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‘The Simpsons’ will be avoiding politics for new season following ‘South Park’ backlash
Music

‘The Simpsons’ will be avoiding politics for new season following ‘South Park’ backlash

by jummy84 September 29, 2025
written by jummy84

The Simpsons’ showrunner has said the new season will not tackle contemporary US politics in the way that South Park recently has.

The opening episode of the 37th season of the legendary sitcom premiered on Fox on Sunday night (September 28), with this run set to include the show’s 800th episode.

Matt Selman, who now oversees The Simpsons, spoke to Entertainment Weekly and was asked whether the show would dare to take the kind of provocative approach to the current political landscape that South Park has in recent months.

“When you write a show that doesn’t come out until 10 months after you write it, it kind of takes the pressure off, because who knows what the fuck we’re gonna be looking at in 10 months,” he said. “So like South Park, they make their show in a week, and even they can’t stay up to date on things.”

“More crazy shit goes down faster than even they can do it. And you know, Jimmy Kimmel’s great, and I’m glad he is back on TV,” he added, referring to the late night talk show host, who was briefly suspended this month for his comments relating to the murder of Charlie Kirk, before being recently reinstated.

“Censorship sucks. What can I say? Censorship sucks,” Selman continued. “But it’s not our mission statement to respond to the crisis of the moment. It’s more about a town of good-natured dum-dums dealing with a changing world, yet our characters never really change. The world changes around them.”

South Park is currently in its 27th season and has been mocking Donald Trump consistently in the new episodes. It initially portrayed him as being in a relationship with Satan and having a micro-penis, prompting the White House to attack the show for “not having been relevant for over 20 years”.

The show has since continued the Trump-Satan relationship, with Satan now pregnant with the president’s child and Trump attempting to trap Satan into getting rid of the pregnancy.

They have also attacked the relationship between Trump and the FCC (Federal Communications Commission) and its head Brendan Carr, which many perceive to have been the reason for Kimmel’s suspension and for Stephen Colbert’s show being brought to an end.

Despite The Simpsons saying it will not pursue similar storylines, the show’s creator Matt Groening did say this summer that the show will not end until Trump dies. “When you-know-who dies, The Simpsons predicts the there will be dancing in the streets,” he said “Except President [J.D.] Vance will ban dancing”.

The Simpsons famously predicted that Trump would become U.S. President in a 2000 episode, and also later predicted he would get re-elected in a 2015 episode. The show also appears to have forecasted some other major events over the years.

September 29, 2025 0 comments
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Madonna on ICU Coma, Her Brother's Death, Relationship with Motherhood
Music

Madonna on ICU Coma, Her Brother’s Death, Relationship with Motherhood

by jummy84 September 29, 2025
written by jummy84

Madonna is approaching the first anniversary of the death of her younger brother, Christopher Ciccone, who died this past October at the age of 63. At times, the singer’s relationship with her sibling was tumultuous, leading to periods during which they rarely spoke. During her first podcast appearance, on Jay Shetty’s On Purpose, Madonna details a spiritual encounter she had while in a medically-induced coma (during her four-day hospitalization in the ICU in June 2023 for a serious bacterial infection) that led to her reconnecting with Ciccone.

“I was almost there on the other side and I had a conscious moment and my mother appeared to me and she said, ‘Do you want to come with me?’ And I said, ‘No,’” Madonna said. “My assistant was in the room with me, but I was still unconscious, but she heard me say, ‘No.’ And then when I did eventually wake up, I realized that the ‘No’ was about me needing to forgive and make good with people that I still held grudges against.”

Soon after, Madonna wrote a song about her brother and another about forgiveness. The unreleased tracks, titled “Fragile” and “Forgive Yourself,” center around the idea of accountability and responsibility. “We have to forgive others but we also have to forgive ourselves and stop beating up on ourselves about things, choices we’ve made in the past that haven’t worked out for ourselves or other people,” she said.

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For a while, Madonna added, she pushed off forgiving with Ciccone because she assumed she’d have more time to do so. “Your ego dances around it like, ‘Yeah, yeah, yeah, I’ll get to it. I’ll get to calling him up or talking to him or being his friend or helping him,’” she said. “But eventually I did. And, I know I’m being mysterious, if someone you love deeply betrays you and does something that shows that they have no consciousness in that moment that they made that choice to do that, it’s a bitter pill for me to swallow.”

She continued, “For my brother, I didn’t speak to him for years, years, and years. It was him being ill and reaching out to me and saying, ‘I need your help,’ and me having that moment like, ‘Am I going to help my enemy?’ That’s how it felt. And I just did. I felt so relieved. It was such a load off my back, such a weight that was removed, baggage that I could put down to finally be able to be in a room with him and holding his hand — even if he was dying — and saying, ‘I love you and I forgive you.’”

September 29, 2025 0 comments
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A2IM Appoints Ian Harrison as CEO, Succeeding Richard James Burgess
Music

A2IM Appoints Ian Harrison as CEO, Succeeding Richard James Burgess

by jummy84 September 29, 2025
written by jummy84

The American Association of Independent Music (A2IM) has announced that Ian Harrison, executive vp at Hopeless Records, will become the organization’s next CEO as of Oct. 1. Harrison — who has spent more than 20 years at Hopeless — takes over for Richard James Burgess, who is stepping down at the end of this year after a 10-year period as A2IM CEO.

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Harrison has been a key figure in the development of Hopeless, which celebrated its 30th anniversary last year with a retrospective exhibit at Indie Week highlighting its work with All Time Low, Avenged Sevenfold, Yellowcard, Taking Back Sunday and many more. He’s also been an advocate for the indie community at large, having been involved in A2IM since 2012 and served on the boards of the Worldwide Independent Network and Music Business Association; he was a Billboard Indie Power Players honoree for each of the past two years, and has helped the Hopeless Foundation raise more than $3.5 million for mental health and music-related charities.

“The independent community is stronger and more dynamic than ever, yet also facing accelerating challenges that will test our resilience and adaptability. A2IM exists to ensure our members can grow independently in the face of these changes and thrive on their own terms,” Harrison said in a statement about his new role. “I am grateful to the A2IM Board for their trust as I step into the CEO role at such a pivotal moment. I take on this responsibility with a deep commitment to serving our community. I am especially grateful to Dr. Richard James Burgess for a decade of exceptional leadership that established A2IM as a vital voice in our industry, and to [A2IM GM] Lisa Hresko and the entire A2IM team whose dedication makes our work so impactful. This includes remembering our colleague Alex Machurov, whose contributions and spirit will remain part of A2IM’s legacy.

“I also want to thank Louis Posen and my colleagues at Hopeless Records, where I spent the past two decades, for shaping me as a leader and deepening my commitment to this community,” Harrison continued. “Independent music has been my life’s work, and I am excited to serve in this new capacity. I look forward to working closely with our members, the global trade organization community, commercial partners and policymakers to ensure independent voices remain at the center of the music industry’s future.”

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Hopeless Records

Burgess, who ends his tenure after a decade in the role, oversaw significant growth for the organization, which now boasts more than 700 indie labels in its membership, and helped further develop and expand both A2IM’s Indie Week conference and the related Libera Awards, honoring the best in indie music each year. He also helped define A2IM’s role as an advocate in Washington on behalf of the indie community, helping shore up and bolster lobbying efforts in the capital amid a period of great upheaval and consolidation.

“I am honored to have served this extraordinary community for the past decade, and I could not be more pleased to welcome Ian Harrison as A2IM’s next CEO,” Burgess said in a statement. “Ian’s deep experience and lifelong commitment to independent music position him perfectly to guide A2IM into its next chapter. I look forward to supporting a seamless transition and to watching him take the organization, and the indie community it represents, to new heights.”

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2025 Indie Power Players

While Harrison will officially take on his new role this Wednesday, Burgess will remain as part of A2IM through the end of the year to see out the transition.

“I’m thrilled to welcome Ian Harrison as our new CEO,” Beggars Group president and A2IM’s executive committee chair Nabil Ayers said in a statement. “Ian has spent his entire career championing independent music, and now he’ll bring that same passion and energy to serving the entire community of independent labels. I’m confident he will build on the incredible foundation Richard James Burgess established over the past decade and skillfully lead A2IM into its next chapter of growth and advocacy.”


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September 29, 2025 0 comments
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Zach Bryan Sets Record for Largest Single Concert in US History
Music

Zach Bryan Sets Record for Largest Single Concert in US History

by jummy84 September 29, 2025
written by jummy84

Zach Bryan made history on multiple fronts during his concert at Michigan Stadium this past Saturday, September 27th. He not only became the first musical artist to play the Ann Arbor college football stadium, but also set a new record for the largest ticketed single concert in US history.

Drawing a crowd of 112,408 to “The Big House,” Bryan broke a record previously held by George Strait, who brought in 110,905 fans to his concert at Kyle Field in College Station, Texas, in June 2024. Michigan Stadium is the largest stadium in the United States and the third-largest in the world.

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The record-breaking evening, which also set a merchandise sales record of $5 million, featured special guest John Mayer. Support was also provided by Ryan Bingham and The Texas Gentlemen and Joshua Slone.

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Bryan’s setlist included hits like his breakout “Something in the Orange,” “I Remember Everything” (sans Kacey Musgraves), and “Pink Skies,” as well as fan favorites like “Heading South,” “Oklahoma Smokeshow,” and “Revival,” the latter of which he reportedly played for nearly 30 minutes.

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Zach Bryan Revival @ The Big House 2025 #zachbryan #revival #thebighouse #annarbor #michigan

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Photo Gallery — Zach Bryan at Michigan Stadium, in Ann Arbor, Michigan, September 27th, 2025 (click to expand and scroll through)

September 29, 2025 0 comments
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Ruston Kelly. (Credit: Alexa King Stone)
Music

Ruston Kelly’s Out-of-Body Experience – SPIN

by jummy84 September 29, 2025
written by jummy84

Ruston Kelly was in the middle of a years-long existential crisis when he left his own body and watched himself sitting at his piano. 

An astral projection. 

He was sober, clean from drugs for a few years. 

An apparition approached him while he floated. It was Jesus. As the figure came closer to Kelly, the musician felt a sense of calm wash over him. 

“I understood a sense of, it wasn’t bliss, and it wasn’t even joy, it was complete equanimity,” he says during a video call from his home in Nashville. “There was a oneness to what had been, what is now, what would come.”

Then, when Kelly came to, he realized he had been crying, his hands raised while he sat on the piano bench. And he knew he wasn’t alone anymore, that whatever he was going through was over.  

Doja Cat. (Credit: Greg Swale)

“There wasn’t really a call to be anything other than a student again, but a student of my own spirit in relation to knowing that I belong to someone,” he says. “I mean, that changed everything.”

(Credit: Alexa King Stone)(Credit: Alexa King Stone)
(Credit: Alexa King Stone)

Kelly swears to me he isn’t a religious man, at least not in the traditional sense. He’s not a member of any branch of Christianity, nor does he necessarily want to be. “When we start talking about these things—especially when it comes to public-facing lines of work—speaking about God and speaking about religion seem to be synonymous, but I didn’t have a religious experience,” he says. “I had an experience that was just my experience. That’s the only way I can put it.”

Over a multiyear period, Kelly, despite releasing three albums—Dying Star (2018), Shape & Destroy (2020), and The Weakness (2023)—felt like he had lost his voice. You’d never know it by listening to him sing during that time. But to him,  he experienced an immense loss between the physical and spiritual link that comes with singing, a sort of voice dissociation. “I did not feel a connection to my main form of artistic expression,” he says. “I couldn’t sing with a fluency that seemed to have always come from a natural ability to express my soul.”

He couldn’t sleep. He broke down in tears. He begged and prayed to whatever higher power there was to get his musical gifts back. “I felt that I was being punished for all the ways that I had abused something that was important and freely given,” he says, referring to earlier days of drug addiction. 

His new album, Pale, Through the Window, is about that experience.

Kelly approached writing this album, released September 12, differently than his previous records. 

“I was really getting frustrated with having this incredible experience, and not being able to funnel it into a creative conjecture about what it was,” he says. “I wasn’t able to pull from that thread that I always pulled from. I kept trying, and it just seemed like everything came out trite, and this was anything but a trite situation. I knew I was going to have to write from a different muscle.”

Kelly says that his songwriting technique for Pale, Through the Window became less about the discipline and craft of songwriting, less about metaphors and abstraction, and more about telling a simple, straightforward story. He didn’t start writing until two weeks prior to pre-production. He had faith that the words would come. And they did, more easily than they ever had before.

“I was assaulted by the inspiration for what the album was and knew that it was going to be very simply about this spiritual experience and about falling in love on the heels of that.”

Kelly’s referring to his current girlfriend, Tia Cubelic, whom he met while on vacation to Pawleys Island, South Carolina, in 2024, where their first date was a game of pickleball, inspiring the album’s track of the same name. 

But the 37-year-old wasn’t always destined to be a singer-songwriter.

Before becoming an Americana, or “emo-dirt” musician, as he describes his genre of music, Kelly was a junior Olympian and seven-time state champion figure skater. 

From the time he was 8 years old until he was 15, Kelly was steeped in the deeply competitive, and in his words, toxic world of figure skating. With his parents’ permission, he moved from his home in Georgetown, South Carolina, to Ann Arbor, Michigan, to live and train with a husband-and-wife coaching team. While his gift for the sport was apparent to everyone who watched him skate, the dysfunction that was happening behind the scenes wasn’t. 

Kelly’s coaches, who had taken legal guardianship of him, forced him to train intensely for eight hours a day to pursue his figure skating dreams. After practice each day, however, they seemed to want nothing to do with him. 

“They never really provided any legal guardianship in the way of food or picking me up from school,” he says. “So I had to kind of toughen up.” 

As an escape from the instability of his situation, Kelly began learning Blink-182 and Nirvana songs with the guitar his father had given him for Christmas. He eventually began writing his own songs as a way to deal with his stress and conflicting feelings. 

“I would shut myself in the room and start expressing my own feelings musically,” he says. “I found a way to have relief from something that’s difficult for me to articulate to anyone, even myself, but then to also make some sort of sense of it.”

It was self-preservation through self-expression, he says.

Kelly knew he would have to make a decision about his future: either tough it out and figure out how to take care of himself so he could keep skating, or tell his parents about the abuse. 

He eventually told his parents and walked away from the sport for good. 

Because of his father’s work, Kelly’s family moved a lot. During high school, they had relocated to the small town of Wyoming, Ohio, where Kelly became known as the “guitar guy.” Music, he tells me, was in the fabric of the friendships he formed there; not just listening to it, but performing it. Together with the group of friends he jammed with, he attended a Dave Matthews Band show, Kelly’s first concert, describing it as the “ultimate extension of what we do in our parents’ basements and garages.”

But it wasn’t until the Dave Matthews Band came back to Wyoming the next year that Kelly began to think about pursuing music professionally. Attending the show with his older brother, Kelly remembers his sibling leaning toward him, pointing to Matthews onstage and saying, “You’re going to do that someday.” 

After a brief stint in Belgium, where his family had moved later, Kelly went to Nashville with his sister at 17 and began playing with a local jam band called Elmwood. Some music executives noticed them while playing at a bar, and within a week, they were signed to Paradigm Records and began touring. 

It was while Elmwood was touring with alt-rock group O.A.R. that he got hooked on drugs. A fellow band member introduced him to amphetamines to help with Kelly’s ADHD. 

“On the onset of that chemical hitting my bloodstream, I felt two things: One was that I felt normal for the first time in my life,” he says. “And the second was, I never want to stop taking this.”

When he got home from the tour, Kelly got a prescription, and the bottle was gone in two days. He felt like he could do anything, until the amphetamines wore off. Then, he says, he would feel worse than he did before, with new feelings of depression, hyper-anxiety, and lack of self-worth.

“It got to where I was taking handfuls of it,” he says. “I had to take multiple pills to even function.”

By the time Kelly was 22, he began to feel restless with the direction his career was going. “I liked playing jam band music, but it just wasn’t part of that initial expression of making sense of the world,” he says. “And I wanted to do something that had value other than attempting to tap your foot.”

Kelly quit the band and took with him the songs he had written that would become, as he describes it, the early steps toward making his own records. 

(Credit: Alexa King Stone)(Credit: Alexa King Stone)
(Credit: Alexa King Stone)

In 2013, “Nashville Without You,” a song he co-wrote with Kyle Jacobs and Joe Leathers, appeared on Tim McGraw’s Two Lanes of Freedom album. 

As he pursued his solo career, Kelly’s drug addiction worsened. When amphetamines stopped working, he moved on to cocaine. While he says he partied a lot with friends, it was when he was alone in his home writing songs that his drug abuse really got bad. 

“I think at the time I felt such a calling to do what I’m doing now, but when I was on all of those pills, I could never stop doing it,” he says. “And I think I had associated creativity with something that was broken, and that I could at least impart something of beauty and meaning into a broken situation. But you end up drinking your own bathwater because you’re trying to heal something while also breaking it at the same time. I wish I’d never taken that pill. But that’s the choice I made.”

He knew his addiction was taking a toll on him and his family. As much as he wanted to get clean, he found it nearly impossible. “That chemical had such a vicious hold on me that it almost, in a demonic way, reared its head,” he says. “And I attempted to shun my entire family, and I’m so close with them. I saw it break my mom and my dad’s hearts in front of me. The things that I was saying that I would never say in a million years, in the way that I was saying them, and the destruction that was coming out of my spirit, seeing that land on people who have done nothing but love you in their best efforts.”

Kelly overdosed in 2015, which put him in the hospital. He then went to rehab, and he was able to stay sober for a period of time. He then began dating country artist Kacey Musgraves in 2016, and the couple married in 2017. 

During his three-year marriage, Kelly relapsed. “It was a single night,” he says. “I woke up with a sock full of pills and was like, all right, never again. And it’s been that way since.”

It was around this time that Kelly lost the spiritual connection to his voice, spiraling him into his long, emotional crisis. 

Thanks to his out-of-body experience, Kelly not only got his voice back, but he learned to let go of his painful past and gain a new perspective on life and his songwriting. 

“Letting go of the past, letting go of the tropes that I’d written into my own script, you know?” he says. “Maybe I’m not that great a scriptwriter for myself. There is a plan above, around, and beyond what I could imagine for myself. There’s more breadth to the way I’m experiencing my own reality. And surrendering to that is the most freeing experience I’ve ever had to date.”

September 29, 2025 0 comments
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George Riley: More Is More Album Review
Music

George Riley: More Is More Album Review

by jummy84 September 29, 2025
written by jummy84

At the turn of the last century, contemporary R&B entered a second adolescence. The power ballads of the 1990s were fading out, replaced by crossover hits that pushed the limits of the genre by incorporating dance, electro, and hip-hop into visions of a glittering future. The 28-year-old singer George Riley was born as this cultural transition kicked off—and her new mixtape, the shiny, upbeat, slightly irreverent More Is More, makes a close study of early ’00s pop. Riley shuffles through retro sounds faster than a TRL lineup, combining rich vocals and radio-ready choruses with a dancefloor-oriented edge. A love letter to the work of producers like Dallas Austin, Darkchild, Jermaine Dupri, and Timbaland, More Is More takes their chopped-up acoustic guitar samples and house-indebted synths—elements that still sound innovative—and blasts them into the present.

Riley’s performances supply the vitality and wit that’s quickly become her trademark among the UK’s most exciting new R&B voices. She arrived on the scene barely four years ago, lending her breathy soprano to Manchester producer Azn’s ebullient dance track “You Could Be”; her 2022 Vegyn-produced breakthrough, Running in Waves, showed a softer side, marrying jazz and soul influences with jungle and electro flourishes. Earlier this year, she stepped into the role of UK garage diva on SHERELLE’s acidic 2-step track “Freaky (Just My Type).” These releases set her up as a fan favorite and critical darling, but More Is More is, well, more: bolder, grander, and musically tighter than anything she’s released thus far.

Riley makes no attempt to hide her influences or to couch them in anything but fervent appreciation. By her own admission, opener “Something New” borrows heavily from All for You-era Janet Jackson; its bubbly, tropical beat and skittering hi-hats recall “Someone to Call My Lover,” a song that’s recently led the Y2K R&B revival trend on TikTok. Riley goes deeper, kicking off a full-bodied garage beat in the middle of the track that gives it just enough bite to set it apart from 2001 Janet. The relentlessly catchy “Forever” twists the hypnotic synth pulse of Kylie Minogue’s megahit “Can’t Get You Out of My Head” into a beachy love song, a rising tide of Spanish guitars and sultry harmonies sloshing at Riley’s feet. Produced by Mura Masa, “Forever” is the best example of More Is More’s mission to tweak massively recognizable sounds just enough to transform them.

September 29, 2025 0 comments
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Watch Feeder reunite with drummer Mark Richardson at Brixton Academy
Music

Watch Feeder reunite with drummer Mark Richardson at Brixton Academy

by jummy84 September 29, 2025
written by jummy84

Feeder have kicked off their latest run of UK tour dates, and brought out former drummer Mark Richardson. Check out footage and the setlist below.

The new run of dates are part of the band’s ‘Comfort In Sound’ tour, which sees them celebrate their classic 2002 album.

That album landed on the UK Top 10 upon its release and spent more than two years on the UK Independent Albums Chart Top 50. It was their first release since the tragic death of original drummer Jon Lee, and saw Mark Richardson join the band as sticksman.

Feeder kicked off the anniversary tour dates for the record last week, and shows have so far included a slot at the O2 Academy in Leeds and the O2 Brixton Academy in London.

The latter saw them reunite with Richardson, who joined as drummer in 2002 and played on ‘Pushing The Senses’, ‘The Singles’ and ‘Silent Cry’, as well as the aforementioned ‘Comfort In Sound’. He left the band in 2009 to rejoin Skunk Anansie, and was replaced by Karl Brazil.

He appeared with the band in London, with frontman Grant Nicholas introducing him to the audience and describing him as “the hardest-hitting drummer I’ve ever, ever worked with.”

“Respect! How are you getting on Mark? Everybody say hello to Mark,” he added, also encouraging the crowd to chant his name. “Want to hear one with him? How about this one?” Nicholas said, before launching into fan favourite song ‘Feeling A Moment’.

He also stayed to play ‘Pushing The Senses’. Check out more footage and the setlist below.

The Feeder setlist in London was:

‘Just the Way I’m Feeling’
‘Come Back Around’
‘Helium’
‘Child in You’
‘Comfort in Sound’
‘Forget About Tomorrow’
‘Summer’s Gone’
‘Godzilla’
‘Quick Fade’
‘Find the Colour’
‘Love Pollution’
‘Moonshine’
‘High’
‘Feeling a Moment’ (with Mark Richardson on drums)
‘Pushing the Senses’ (with Mark Richardson on drums)
‘Feel It Again’
‘Opaque’
‘Buck Rogers’
‘Just a Day’

As well as announcing this current tour, February this year also saw Feeder announce a re-release of the ‘Comfort In Sound’ album. It dropped on September 12 via BMG, and included new orchestral remixes of ‘Just The Way I’m Feeling’ and ‘Forget About Tomorrow’, as well as a reimagining of ‘Godzilla II’.

The current 2025 tour continues next month, with shows in Manchester, Glasgow, Bristol and Birmingham, on October 2, 3, 9, and 11, respectively. Visit here for tickets.

As aforementioned, the 2002 release was their first album was their first without Jon Lee, who died by suicide in January 2002, aged 33. His death came shortly after the band finished a tour supporting Stereophonics across Europe, and numerous famous faces from the music world paid their respects at his funeral.

September 29, 2025 0 comments
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Seventeen's S.Coups and Mingyu Talk Debut Mini-Album
Music

Seventeen’s S.Coups and Mingyu Talk Debut Mini-Album

by jummy84 September 29, 2025
written by jummy84

The 13 members of Seventeen have been shuffling through new pairings and sub-units beyond their official units of vocal, hip-hop, and performance over the past year, starting with Jeonghan and Wonwoo’s JxW and Hoshi and Woozi’s HxW. (And of course we can’t forget the beloved BSS, with DK, Hoshi, and Seungkwan, who debuted a few years earlier.) Now, get ready to meet the latest Seventeen spin-off: Leader S.Coups and Mingyu’s CxM, who have a new mini-album called HYPE VIBES.

The way the members of Seventeen are so close-knit and truly like brothers is something their fans, known as Carats, adore. With each unit that the group reveals, they’re unveiling a deeper look at the chemistry and synergy between the members.

S.Coups and Mingyu are both part of Seventeen’s hip-hop unit, so they’ve always been close collaborators, but CxM takes them to the next level as a duo. At the time of their chat with Rolling Stone, we’re still over two weeks out from the mini-album’s Sept. 29 release. The two members have been building up anticipation by teasing photos from a shoot in Hawaii, which they say they approached with the goal of making the photos feel truly raw.

There’s been a handful of sub-units within Seventeen at this point. How would you describe CxM? What makes this unit feel like you?
S.Coups: [Laughs.] I feel like if I say the wrong thing, it’ll sound like I’m saying something about the other units. But I think we put in a variety of genres into the album. And compared to the other units, rather than a put-together look, we aimed to be more effortless, thinking there could be a type of coolness that comes from being natural. 

Mingyu: It might not be right to say we were “not flashy,” but I think that encapsulates how we tried to be more comfortable and natural? This is a hard question.

S.Coups: It is hard. [Laughs.] I don’t want to put down the other units.

Mingyu: If we say “Our songs are chill and cool!” it may end up sounding like we’re saying the other members’ weren’t. [Laughs.]

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You can all be cool, though! You went to Hawaii to do your shoot for this mini-album– I heard that the collective goal for these photos was for it to feel like a trip with close friends. Can you share any fun stories from the shoots? 
Mingyu: First off, it was so tiring. Instead of having a set time for the shoot to start and end, like how you said, we were trying to shoot while we’re comfortably hanging out. We shot from the second we opened our eyes in the morning to the moment we went to sleep. Once we were done I was so exhausted. I had so much fun all day, rested, and felt like I was relaxing, but physically it still took a toll on me. It was a hard shoot. We wore a lot of different outfits too.

S.Coups: [Laughs.] I feel the same way. The shoot was certainly less tiring than if it was on a set, and we went into it thinking “We can just take photos of us hanging out.” But compared to any shoot we’ve done for Seventeen, suprisingly, it actually was more exhausting. 

Any specific things that you remember from the trip?
S.Coups: For me, I haven’t travelled internationally much, but Mingyu kept telling me how nice Hawaii is. The nature left a big impression on me. To go somewhere like that with someone I’m so comfortable with — someone like Mingyu, who can guide me to try a variety of experiences…. I really enjoyed surfing. Being able to experience those things and also do a shoot was really great. 

What did you guys listen to while shooting to set the vibes?
Mingyu: When we were in Hawaii for the shoot, the early versions of our music were just starting to come in, guides were coming in, so we listened to the album a lot. Like the super early versions, versions we recorded in Hawaii. We really listened to the music as we were making it.

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You’ve been together for many years now, and even though you are already so close, I’m sure you spent a lot of one-on-one time together to prepare for this project. Was there anything you learned about each other that surprised you?
S.Coups: About each other? [Laughs.] Rather than something new, I realized once again that Mingyu’s stamina is even better than what I had thought. During our shoot, we would swim for two to three hours, and I’d be over it, but he’d be swimming at night, too. And he even shot that! Seeing that made me think, “Wow he’s really amazing.” 

He was also really worried about our final product, more than I thought he would be. We had so much fun and did a good job. We selected each and every piece and put the team together. I thought Mingyu would be the type to have the mindset of “Once this is complete, everything will be great,” but he was actually so worried and had a different mindset from when working on Seventeen. 

Mingyu: I didn’t feel anything new from S.Coups. 

S.Coups: [Laughs.]

Mingyu: But I felt it for myself: “I’m really sensitive.” I’m more sensitive that I had thought. Ah, I do have one for S.Coups! He has low stamina.  

S.Coups: [Laughs.] Wait—

Mingyu: Whenever we do anything, in Hawaii or in L.A., he’s suddenly sleeping on the sofa. He’s up one moment and then asleep on the sofa again.  

With jetlag, of course he could be tired!
S.Coups: Mingyu doesn’t even get jetlag. [Laughs.]

Taking a step back outside of CxM, if you had to pick other Seventeen members to cover songs from this mini-album, who would you pick?
Mingyu: It’s gotta be us.

S.Coups: Right. Aside from us… I would say… Ah! [Snaps.] “Young Again.” I’d love to hear our two main vocalists [DK and Seungkwan] singing that song. When we were recording, I thought a lot to myself, “If only I could sing a little bit better…” So I’d love to feel the emotion that would come from those members who are truly good at singing. 

Mingyu: I think Hoshi and Woozi would match “Worth It” well. Because both of them have liked that type of hip-hop sound since they were younger. I think when they hear it, it’ll feel familiar to them and they’d like it.

S.Coups: For “Earth,” I say Myungho [The8’s Korean name]. When I played the six songs for him, he really liked it. It’s in line with the type of music he’s been seeking out recently. It would be cool to see him try that. 

What other reactions did the members have when you played them the music or showed them your content?
Mingyu: To be honest, as of today while we’re doing this interview, a lot of them actually haven’t heard the music. 

S.Coups: Seungkwan hasn’t heard it yet, right? I’m hiding it from them. 

Mingyu: We want to play it for them at the right time in the right atmosphere — not just like, “Hey, do you want to listen?” and play it for them lightly. And the music video is… not completed yet. [Pouts.]

S.Coups: [Laughs.] We’ve only seen parts, too.   

Mingyu: But I am really curious about the members’ reactions. Our fans reactions, reactions from those who are close to us, our peers — I’m so curious, but I’m most curious about our members. While working, since it’s just the two of us working on this mini-album, we’re able to show sides to us that we haven’t before. Things that we haven’t or just didn’t show, how will the public and how will our members react? I’m really so curious.

What do you think the fans will love most about this album?
Mingyu: There are some songs that will have a powerful, strong performance, and there’s also easy listening, but I think one of the charms is that it will be comfortable to listen to from start to finish. 

S.Coups: I think they will appreciate the chemistry between me and Mingyu, and I think it will be shown on stage as well. I think Carats will enjoy seeing that. 

Getting into each track in order, tell us about the first song on the mini-album, “Fiesta”? That’s my favorite song on this project.
S.Coups: “Fiesta” is a track that has the vibe of what those who know us and Carats would expect for CxM to come out with. In the beginning, we were working on it for it to be the lead track. And during the process, we really liked how our raps came out, and I really like the chorus.

Mingyu: And from my memory, a lot from the recording process comes to mind, but we did the guide for “Fiesta” in Hawaii after having some drinks. Usually if you do that, when you listen in the morning, it’s not that good, but it was better than we were expecting when we listened in the morning, so we used lyrics from that night in the song. That was fun. 

What about “5, 4, 3 (Pretty Woman),” where you interpolate Roy Orbison?
S.Coups: We went into each track with the idea that it could be the lead song. We really wanted all six songs to be good. As soon as “5, 4, 3” was made, Mingyu, me, and Bumzu [producer and longtime collaborator of Seventeen], all three of us were like “Oh! This is it!” We knew at once that this would be the lead track. 

Mingyu: We wanted the lead song to be one that anyone could easily listen to, so we interpolated “Oh, Pretty Woman.” The process was not easy, but the results came out to be a good mix of vintage music and our sound, so I think across ages and genders, people can listen and enjoy. 

I remember when I first found out that “Oh, Pretty Woman” would be interpolated, I couldn’t wrap my head around how it would end up sounding, but it came out so well.
Mingyu: You think so? Nice. I was really worried, but I think it came out well. Lay Bankz, who’s featured on the song — we didn’t have the chance to meet her in person but we talked on the phone. It was a little rushed. After we came back from shooting in L.A., we got the OK and it came together quickly. Her feature added a modern twist and edge to our image of the track and Beverly Hills. 

Now going into “Worth It,” which has more of a hip-hop, R&B sound to it.
S.Coups: This song was completed last. We were recording in the studio we normally record in, and I think Mingyu suggested that we finish the song in America, in L.A., because the vibes there would be so different. So when we went to L.A. to film the music video, we rented a studio for a day to complete the song. It’s a song we cherish as the last song to be made. It’s also a good one to dance to. We’re thinking, like, “Should we give it our all and dance to this song one day?”

Mingyu: While “5, 4, 3” is really chill and easy to listen to, this song is more sexy, and hot, and we could really dance when we perform it. 

What are the main differences you notice when recording in L.A. compared to recording in Korea?
Mingyu: I’m curious too. Why is it so different? 

S.Coups: [Laughs.] I think it’s different in that it feels like we’re going for fun and recording. When we record here in the company building or a studio, before we get there, in Korea, the mindset is, “Oh, I have to go into the studio today. I’m going to go record.” Rather than it being a difference between America and Korea, I think we’re there to have fun, and are vibing in a good mood, so it feels like we’re recording while just hanging out.

Mingyu: I’m not sure what the difference is.

Well I know here in L.A., I’m in West Hollywood, and there’s photos of you everywhere. 

S.Coups: CK? [Laughs.]

Mingyu: Yay! Really? Are there a lot? I want to see it too! 

Going into “For You,” I heard you both contributed to the lyrics and composition even more so for this track and the next one.
S.Coups: You’re right. We were going for easy listening, and it’s the song we worked on first. The two of us are friends. And our Carats around the world are also our friends. And anyone you come across via fate, walking past on a street, can become friends too — that’s the message we wanted to deliver. We wanted to make music that you can just listen to comfortably.

Are there any lyrics from “For You” that you particularly like? Or any specific moments you drew inspiration from for this one? 
S.Coups: Mingyu’s part for me. The first verse! [Places his hand on Mingyu’s shoulder.] “Going to the gym…” 

Mingyu: “From one to two…” What was the lyric? What’s your part? How does it end? “One, two—” Ah! [In Korean.] “But 1 to 2, gotta go to the gym…3 to 4 we could meet up, 5 through 9 just tell me when/But the real hot spot opens at 10.”

S.Coups: It just feels like our real lives.

Mingyu: While we were writing, it was like, “What are you doing at 1?” “I think I’m going to work out.” “What are you doing tomorrow at 2?” “I don’t have anything at 2.” “What about for dinner?” “But doesn’t that place open at 10?” It was a conversation like that that became the lyrics.

S.Coups: I think because it reflects our lives, I like it most.

Mingyu: It feels very close to reality. 

When I first heard “Young Again,” it felt very Seventeen to me, with a message of living life to the fullest. Can you walk us through that track?
Mingyu: This song is the type that I normally like most within Seventeen’s discography, the acoustic sounds. I also personally like country music. It has a sound that I’ve always wanted to try. When we did a session in Korea, I shared that I really wanted this type of music. A song that could be at the end of a festival set, or close out a concert, for us to all sing together. The topic is also, because it’s a song I want to do as a performance is ending: “To keep this moment special and to say this moment won’t come back, so stop being on your phone, being distracted, and let’s live in the moment.” That’s the message we wanted to put in the song. It’s a song I personally really like. I don’t know if our fans will notice it right away when we’re performing it, but there’s a line that goes “Right now, put your hands up.” To say “put your phone’s flash on and put your hands up together, and enjoy this moment…” It was fun to actually put that message in the song. 

S.Coups: I think if the fans really do that in the moment during a concert, the message we’re trying to get across will be realized. I’m really looking forward to it.

Mingyu: Also, the song is a little over two minutes, and the first line is “I just need two minutes.” [Laughs.] Give us just two minutes, because we’re about to sing.

Did you purposely cap the song at that length?
S.Coups: [Nods and laughs.] Yes, that’s right. 

Mingyu: It was originally “I just need three minutes.” But we gave it more thought and the song only came to two minutes. Three minutes was a stretch.

There’s a lot of two minute songs these days, so…
S.Coups: There are so many! 

Mingyu: But at a show, I want to sing this one for four to five minutes.

S.Coups: Like on repeat, singing it all together. 

Like “Aju Nice,” never-ending.
S.Coups: [Laughs.]. Right. 

And now moving onto the last song, “Earth.”
S.Coups: “Earth” is a song we worked on in Hawaii. Mingyu, Bumzu, and I were on a yacht and were shooting a scene. I was passed out on the sofa from swimming at night. [Laughs.] I was sleeping, but it’s a song where Mingyu and Bumzu drew inspiration from the moon, nature, and just us being together. And we also wanted an EDM-based song in the album. We put the song together from inspiration from Hawaii after the part where the beat drops was made.  

Mingyu: For this song too, when we first made it in the studio, I liked it so much. Although that is my personal opinion. 

S.Coups: The day we worked on this song, I was at home and Mingyu did some extra work with Bumzu. And I came in the next day to continue working on it, and Mingyu was like, “We made something amazing” and played it for me. And I was like “Wow, this is crazy.” I think we can show a new side of ourselves, and if there ever comes a time where we can perform the six tracks, we put it together the way we’d craft a setlist. I want it to be the double encore.

I know you like all the songs, but if you had to choose your favorite song as of today, what would you choose?
S.Coups: I choose “For You.” I tend to like easy listening, and with “For You,” I have so many good memories from when we were making it, or when we were shooting the track sampler or highlight medley. Hanging out with Mingyu and putting it on in the car, so many fun memories, so it’s been number one in my heart. 

Mingyu: “Young Again” for me. Ah, no, “Fiesta.” I choose “Fiesta” for today. No, for this exact moment.

S.Coups: Just for this little moment? [Laughs.]

What’s your reason? 
Mingyu: Because you said you liked “Fiesta” most.

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For my last question, what are you looking forward to most with this CxM unit? 
Mingyu: Honestly, I’m looking forward to performing, and of course meeting our fans, but in addition with all that, like how I said earlier, I want these songs to be part of real moments and memories. I’m eager to see those types of reactions. And I want it to really happen. Like for example, “I was listening to this song on a drive and it was so nice,” “I came out on a picnic with my family and listened to ‘For You’ and it was so nice,” “I went to a club and ‘Fiesta’ was playing.” I think seeing reactions like that will make me feel really proud and like we did a good job. 

S.Coups: I think as much as we put in to make each song a different genre, I hope people can appreciate the variety and really enjoy each one. And my hope is that, long into the future, these songs will remain woven into the people’s lives. 

September 29, 2025 0 comments
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Tame Impala Announces 2026 U.K. And Europe 'Deadbeat' Tour
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Tame Impala Announces 2026 U.K. And Europe ‘Deadbeat’ Tour

by jummy84 September 29, 2025
written by jummy84

Tame Impala takes another bite from Deadbeat, by unleashing “Dracula”.

Kevin Parker’s psychedelic rock project channels the Prince of Darkness on this funky, electro-pop nugget, the third, wide release from their forthcoming fifth studio album after the epic “End of Summer” and “Loser.”

Another cut, understood to be “Ethereal Connection,” was gifted to the world as an untitled b-side for the 12-inch of “End of Summer”, which was sold on the Aussie artist’s website with a limited number of copies.

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Parker actually gave us a dose of “Dracula” earlier this month, using a snippet as the soundbed for a social post revealing the Deadbeat tracklist.

Deadbeat is slated for a global release Oct. 17th, Tame Impala’s first through the Sony Music machine, by way of a new deal with Columbia Records, ending a career-long relationship with Modular Recordings and Universal Music.

Parker will assemble his touring band for a raft of newly-announced pan-European and U.K. concerts next year, starting April 4 at Super Bock Arena in Porto, Portugal and wrapping up May 13 at 3Arena in Dublin, Ireland. The Deadbeat Tour starts in North America, opening with a show Oct. 27, 2025 at Brooklyn’s Barclays Center.

As previously reported, Deadbeat is inspired by the “bush doof” culture of Parker’s native Western Australia rave scene.

A message on the pre-order page for the Deadbeat vinyl reckons “Parker sculpts a collection of wickedly potent club-psych explorations as a vehicle for some of his most direct, brain-wormy songwriting to date, recasting Tame Impala as a kind of future primitive rave act in the process.”

Deadbeat will arrive more than half a decade after The Slow Rush, from February 2020, a record that went to No. 1 on Australia’s ARIA Chart, and earned career peak positions on the Billboard 200 and Official U.K. Albums Chart UK, both at No. 3. Its predecessor, 2015’s Currents, topped the Australian chart and crashed the top 5 in the U.S. (at No. 4) and in the U.K. (No. 3), where Parker and his Tame Impala bandmates collected the Brit Award for best international group.

Stream “Dracula” below.

September 29, 2025 0 comments
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Bad Bunny to Headline 2026 Super Bowl Halftime Show
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Bad Bunny to Headline 2026 Super Bowl Halftime Show

by jummy84 September 29, 2025
written by jummy84

Bad Bunny will headline the 2026 Super Bowl Halftime Show, the NFL has announced.

Super Bowl LX is set to take place at Levi’s Stadium in Santa Clara, California, on February 8th, 2026.

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“What I’m feeling goes beyond myself,” the Puerto Rican-born musician said in a statement announcing the performance. “It’s for those who came before me and ran countless yards so I could come in and score a touchdown… this is for my people, my culture and our history. Ve y dile a tu abuela, que seremos el HALFTIME SHOW DEL SUPER BOWL.”

“What Benito has done and continues to do for Puerto Rico is truly inspiring,” added JAY-Z, whose company Roc Nation curates and co-produces the halftime show. “We are honored to have him on the world’s biggest stage.”

Although Bad Bunny is one of the biggest artist in the world, his booking comes somewhat out of left-field. Las Vegas oddsmakers had pegged Taylor Swift as the favorite to headline the event, with JAY-Z, Miley Cyrus, Dua Lipa, Drake, and Post Malone among other popular rumors. The leading favorite among bands was Metallica, who openly campaigned for the gig in their hometown of San Francisco.

Bad Bunny had also been vocal about excluding the US from his upcoming world tour, citing concerns that Immigration and Customs Enforcement (ICE) might stage raids outside his concerts. Alluding to those past remarks while announcing his Super Bowl performance, he wrote on social media: “I’ve been thinking about it these days, and after discussing it with my team, I think I’ll do just one date in the United States.”

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Bad Bunny recent wrapped up a massive residency in San Juan, Puerto Rico, earlier this month, and will kick off his aforementioned “Debi Tirar Mas Fotos World Tour” in Santo Domingo, Dominican Republic, beginning in November. This coming weekend, he’ll host the season 51 premiere of Saturday Night Live.

This is a developing story…

 

September 29, 2025 0 comments
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