the two of us,” so that’s how REIRIE formed. Right?

REI: Nothing to add. [Laughs] Exactly what she said.

RIE: There are so many different kinds of groups out there, but honestly, we don’t even really feel like we’re “doing a group.” It’s more like we just want to be together, and the music and live shows naturally fall into place around that.

It sounds like there’s a very fateful bond between you two. Going back further, could you tell us about how you first met?

RIE: It really felt like we were destined to meet. It wasn’t like becoming friends with a classmate at school because you get along. We first met in an elevator at an event venue. I was lost, and REI happened to be there. When I spoke to her, she kind of glared at me. [Laughs]

REI: [Laughs] I really wasn’t glaring at you.

RIE: But something about her presence and reaction completely got me. Not just in a visual way, but overall I thought, “She’s so cute.” And that was before I knew anything about her!

So it wasn’t only REI’s striking visuals, but you also picked up on something else.

RIE: Exactly. Her whole existence was totally my type. It went beyond something typical like admiring a boy who runs fast. The moment we met, it was like a shock went through me. After that I was always tagging along behind her, going, “REI, REI.”

From your side, REI, that must have been quite an intense approach off the bat.

REI: I was basically like, “What is this girl…?” I was on guard. [Laughs] RIE had this slightly performatively cute vibe going on at the time — I’d turn around and she’d be smiling, then she’d switch to a worried face out of nowhere, then smile again, that sort of thing. I had no idea what she was thinking. That was my first impression.

What was it like when you reunited after five years?

REI: Purely by coincidence, we both happened to be in Shibuya the same day. A mutual acquaintance told me, “RIE is doing an event nearby, she says we should come.” I hadn’t seen her in five years, so at first I wondered what we’d even talk about. But I figured maybe it was fate. I went to the venue where she was performing, and the first thing we did when we saw each other was shout “Yay!” and throw up double peace signs. [Laughs]

RIE: [Laughs] Yeah, “Yay!”

REI: The moment I saw that, I realized words weren’t necessary. Time had passed, but whatever flows between us hadn’t changed.

RIE: I never quite found the right timing to reconnect, but I’d always wanted to see her. More than being nervous, it just felt like, finally, we meet again.

REI: We exchanged LINE (chat app) contacts on the spot, and the next time we met it already felt like, “Let’s do REIRIE.” Not even “Want to try working together?” Just, “If it’s the two of us, of course we’re doing this.” “OK!”

RIE: The pull between us is like Dyson-level suction! [Laughs] Not exactly magnet poles, but no matter how far apart we are, we get drawn back together.

REI: If you had to use an existing word, it’s probably “fate,” but to us it feels heavier, more unavoidable — kind of like carrying something bigger than ourselves. Even in our previous group we were practically a pair, and even after separating we snap back together instantly.

So it’s a one-of-a-kind bond that doesn’t quite fit friend, family, or romantic categories.

RIE: I guess you could call it being soulmates, but for me there’s always been a sense of not being able to resist being drawn to REI. Literally since the day we met. It’s not friendship, we’re not sisters, and it’s not romantic — it’s all of those things combined, but also something bigger than that, maybe?

REI: There probably isn’t a word for it yet, so we can’t express it. But whatever it is, that’s what REIRIE represents.

You’ve now stepped into a new field with your major-label debut. Has that changed how you approach pressure or music?

REI: In a way, we don’t really think of this as a job. With the major-label move too, it was basically, “Seems fun, maybe let’s try it once.” Of course our team works incredibly hard on numbers, sales, promotion and all that, but (RIE and I) don’t focus on it too much. REIRIE exists so the two of us can be together, and that stance hasn’t changed. We won’t push ourselves in ways that would break that.

RIE: Still, moving into the major sphere lets us give something back to our fans, which makes me really happy. I do want to show some kind of result. But at the same time, I sometimes wonder, “Are the label folks sure they want to keep up with us?” I’m deeply grateful they chose to work with us, but we see ourselves as embodying freedom and a certain precariousness, so if there’s something we don’t want to do, we’ll say so. The fact that the current team respects “REIRIE-ness” and lets us do what we want means a lot.

It sounds like you’ve built a strong trust relationship with the label team.

RIE: Even the things we want to do just because we want to do them get realized with “REIRIE-ness” as the starting point. It’s a really comfortable environment, and we’re able to express ourselves freely.

REI: Of course, when it’s time to work, we do it properly! If outside support expands what REIRIE can do, that’d be wonderful.

Your first major-label EP Amethyst feels like an explosion of REIRIE’s raw individuality. The opening track “BaD＝DoLL” that was pre-released in August is especially striking.

REI: It puts our rebellious spirit and slightly dangerous vibe right up front. The contrast between RIE’s shouts and her cute singing voice really comes through. This is probably the closest to our “default mental state.”

RIE: Yeah, pretty much our baseline. We’ve mostly worked with heavy sounds like this, so it was pretty easy to channel strong emotions directly into the music. Personally, I feel like I’ve lived outside the conventional path compared to what society expects, but there’s this core inside that never wavers, and I’m glad this song let me express that. I think people are often surprised when I shout, “Annoying as hell!” given how I look.  [Laughs] 

The closing track is “Aishiteyo.”

REI: There are strong lines in this song too, like “There’s no such thing” and “No way that’s true,” but underneath it all is a pure desire to be loved by someone. It’s a song that carries the parts of REIRIE we can’t always say honestly.

RIE: In my case, more than wanting to be loved, I first want to love. It’s like, “Let me love you — then will you love me?” As REI said, it really expresses REIRIE’s heart and the songwriter who wrote it is a genius.

All five tracks flow beautifully in sequence.

REI: We left the track order to our label team. I listened all the way through myself, and it really works. Starting with “BaD＝DoLL” and ending with “Aishiteyo” feels very REIRIE.

REIRIE has also drawn strong reactions outside of Japan, fueling anticipation for further global expansion.

RIE: When I look at the comments on our music videos, I see that a lot of people from overseas are checking us out. Knowing REIRIE is reaching someone somewhere out there in the world, not just in Japan, makes me really happy.

This interview by Yukiko Kawakura first appeared on Billboard Japan.