Axl Rose has addressed recent reports that a woman was hurt at a Guns N’ Roses concert in Australia when she was hit by a microphone thrown by the singer.

In a post on Twitter Friday night (Dec. 2), the Guns N’ Roses frontman announced that he would no longer toss his mic into the crowd, something he says he’s done to close the show “for over 30 years.”

“It’s come to my attention that a fan may have been hurt at r show in Adelaide Australia possibly being hit by the microphone at the end of the show when I traditionally toss the mic to the fans,” Rose wrote. An article published by the Adelaide Advertiser earlier in the week reported a concertgoer named Rebecca Howe claims she was left with two black eyes and a bruised nose after being hit in the face with Rose’s mic in Adelaide on Tuesday (Nov. 29).

“If true obviously we don’t want anyone getting hurt or to somehow in anyway hurt anyone at any of r shows anywhere,” Rose’s statement continued. “Having tossed the mic at the end of r show for over 30 years we always felt it was a known part of the very end of r performance that fans wanted and were aware of to have an opportunity to catch the mic.”

He noted, “Regardless in the interest of public safety from now on we’ll refrain from tossing the mic or anything to the fans during or at r performances.”

“Unfortunately there r those that for their own reasons chose to frame their reporting regarding this subject in a more negative n’ irresponsible out of nowhere light which couldn’t b farther from reality,” added Rose. “We hope the public and of course r fans get that sometimes happens. A BIG THANKS to everyone for understanding.”

See his note below.

A day after bringing his Wild ‘N Out Live show to New York City’s Madison Square Garden, Nick Cannon found himself hospitalized with pneumonia.

Cannon shared a health update with fans on Instagram, where he posted selfies from his hospital bed.

“Okay, so I guess I’m not Superman… I promised myself I would never be back at this place again… But this is a great lesson to take care of YOU or YOU won’t be able to take care of everyone else,” Cannon wrote in an Instagram post Friday night (Dec. 2).

“Don’t trip though, I don’t need any well wishes or prayers , just some solid rest and I will be back on the journey to becoming stronger than ever… it’s just pneumonia, nothing I can’t handle,” he added.

“Crazy thing is, last night we was just rocking a sold out crowd at Madison square garden in front of thousands of fans, now I’m all alone in a tiny hospital room,” Cannon said. “Life is definitely a rollercoaster!”

He ended the post with the hashtag #LupusWarrior, in reference to his ongoing battle with lupus, a chronic autoimmune disease.

The Wild ‘N Out star, who’s also a host on The Masked Singer, had just checked in with fans earlier in the week, sharing a comedic video to his YouTube channel about the stress of buying holiday gifts for his 11 children.

See Cannon’s update from the hospital below.

Cameron Crowe believes the spirit of a place lingers long after the moment has passed. That’s what makes recording the Broadway Almost Famous cast album at New York’s iconic Power Station studio so special for him.

“It’s like going back to the roots of why I love music and what I love about records,” Crowe told The Associated Press during a break in the recording session.

Working in the control room alongside fellow producers Tom Kitt and Scott M. Riesett, Crowe called the process “utterly authentic” as they directed the cast, chorus and band in different studios across multiple levels.

“I have this thing where I believe that the spirits of a place, the spirit of what’s happened in a room stay. The house you lived in, you can go visit. You can feel what happened to you when you lived there,” Crowe said.

Some of the most prominent rock and pop albums were recorded at the legendary studio, including Bruce Springsteen’s The River, David Bowie’s Scary Monsters and Tattoo You by The Rolling Stones.

Standing against the soundboard, Crowe wears that pride on his brow as he tells the latest version of his story through the music. More than another project, Almost Famous was a deeply personal coming-of-age-story for Crowe when he wrote and directed the 2000 film, loosely based on his experiences as a teenage music journalist.

“It was the movie we got to make because Jerry Maguire did really well. And so, the fact that that becomes what we get to take to Broadway just means the power of music.”

That power increased with the addition of original songs, allowing Crowe — with a huge heaping of help from composer Kitt — to transform the stage version into something more than his cinematic love letter to rock ‘n’ roll. Those songs allowed Crowe to tell a more personal story.

“I thought, if we are going to do something for the theater, for the stage, maybe it’s this personal story that’s filled with music that could make people feel that kind of elixir of the movie. And that was always our goal,” Crowe said.

Before the interview, Crowe sat beside Kitt for one more pass at “Something Real,” one of the songs written for the stage version that includes homage to Deep Purple’s “Highway Star.”

Next on the agenda was a cover of Led Zeppelin’s “Ramble On.” Interestingly enough, the time-honored track blended well with the new songs in a morphing of classic rock and show tunes. Crowe credits Kitt with finding that “sweet spot” between the two genres.

“Tom understands what the songs of the day felt like,” he said. “He’ll write a song that feels like it could have been on Madman Across the Water,” the Elton John album.

But the admiration goes both ways. During another recording break, Kitt attributes Crowe with familiarizing him with music of the era.

“Cameron is someone who is just a walking encyclopedia when it comes to music,” Kitt said. “So, I was looking forward just learning from him and hearing new songs and new tonalities that were going to inform the work,” Kitt said.

Released by Sony Masterworks Broadway, the cast recording of Almost Famous will be available for digital purchase and streaming along with physical releases on CD and vinyl March 17. Of course, for now fans can always catch the show at the Bernard Jacobs Theatre on Broadway.