Doechii says her continuous slide malfunctions on her tour are not deliberate, and that it just keeps happening.

Doechii hopped on Instagram on Sunday (Oct. 26) to clear up the drama surrounding her slide. 50 Cent was among users online who trolled the rapper for getting stuck halfway down the slide during a performance of “Denial Is a River.” Doechii clarified that the issues came from having to put grip tape on the desk, another prop being used in the show.

“I wanna talk about what’s going on with the slide because some of you are speculating that I’m doing it on purpose, which I’m not,” she says in a video posted to her social media. “This mechanical desk jerks when it moves, and in order for me to not fly off of it — which I did a couple times in rehearsal — we had to put grip tape on the desk. The grip tape is basically like sandpaper, so when I’m standing on it or sitting on it, I don’t move and fall over.”

She added that thanks to her wardrobe when she’s performing, she often finds herself getting stuck on the slide — even when she and her team try to find creative solutions. “What’s happening is, my performance stockings are ripping because I’m sitting on sandpaper … so by the time I get to the part in the song for the slide, my bare ass cheeks are sticking to the slide because I’m sweating. They put the towel there, but as soon as I put the towel there, the wind from my big fat booty blows the towel away.”

Doechii is in the midst of her Live From the Swamp Tour, which kicked off on Oct. 14 in Chicago. The 16-date tour stops in New York City, Charlotte, Atlanta, Houston, and San Francisco, before wrapping on Nov. 15 in Los Angeles.

Check out Doechii’s response below.

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Need an early indication that a World Series game at Dodger Stadium is going to extend late into the evening? Seeing Brad Paisley step up to perform the national anthem just might be a clue.

The country artist performed the U.S. national anthem at Dodger Stadium preceding a matchup between the Los Angeles Dodgers and the Toronto Blue Jays on Monday night (Oct. 27), and the game ended in extra innings — marking the fourth time a World Series game with Paisley playing the national anthem went into extra innings, according to Major League Baseball. This time, during the 18th inning, the Dodgers pulled ahead for a 6-5 victory.

Paisley now has been the anthem singer prior to both of the World Series’ longest games, which each ending in 18 innings.

Each of the four times Paisley has played the national anthem prior to a World Series Game, the game has gone into extra innings. Paisley sang the anthem last year for Game 1 of the World Series, a matchup between the Dodgers and the New York Yankees that lasted 10 innings. In 2018, he performed “The Star-Spangled Banner” before Game 3 of the World Series, prior to a game between the Dodgers and the Boston Red Sox; that game lasted 18 innings. In 2017, he sang the national anthem for the first time at the World Series, in Game 2 before a match between the Dodgers and the Houston Astros, which went for 11 innings.

Though Paisley has yet to comment on his seeming penchant of playing before extended games, Kimberly Williams-Paisley, his wife and actress, chimed in on social media, commenting on a video of the country singer playing the anthem before the game, which also happened to take place the day before his 53rd birthday on Oct. 28.

“Is it your fault it went 18 innings again? Nice of the @dodgers to win for your birthday!” Williams-Paisley wrote.

Some of Williams-Paisley’s fellow Hallmark Channel actors also chimed in, including Kris Polaha, who commented with fire emojis, and Tyler Hynes, who wrote, “Knew he was a Jays fan.”

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Paisley has just added a slate of European dates to his tour for 2026, including stops in Finland, Germany, Norway, Sweden and Switzerland. He is also set to release the holiday album, Snow Globe Town, on Nov. 7.

LiSA and Demon Slayer: Kimetsu no Yaiba: the record-breaking collaboration that established a milestone in the history of Japanese entertainment is back. LiSA’s “Zankoku na yoru ni kagayake” (English title: “Shine in the Cruel Night”) graces the blockbuster animated movie Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle — Part 1: Akaza Returns as one of its two theme songs alongside Aimer’s “A World Where the Sun Never Rises.”

Yuki Kajiura, who composed the soundtrack for the movie with Go Shiina, wrote “Shine in the Cruel Night.” Kajiura is the songwriter responsible for some of LiSA’s biggest Kimetsu collabs that perfectly capture the work’s universe, including “from the edge,” “Homura,” “Akeboshi,” and “Shirogane.” This comeback marks a significant chapter in LiSA’s hits-laden music career.

The songstress saw her singing overlap on screen with the actual movie footage for the first time shortly before this conversation with Daisuke Koyanagi (Interview inc.). Brimming with excitement, she spoke enthusiastically and deeply about the journey that led to her return to the world of the Kimetsu anime.

The movie was amazing, wasn’t it? We just saw it.

LiSA: I thought the animation’s production team was incredible. The way ufotable illuminates the scenes in the movie is just so beautiful. Throughout the entire film, the light in the characters’ eyes, too… the Infinity Castle movie is a work of art that makes abundant use of torchlights and illumination. The skillful craftsmanship of the artists is amazing, and the story is also great.

It really felt like the final battle in Demon Slayer: Kimetsu no Yaiba has begun at last.

Yeah. The story makes it clear that no one can be missing from it.

And this is also your first Kimetsu theme song since the Mugen Train story arc.

While we were working on it, Ms. Kajiura and the team at ufotable talked about making a song that would grace the story. Ms. Kajiura and I wanted to make a song with a quiet chorus that would let everyone reflect on the tale so far and feel emotional, a tug at their heartstrings.

It was amazing. Perfectly intertwined with the story. It makes you wonder what kind of roadmap they created and how much they calculated to achieve that level of precision.

Ms. Kajiura puts thought into how a song will become part of the story, and also writes them with a lot of love for the singer. I think she considered how I could sing it as my own song for a long time to come. We discussed it together, exchanging ideas like, “How about something like this?” or “What about this kind of feeling?”

I’m guessing that until now, the situation was more like “LiSA sings songs written by Yuki Kajiura,” but this one was created differently, with you involved in closer proximity.

I was happy about that, too. Ms. Kajiura believed in me and welcomed me into her circle as someone she could talk to about music. At first, my mind was to just entrust her with (writing the song). In the sense that I have complete faith in her. I can tell that she cares deeply about (Kimetsu) and about me, too, so I thought my job was to interpret that and sing the songs. But after seeing the movie just now, it struck me again that everyone involved poured their hearts into every single scene. I felt that no one wanted to compromise on anything. So they probably also wanted to focus on the music and work closely with Ms. Kajiura to pursue it to the utmost.

Right.

The fact that they took my views into consideration helped me interpret the song with greater clarity when I sang it, and I felt like we were fighting together, which strengthened my commitment towards (the movie).

I get what you mean. How did you feel when you first heard that you’d be working with Ms. Kajiura again on a theme song for Kimetsu?

We last “fought” together on the Mugen Train story arc TV series [televised in 2021, a year after the Mugen Train movie opened in theaters], so being able to work with her again for this felt like we were taking it on together, just like in the story.

It’s been about five years since “Homura” (Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train theme song) and you’ve gone through various phases in your career. Ms. Kajiura is someone who helped you seize a huge opportunity. Working on Kimetsu again with someone who knows you so well must have been both exciting and stressful, stirring up all kinds of emotions.

To be honest, I didn’t feel much stress about it. After all, anything that comes from working with her on a project like Kimetsu is bound to be good. I was just excited to see what kind of song she would give me to sing and what new perspectives the work itself would open up for me.

What was your impression when you first received the demo from her?

When I first heard it, it was a bit darker. It felt like it was a little more in tune with a darker mood. 

And that changed with each take?

Right. When I received the song, I wanted to talk to her directly, so I visited her studio. I spoke to her of my resolve to fight alongside her as comrades in the same battle, and how I interpreted the song as “a story about us meeting again and going to defeat Muzan, our final enemy” and that I hoped my resolve would be reflected in it. I think that’s why it became more emotional and dramatic during the process. It was the same way with “Homura,” I was the one who wanted to include bright, hopeful phrases, while Ms. Kajiura wrote about sadness as it is. My impression of her first version of that song was also sadness being depicted as sadness.

That’s interesting.

(For “Cruel Night,”) I didn’t convey any wishes to her or anything, just talked about how I felt as we were about to fight alongside each other, like I mentioned. But I did tell her that rather than singing about sadness in a tragic way, I wanted to convey a bit more hope. From Tanjiro (the protagonist of Kimetsu) and the others’ perspectives, they’re having a rough time, but that’s why they don’t want to give up on victory. Then she arranged it into the chorus we have now.

That means you felt it was perfectly natural to talk directly to Ms. Kajiura about such things, and that you felt a sense of responsibility in being involved with the work.

Yes, and also that she lets me do it. She’s left that door open for me, and after working together on four songs, I feel like we’ve built up a relationship of trust, so I figured she’d be OK with it.

And your vocals on this are incredible too. Starting off with a nuance like it’s blended into (the movie), it gradually becomes the theme song, and then ends up as a LiSA number. I imagine the process of making that happen must have been carried out with great precision and attention to detail. How did you approach it?

When I recorded the demo, I was thinking how the chorus shouldn’t sound too bright, but I have a bright voice to begin with, so no matter how hard I try, it ends up sounding like that. I spoke to Ms. Kajiura about it and she told me, “The brightness of your voice is wonderful and that’s what I love about it.” So I decided to trust her to handle that bright quality of my voice. She also said that I didn’t have to lower it on purpose. Since I was going to sing the chorus like that, I figured I’d sing the other parts as someone other than myself… with various personalities, and then just be me in the chorus. I think I was able to sing with various personalities because she said she loved my voice.

You can hear completely different vocalizations in each part.

It was so much fun. For my performance of “Homura” at Nippon Budokan (May 15), too, I was like, “It’ll be ‘LiSA’ no matter how I do it, so I might as well go all out!” [Laughs] I don’t have to try to be LiSA to make her manifest, so I can focus on the emotions. The joy of singing like that is what I’ve gained from Ms. Kajiura’s music.

That’s true, your performance of “Homura” at the Budokan was different from before. Or rather, it felt like your interpretation of the song has become more multi-layered. Does that have something to do with you having recorded this song (“Cruel Night”)?

Yeah, it has a lot to do with it. If “LiSA” is going to manifest without my being like, “This is LiSA!” then I can enjoy using myself more freely and sing songs that fit the music.

Right. If you let “LiSA” out at full blast even for a second, you can make her manifest throughout. At this point in your career, you just have to let that full blast out once, then the rest will become a proper LiSA number even if you create the story that fits the song. Your methodology is changing and becoming more precise. I’m guessing you’ve felt that way for a while. How has it deepened? 

I hope I’m not misunderstood, but one thing is that I’ve gained confidence in expressing “LiSA.” Songs like “Rising Hope,” “Catch the Moment,” and “Gurenge” are examples of this, but the LiSA that manifests through identifying techniques is unbreakable now, no matter what I do. I now have a lot of songs that give me confidence that she’ll never disappear. That’s why I can enjoy other ways of expression and feel the potential. I just finished watching the movie, so I’m really identifying with Tanjiro right now. I think I’ve become really fast with a sword because I’ve trained so much. [Laughs] I’ve grown stronger through training. 

You’ve become stronger through training, and faster, and it’s like you have a clear view of your surroundings even while fighting at incredible speeds. Like a heightened awareness… the way you manifest “LiSA” and her world is unclouded now.

Yeah. Today, while watching the movie, there were many phrases that made me go, “I get it!” I’ve read the original manga so many times, but there were still lots of phrases that I wanted to remember as words to live by. I think they resonated with me because I’m in this phase of my life right now.

What I found particularly impressive about “Shine in the Cruel Night” was how bare and raw the vocal mix sounded. The last chorus in particular sounds so raw like nothing was done to it after recording. It feels so realistic that it’s like you sang it and just left it as is.

Ms. Kajiura said, “That’s great!” on the first take, so I think that’s what they used.

She did? That’s amazing. When someone tells you, “That’s great!” when you sing once is the ultimate sign of trust.

I always practice really hard for recordings, but this time I approached it with the mindset of creating something together with Ms. Kajiura. As we went through multiple takes, there were a few instances where she said, “This is it!” And whenever she said that, I was thinking the same thing while singing it. But I’m greedy, so I think, “If I could do it now, I could sing it even better if I try a bit harder,” and record it again, but usually the first take is better. [Laughs]

So you were like, “Oh, this will be the one,” when you’re singing it.

Yeah, exactly. It’s like you’re in the zone at times like that. It’s more of a sensory experience so it’s not like you’re thinking with your brain, and you’re not controlled by your emotions, either. When you sing from your senses, that’s what comes across, I think. It was the same with “Homura.” That’s why I trust Ms. Kajiura so much.

“Shine in the Cruel Night” is one of the biggest and greatest achievements of what Demon Slayer: Kimetsu no Yaiba, Yuki Kajiura, and LiSA have built up over time. The universe that you’ve all created is proof of the wonderful time you’ve spent together.

It really is an all-out battle. Maybe that’s what Demon Slayer: Kimetsu no Yaiba is all about. Everyone strives for that state and pours their love into it. It’s like no one feels anything else.

—This interview by Daisuke Koyanagi first appeared on Billboard Japan

Tyler, The Creator has added “Mother,” which he described as the first song he made for his eighth album, Chromakopia, but took off last minute, to the LP’s deluxe edition on its first anniversary.

In an Tuesday (Oct. 28) Instagram post, the rapper reflected on riding his bike through his old neighborhoods — Inglewood, Hawthorne and South Bay in California — in 2020, and questioning what home really meant. “Is it a feeling i carry or a place? convos with my mother i found out things that was opposite of what i’ve built a narrative around,” he wrote underneath a childhood photo of him and his mother.

The IG carousel also included a photo of his RIAA platinum plaque for Chromakopia, snapshots from his recently concluded world tour with openers Lil Yachty and Paris Texas, and a video of him recording with Thundercat in the studio.

While Tyler said “Mother” is “pretty much the grounding piece of the album,” he also opened up about approaching Chromakopia as his diary. “things ive touched on before, things i havent. the pressure of monogamy, the fear of fatherhood, how i felt about my hair, the judging of sexual freedom, my paranoia, etc. nothing too ‘deep’ or crazy, just thoughts that stay on loop,” he continued. He also said Chromakopia “ended up taking me places the others didnt. 15 years in; biggest its ever been. im in awe of the success…. its been a year since release, time is moving. to those who love this body of work, tell me about it. i hope it holds weight in your life.”

Tyler released Chromakopia one year ago on Oct. 28, 2024, via Columbia Records. The 14-track project spent three weeks at No. 1 on the Billboard 200 and notched three top 10 hits: “Noid” (No. 10), “St. Chroma” featuring Daniel Caesar (No. 7) and “Sticky,” featuring GloRilla, Sexyy Red and Lil Wayne (No. 10). It earned 299,500 equivalent album units in its first week, marking Tyler’s biggest album to date even after arriving on an off-cycle Monday and therefore only having four days of activity in its first tracking week. He wrote on his IG post that he planned on Chromakopia “being my last album for a VERY long time. release it. do the big tour. go disappear and only pop out for movies roles. see what a life is like without work being top of mind. its hard tho, i love making things.”

But in July, he released his ninth studio album, Don’t Tap the Glass, which also debuted atop the Billboard 200 and earned the rapper his fourth No. 1 LP. He’s also making his feature film debut alongside Timothée Chalamet in the Josh Safdie-directed Marty Supreme.

See his post and listen to “Mother” below:

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Did you know that anime is now FDA-approved to help treat children with lazy eye?

No, this isn’t clickbait, you can really improve the help of your eyesight by watching a slew of anime titles on Crunchyroll. The massive streaming platform for all-things anime teamed up with Luminopia, a digital health company in charge of creating treatments for significant neuro-visual disorders that involves VR, or virtual reality, for kids with lazy eye.

The disorder, otherwise known as amblyopia, affects 2-5 percent of children according to medical journals produced by the Children’s Hospital of Philadelphia. The wandering eye is caused because your child’s brain will ignore signals coming from one eye, meaning the other eye is the only one being used. If treated when your child is young, they have a good chance of overcoming it. That’s the beauty of Luminopia’s VR treatment.

The FDA-approved and doctor-prescribed treatment entails a child strapping on a VR headset, making them watch media, including anime, for one hour a day, six days a week. Crunchyroll anime is a new programming option, joining Nickelodeon, PBS Kids, Sesame Workshop and, recently, hundreds of episodes of the original Pokémon animated series. Anime is extremely stimulating. The media is used in this treatment because it forces the brain to utilize both eyes, instead of the one, strengthening the connection between the brain and the effected eye. If you’re looking to pick up a new series, from Chainsaw Man to Attack on Titan, we’re showing you how you can get a Crunchyroll Subscription. Just know the shows are doctor-recommended.

Keep reading to learn how to watch Crunchyroll. Your eyes will thank you.

How to Watch Crunchyroll

Crunchyroll currently costs $7.99/month for their Fan tier and $9.99/month for their Mega Fan tier. You can try out any of the tier options for the streaming service for free for seven days, testing out the waters before diving head-first. If you cancel ahead of the end of your free trial, it’ll be at no cost to you.

Crunchyroll features a wide range of anime series and movies that you can enjoy 24/7, including The Great Cleric, Mushoku Tensei: Jobless Reincarnation, Zom 100: Bucket List of the Dead, My Unique Skills Makes Me OP even at Level 1, Am I Actually the Strongest?, Sweet Reincarnation, Reborn as a Vending Machine, I Now Wander the Dungeon, Classroom for Heroes, Reign of the Seven Spellblades, Rurouni Kenshin, Undead Murder Farce and more.

You can also gain access to Crunchyroll’s content with a Prime membership. Already have one? Just log in to your account and find it in the Prime Video Channel store. You’ll have to add it to your subscription in order to watch it. No promo code is required to redeem the deal — it’ll automatically apply once you add it to your subscription.

If you’re not a Prime member, Amazon currently has a 30-day free trial, which means you can get Prime Video for free. You’ll still have to add Crunchyroll to your subscription through the Prime Video Channel store.

Sign up for Crunchyroll through Amazon Prime and you’ll also have access to the entire Prime Video library, including original and exclusive TV shows and movies such as Gen V, The Boys, Citadel, Daisy Jones & The Six, The Marvelous Mrs. Maisel, Harlan Coben’s Shelter, Swarm, Medellìn, The Power, Kelce, Harlem, I’m a Virgo, Invincible, Tom Clancy’s Jack Ryan, The Horror of Dolores Roach, Fleabag, The Summer I Turned Pretty, The Wheel of Time and The Lord of the Rings: The Rings of Power, Better Call Saul and more.

That’s not all, either. You can add-on premium channels as well, such as Max, Starz, Showtime, AMC+ and Paramount+, which will expand your library of content.

Besides Prime Video, a Prime membership will also get you free one-day shipping as well as grocery deliveries, access to exclusive Prime member-only deals, Prime Day, Prime Premiere, Prime Try Before You Buy, Prime Reading, Prime Gaming and more.