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Luke Grimes Releases New 'Marshals' Music Ahead of ‘Yellowstone’ Spinoff

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What to know about the Academy of Country Music Awards

The 61st ACM Awards are more than a one-night televised event. A slate of activities will take place from May 15 to May 17 in Las Vegas. Events include the ACM Lifting Lives Country On The Green: Riley Green & Friends, on Friday, May 15, featuring an intimate get-together with country crooners Green, Rodney Atkins, Randy Houser, Lauren Alaina and more. Proceeds from this event will go to ACM Lifting Lives, a nonprofit organization that helps support people working in country music.

Saturday, May 16, is the ACM Next Wave: Country’s Beach Bash, with performances by Keith Urban, Tucker Wetmore, Flatland Cavalry, Braxton Keith and more. 

Finally, on Sunday, May 17 is the highly anticipated 61st ACM Award show, airing on Amazon Prime and the Amazon Music Twitch channel. You can view the most anticipated categories below. 

Entertainer of the Year

• Luke Combs
• Cody Johnson
• Megan Moroney
• Jelly Roll
• Chris Stapleton
• Morgan Wallen
• Lainey Wilson

Album of the Year

• “Ain’t In It For My Health” by Zach Top
• “Cherry Valley” by Carter Faith
• “Don’t Mind If I Do (Deluxe)” by Riley Green
• “I’m The Problem” by Morgan Wallen
• “Parker McCollum” by Parker McCollum

Song of the Year

• “A Song to Sing” by Miranda Lambert and Chris Stapleton
• “Am I Okay?” by Megan Moroney
• “Choosin’ Texas” by Ella Langley
• “I Never Lie” by Zach Top
• “Somewhere Over Laredo” by Lainey Wilson

Single of the Year

• “6 Months Later” by Megan Moroney
• “Choosin’ Texas” by Ella Langley
• “I Never Lie” by Zach Top
• “Somewhere Over Laredo” by Lainey Wilson
• “The Fall” by Cody Johnson

Female Artist of the Year

• Kelsea Ballerini
• Miranda Lambert
• Ella Langley
• Megan Moroney
• Lainey Wilson

New Female Artist of the Year

• Avery Anna
• Mackenzie Carpenter
• Dasha
• Caroline Jones
• Emily Ann Roberts

Male Artist of the Year

• Luke Combs
• Riley Green
• Cody Johnson
• Chris Stapleton
• Zach Top

New Male Artist of the Year

• Gavin Adcock
• Vincent Mason
• Shaboozey
• Hudson Westbrook
• Tucker Wetmore

Duo of the Year

• Brooks & Dunn
• Brothers Osborne
• Dan + Shay
• Muscadine Bloodline
• Thelma & James

Group of the Year

• 49 Winchester
• Flatland Cavalry
• Old Dominion
• Rascal Flatts
• The Red Clay Strays

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These days, you can’t talk about country music without mentioning Lainey Wilson, the 33-year-old Louisiana born-and-bred musician who has taken the genre by storm over the last few years. She’s not only known for hits like “Heart Like a Truck,” “Watermelon Moonshine” and “Wildflowers and Wild Horses,” but the multi-talented blonde has even taken her […]

Who will host the ACM Awards? 

Twain will host the 61st ACM Awards. She has won several awards at the event, including Female Artist of the Year and Entertainer of the Year, but this will be her first time hosting. 

“I’m thrilled to be hosting the 61st ACM Awards in Las Vegas, a place that feels like home,” Twain said in a statement. “It’s such an honor to be part of this incredible night celebrating country music’s biggest stars, especially with so many talented women leading nominations this year. I can’t wait to welcome all of the fans and artists out for this unforgettable night.”

How to get tickets to the ACM Awards

You can buy tickets for the ACM Awards and the events before online. Tickets for the show cost between $170 and $1,500, plus fees, and the dress code is “Country Cocktail.” 

Those who prefer to watch the show at home can stream it on Prime Video and the Amazon Music Twitch channel on Sunday, May 17 at 8 p.m. EST. 

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Dolly’s hidden tattoos have sparked fan curiosity and media questions for more than 25 years. From a playful moment on late-night TV to a tender tribute to her late husband, Carl Dean, here’s every lovely detail the legend has shared about her hidden ink — and why her words hit even closer to the heart now.

Entertainment

Dolly Opens up About Her Marriage to Carl: ‘We Were Different People’

Country music superstar Dolly Parton recently appeared on Khloé Kardashian’s podcast Khloé in Wonderland to share some new details on her marriage to Carl Thomas Dean, who died this past March. From why they kept their relationship out of the spotlight, to how his death impacted Parton’s music career, the “Jolene” singer shared it all. […]

That unforgettable Jay Leno moment in 1999

Long before social media could blow up a celebrity secret overnight, Dolly quietly gave the world its first peek at her hidden ink. If you were watching that night, you remember it. The moment came during a 1999 interview with Jay Leno, when the late-night host spotted something peeking out from beneath her sleeve. It was a casual, blink-and-you-miss-it exchange — but it sparked decades of curiosity.

“Is that a tattoo?” Leno asked while tugging at Parton’s sleeve.

“Yeah, I have a little tattoo. Don’t start pulling my clothes down,” she quipped. Parton explained the tattoo was of a little angel and that she also had a little butterfly tattoo. It cracked open a mystery that would only grow with time — and it was pure Dolly, charming and in complete control of the moment.

Roseanne Barr let the secret slip in 2011

For more than a decade after that Leno moment, Dolly kept her tattoos firmly under wraps — leaving fans to wonder just how much ink was hiding beneath those sequined sleeves. Then in 2011, comedian Roseanne Barr blew the lid off the secret during an interview and changed the conversation forever.

“Do you know who’s totally tattooed? I shouldn’t even tell this. Dolly Parton is totally tattooed,” Barr said. “She showed me. She’s got all these awesome tattoos all over her body. No black or blue lines. All pastel, gorgeous bows all over everything.”

The revelation sent fans into a frenzy — the kind Dolly would spend the next decade addressing with characteristic grace.

Entertainment

Dolly Parton Says Her Husband Was ‘Ill’ Before His Death: Read Her Words

Two months after the death of her husband, Carl Thomas Dean, country music legend Dolly Parton is opening up about his final days. The “Jolene” singer revealed that Dean was “ill for quite a while,” and even though she is still heartbroken, she is happy to know that he is “not suffering anymore.” Keep scrolling […]

Dolly pulled back the curtain, one story at a time

After Barr’s bombshell, Dolly found herself fielding tattoo questions in nearly every major interview for years. She gradually shared stories about keloid scarring, pastel butterflies and one unforgettable beehive. She handled it all the way she handles everything — with warmth, wit and just enough mystery.

On Today in May 2014, Parton pushed back on the wilder tattoo rumors. “I do have a few little tattoos, but they were mostly done to cover scars because I’m so fair,” she said. “So it started with that, and I’m not really one to have tattoos, but I do have a few and they’re not where you can see them.”

Then came a line that would take on deeper meaning years later: “They’re mostly for my husband,” she said. Dean died in March 2025 at age 82, making those five words feel all the more precious.

In an August 2016 interview with Larry King — another moment longtime fans will recall — Parton elaborated. “They’re not tattoos that are for big statements, bold statements,” she told King. “I have tattoos that I started doing just to cover up some scarring. I have a tendency to have keloid scarring and so I have scarring and sometimes they won’t ever lose the purple so I started having little pastel things to disguise things and splattered them here and there but I wouldn’t be a biker chick or anything.”

By 2019, Parton told Good Morning America she liked “decorating” her body to cover scars with flowers and butterflies.

In a September 2020 interview with People, Parton offered her most detailed account yet. “I do have some tattoos, that’s true,” she said. “But they’re tasteful. I’m not a tattoo girl.”

“Ribbons and bows and butterflies are the things that I have. I was very sick for a while and I had to wear a feeding tube. It left a little indention in my side and I didn’t like it because I’m so fair that scars turn purple on me,” she said. “I like to make positives out of negatives. I had a little beehive tattooed over it — a little yellow-and-brown beehive with a tiny little bee on top of the hive. The mouth of it is that little sinkhole.”

When asked if she inked Dean somewhere on her body, she replied, “No, he’s tattooed on my heart.” Those words land differently now, don’t they? Parton added, “Who knows, I may get some more later. I may just have to get covered with tattoos just so everybody could be right!”

Dolly’s most recent comments keep the mystery alive

In her most recent public comments on the subject, Parton kept the intrigue going while sharing a few more details with W Magazine in October 2021. After all these years, her playful approach to the tattoo question has not changed one bit.

“I have a few little tattoos here and there,” Parton told the outlet. “Most of my tattoos came because I’m very fair and I have a tendency to scar when I get any kind of cut. I’ve had surgeries for different things, and if the scars didn’t heal properly, I just gotta put tattoos to take the sting out. I don’t have the real heavy, dark tattoos. Mine are all pastel. And I have more than one!”

That’s Dolly for you — turning scars into something beautiful, keeping us guessing and making us smile all at once. After more than 25 years of tiny reveals, the mystery is still going strong. And honestly? We wouldn’t have it any other way.

Read on to learn how Dino, Desi & Billy became second-generation celebrities in the ’60s, and see what they did after the decade ended.

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How Lucille Ball Made History Becoming a Real and TV Mom—on the Same Day!

Pregnancies and births are not a new trope of television sitcoms. In fact, they’ve proven to be a tried-and-true means of bringing attention to a show and in turn boosting its ratings. But back on January 19, 1953, they were unprecedented, and when Lucy and Ricky Ricardo became the parents of “Little Ricky” on I […]

From childhood friends to hitmakers—with help from Frank Sinatra

Dino Martin, the son of Rat Pack entertainer Dean Martin and his second wife, Jeanne Biegger, and Desi Arnaz Jr., the son of I Love Lucy stars Desi Arnaz and Lucille Ball, were surrounded by music from their earliest days. The talented youngsters befriended each other in elementary school, where they also met Billy Hinsche, who didn’t have famous parents but became the third member of the trio.

Given Dino and Desi’s illustrious parentage, it’s no surprise that their group started with a bang. One fateful night, Frank Sinatra was visiting Dean Martin’s house when he overheard music coming from one of the rooms. At first, Martin thought his friend and creative collaborator might be annoyed by the noise, but Sinatra was impressed and told the three kids he wanted them to try recording their music. A few days later, the crooner had them record “I’m a Fool,” and before they knew it, Dino, Desi & Billy were signed to Sinatra’s label, Reprise Records.

“I’m a Fool” became Dino, Desi & Billy’s first and biggest hit, reaching No. 17 on Billboard’s Hot 100. At the time, Desi was 13, while Dino and Billy were 14, and they quickly gained a dedicated following of teen girls and became teenybopper magazine staples. They further raised their profile through performances on The Ed Sullivan Show, The Sammy Davis Show and (naturally) The Dean Martin Show, and toured as an opening act for classic bands like the Beach Boys, the Mamas & the Papas and the Lovin’ Spoonful.

With their floppy-haired charm and catchy songs, Dino, Desi & Billy briefly captured the ’60s teen-dream zeitgeist (as amusingly described in their 1965 ditty “The Rebel Kind,” which featured lyrics about long hair, tight clothes and black boots). While Lucille Ball worried about her son getting too famous at too young an age, telling a newspaper, “Without discouraging him, I’ve tried to point out that the success of Dino, Desi & Billy may turn out to be a flash in the pan,” she acknowledged, “They’re the heroes of their own age group. They know what sort of music they like, and what appeals to them also appeals to millions of others.”

Dino, Desi & Billy’s second hit single, “Not the Lovin’ Kind,” peaked at No. 25 on the Hot 100. After their initial wave of teen-idol glory, with two popular songs and high-profile TV and concert appearances, the trio’s stardom started to wane. Much of their early music was written by outside songwriters and supplemented by session musicians, and they worked with artists like Lee Hazlewood (known for his work with Nancy Sinatra), Boyce and Hart (known for their work with the Monkees), David Gates (known for being the frontman of Bread) and Jimmy Bowen (known for his work with Frank Sinatra and Dean Martin), but they eventually started writing their own music, and their final single, “Lady Love,” released in 1970, after their breakup, was cowritten by Billy and the Beach Boys’ Brian Wilson.

Dino, Desi & Billy had no more hits after 1965, though in 1966, they released three more albums in a row. They also appeared in the Dean Martin spy comedy Murderers’ Row (1966), and in 1969, they contributed three songs to the surf movie Follow Me. By the end of that year, the band broke up, and each of the teens went on to pursue their own projects.

Life after Dino, Desi & Billy: Tennis, TV stardom, the Beach Boys and more

Dino, Desi & Billy achieved a lot before they even reached high school graduation age, and they kept busy once the band ended.

Dino Martin started going by the more mature name Dean Paul Martin and became a tennis player. In 1979, he acted opposite Ali MacGraw in the tennis-themed movie Players. He then starred in the short-lived sci-fi series Misfits of Science from 1985 to 1986. Offscreen, he had a high-profile personal life, as he was married to Romeo and Juliet star Olivia Hussey from 1971 to 1978 and Olympic figure skating champion Dorothy Hamill from 1982 to 1984.

In addition to his work as a musician and actor, Martin was a pilot and served in the Air Force as part of the California Air National Guard. He tragically died at 35 in 1987, when the jet he was flying crashed during a snowstorm. In the decade after the death of their former bandmate, Desi Arnaz Jr. and Billy Hinsche teamed up with Dean’s younger brother, Ricci Martin, to form Ricci, Desi & Billy, and the reconfigured group played on the ’60s nostalgia circuit from 1998 to 2010.

Desi Arnaz Jr. starred with his mom and sister in the sitcom Here’s Lucy from 1968 to 1974. He appeared in movies and TV shows throughout the ’70s and ’80s and starred in the superhero series Automan from 1983 to 1984. Like Martin, he made headlines for his love life, as he dated stars like Patty Duke and Liza Minnelli. He was married to Happy Days actress Linda Purl from 1979 to 1980, and dancer Amy Laura Bargiel from 1987 until she died in 2015.

In 1992, Desi played his famous father in the film The Mambo Kings, and he’s worked to preserve his parents’ legacy, as he previously served as the vice president of the board of the Lucille Ball–Desi Arnaz Center and executive produced the 2021 biopic Being the Ricardos. Now 73, Desi is the sole surviving member of Dino, Desi & Billy.

Billy Hinsche had the most successful musical career outside of Dino, Desi & Billy. In the late ’60s, he became a session musician for the Beach Boys. He played on many of their albums and toured with them as a vocalist, rhythm guitarist and keyboardist from the ’70s through the ’90s, and his sister, Annie Hinsche, was married to Beach Boy Carl Wilson. Hinsche also played on Carl Wilson’s solo albums and provided backing vocals for songs by Elton John, Warren Zevon, Joan Jett and other artists.

Hinsche released his debut solo album in 2003. He died of lung cancer in 2021 at 70, but kept busy until the end, and livestreamed a series of performances throughout the pandemic. Looking back on his time in Dino, Desi & Billy in a 2020 interview, he admitted that when it came to his bandmates’ celebrity parents, “I was as star-struck as the next person,” and he fondly recalled, “I like to say, we were a garage band like so many others . . . the only difference being, we were rehearsing in Lucille Ball’s garage.” Over 60 years later, that remains a pretty impressive credential.

That’s not a typo. More than three thousand.

She’s released 49 solo studio albums, a record for a female country artist, and had 113 songs land on the Billboard Hot Country Songs top 100 — half of which landed in the top 10 and 25 at No. 1. 

But her songwriting catalog is where things get truly mind-blowing. Parton has penned hits for everyone from Whitney Houston to Miley Cyrus to Kenny Rogers to Tina Turner.

Entertainment

The Top 15 Dolly Parton Songs, Ranked — Perfect to Listen to During Your ‘9 to 5’

The country queen has penned hundreds of hits: these are some of our favorites!

Here are some of the biggest songs you probably had no idea came from Dolly’s pen.

“I Will Always Love You” by Whitney Houston (1992)

This is the one that floors people every single time. Whitney Houston’s massive hit? Written by Parton. 

Parton wrote and recorded the song in 1973 as a farewell to her business partner and mentor Porter Wagoner. Her original version was released in 1974 and spent one week at No. 1 on the Billboard Hot Country Songs.

Then Houston recorded her version in 1992 for the film The Bodyguard, and it spent a staggering 14 weeks at No. 1 on the Billboard Hot 100 in 1992 and 1993. Same song — two completely different lives.

“Rainbowland” by Miley Cyrus (2017)

Here’s a connection that makes the internet swoon every time it comes up: Dolly Parton is Miley Cyrus’s godmother. 

The two co-wrote “Rainbowland” for Cyrus’s album Younger Now. The song was named after Cyrus’s home studio, painted rainbow colors, where she began building the album.

Entertainment

Inside Dolly Parton and Miley Cyrus’ Sweet Relationship

The country legend and the pop star will always love each other, Dolly Parton and Miley Cyrus sharing one of the sweetest relationships in show business—a bond that began even before Miley was born. Parton has been part of the Cyrus family from the start, and their connection has only deepened over the years. Dolly […]

Parton described it as “really just about dreaming and hoping that we could all do better.” A cross-generational collaboration between a legend and her goddaughter — it doesn’t get much better than that.

“There’ll Always Be Music” by Tina Turner (1974)

This one is a genuinely surprising crossover. Tina Turner recorded a Dolly Parton-penned track on her solo debut album Tina Turns the Country On! in 1974, released while Turner was still a member of the Ike & Tina Turner Revue. 

The album also featured songs written by Bob Dylan, James Taylor, Hank Snow and Parton.

Here’s the real showstopper: that album earned Turner a Grammy for Best R&B Vocal Performance, Female. A Dolly Parton composition helping power a Grammy-winning R&B album.

“To Daddy” by Emmylou Harris (1977)

Written from a child’s perspective about a neglected wife and mother who eventually leaves her unaffectionate husband, this song was released as a single from Emmylou Harris’s 1977 album Quarter Moon in a Ten Cent Town. 

It reached No. 3 on Billboard’s Hot Country Songs in 1978. Parton later included it on her 1995 compilation The Essential Dolly Parton, Vol. 1.

“Waltz Me to Heaven” by Waylon Jennings (1984)

Parton wrote this one specifically for Waylon Jennings. It first appeared on the 1984 Rhinestone film soundtrack, with Parton’s brother Floyd singing. 

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It became the second single from Jennings’ Waylon’s Greatest Hits, Vol. 2 and reached No. 10 on Billboard’s Hot Country Songs.

“Fuel to the Flame” by Skeeter Davis (1967)

Co-written by Parton and her uncle Bill Owens, this single became Davis’s first major hit in two years and charted in the top ten. 

Davis was one of the first women in country music to gain major success as a solo artist and an acknowledged influence on Parton.

“The Stranger” by Kenny Rogers (1984)

A story song told from a boy’s perspective about wondering why his father deserted him before he was born. The father later meets the boy following his mother’s death.

 It was released one month before Kenny Rogers and Parton released their Once Upon a Christmas album.

“Circle of Love” by Jennifer Nettles (2016)

Parton wrote this for the 2016 TV movie Dolly Parton’s Christmas of Many Colors: Circle of Love, based on a true story from Parton’s childhood in the Smoky Mountains. 

Jennifer Nettles played Parton’s mother, Avie Lee Parton, in the film and included her version on her solo holiday album To Celebrate Christmas (2016). 

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5 Shocking Revelations From the New Dolly Parton Book

Over the course of an impressive career spanning more than 50 years, Dolly Parton has proven herself to be not just a musician but a cultural icon. Beloved by fans of all ages, the singer-songwriter, actress, philanthropist and businesswoman is instantly recognizable, and her classic songs, from “Jolene” to “9 to 5,” remain some of […]

Parton released her own version on A Holly Dolly Christmas (2020), and the two dueted it on The Voice.

Dolly Parton’s career started as a songwriter

Parton’s first appearance on Billboard’s charts came as a songwriter 60 years ago. She co-wrote “Put It Off Until Tomorrow” with her uncle Bill Owens. 

It was recorded by Bill Phillips and released in January 1966, peaking at No. 6 on the Billboard Hot Country Songs. It earned Song of the Year at the 1966 BMI Awards — her first of many.

As she wrote in her 2020 book, Dolly Parton, Songteller: My Life in Lyrics: “I love to write songs for men.”

“And it’s a good thing I do because back then, there weren’t that many women in the country-music business to write songs for. Especially ones who weren’t writing their own songs, like Loretta Lynn was,” she continued.

“I didn’t have a lot of space to write songs for women so I purposefully tried to write songs that men could record. Or songs that could go either way,” she wrote.

More than 3,000 songs. Seven decades. A catalog stretching from country to pop to R&B. Dolly Parton isn’t just an icon — she’s the songwriter behind more of your favorite music than you ever realized.

Entertainment

Riley Green's Dating History: What We Know About His Love Life

Every once in a while, a new, hunky country musician jumps onto the scene and steals hearts. Whether it’s the cowboy hat, accent, swoon-worthy lyrics or overall charm, who can resist? One crooner that’s been on people’s radar over the last year is none other than Alabama native Riley Green, and once you hear his […]

Billy Strings and Ally Dale have an adorable love story

When Billy Strings first met his wife, she was working as a bartender. As the story goes, Billy had gone in for a beer and while working at the bar, she had left the sink running behind the counter. Billy reached over to turn it off, and when Ally returned and saw he’d shut it for her, she was hooked, he explained on Reddit’s Ask Me Anything. In 2023, the duo made things official when they got married at the site of Michigan’s Hoxeyville Music Festival. 

For a while, Ally served as Billy’s tour manager, but now makes a living as a yoga instructor—though these days she’s got her hands full with a recent addition to their family, a baby boy named River Roy Apostol, who the couple welcomed back in 2024. Since becoming a dad, Billy has felt his priorities shift, worrying less about himself and more about the family he’s built. 

“It takes me away from all this focus about the gig and the anxiety about the shows. That stuff doesn’t really matter now,” Billy Strings told American Songwriter about this new era of his life. “It frees me up to sing from a place of joy in my belly because I’m not so worried about if I sound good or not.” He continued, “When I’m singing and playing, it’s like taking the kids to the park and not letting them go down the slide because you’re scared they are going to get hurt. ‘Am I singing the right note? Am I in pitch?’ So cautious about, ‘Oh man, what if I sound bad?’ Now…what I’m worried about is, ‘Is everybody okay?’…Is my son, and dog, and wife okay? And if they are, then I’m free to go sing, and I don’t care if I sound bad.”

Billy Strings heads out on the road

Just yesterday, it was announced that the bluegrass icon would be hitting the road in the fall on tour, stopping in Colorado, California, Oregon, Washington, Alabama, Maryland, Louisiana and Texas between September and December. Presale began today at 10 a.m., while tickets to the general public go on sale on April 3 at 10 a.m. local time. Visit his official website for more information. 

Celine Dion, it seems, never got that memo.

The iconic singer turned 58 on March 30 and marked the occasion not with reflection or retreat but with an announcement that defied what many believed was possible. 

In a video shared on Instagram, Dion told fans she would be returning to the stage for 10 concerts in Paris this September and October.

“This year, I’m getting the best gift of my life. I’m getting the chance to see you, to perform for you, once again, in Paris,” she announced.

It was a birthday message unlike any she had recorded before. Dion noted she had filmed many such greetings through the years, but this was the first time she did so for herself—and it came with what she called “very important” news.

When the world said she couldn’t—she did

The weight of that announcement becomes clear only in the context of what preceded it.

In 2022, Dion revealed she had been diagnosed with stiff person syndrome, a rare neurological disorder. 

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According to Johns Hopkins Medicine, SPS is “a rare autoimmune neurological disorder that most commonly causes muscle stiffness and painful spasms that come and go and can worsen over time.”

For a performer whose instrument is her entire body—her voice, her movement, her presence—the diagnosis was devastating. The condition caused spasms that affected her ability to walk and use her vocal cords. 

She was then forced to postpone several European tour dates and eventually canceled her entire “Courage World Tour” in 2023, which had initially been postponed due to the COVID-19 pandemic.

Then came a verdict that many women who have faced health crises or life-altering setbacks will recognize: the quiet closing of a door by others on your behalf. 

At the time, a source close to her told CNN that she would “likely never tour again.”

Celine Dion is ready to make her comeback

What strikes hardest about Dion’s birthday video is not bravado. It is honesty.

“I’m feeling good. I’m strong. I’m feeling excited, obviously—of course, I’m feeling a little nervous. But most of all, I am grateful to all of you. I can’t wait to see you again.”

She said she is “so happy” and “so ready to do this.”

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That willingness to hold nervousness and strength in the same breath—to admit vulnerability without letting it become the whole story—carries a kind of emotional transparency that resonates far beyond celebrity.

Dion was equally direct about what sustained her through the hardest stretch. Her words to fans were unguarded and specific.

“Over these last few years, every day that’s come by, I felt your prayers and support, your kindness and love,” she said. “Even in my most difficult times, you were there for me. You’ve helped me in ways I can’t even describe and I’m truly so fortunate to have your support. I’ve missed you so much.”

Celine Dion has come a long way over the years

Her recovery was documented in her 2024 documentary, “I Am: Celine Dion,” which showed her battling to regain her voice while dealing with physical pain. 

In 2024, she performed at the opening ceremony of the Summer Olympics in Paris, singing Edith Piaf’s “L’Hymne à l’amour.” 

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Her last music release was the soundtrack for the 2023 film “Love Again,” in which she also appeared.

The upcoming residency will take place at Paris La Défense Arena, a 40,000-seat venue. Presale for tickets begins April 7.

At 58, Celine Dion is not scaling back. She is stepping forward—nervous, grateful and unwilling to let someone else’s prognosis write the final chapter of her story.

Insofar as three-quarters of The Beatles were concerned, touring would remain a thing of the past, but for Paul McCartney, there was a growing belief that the longer the group distanced themselves from their fans, the more difficult it would be for them to remain strongly bonded as a band.

“Paul increasingly regretted The Beatles’ decision to stop touring,” said Peter Brown, confidant of the group and author of The Love You Make. “The Beatles had lost contact with their audiences, and he felt that was a mistake. His creativity was nurtured by the immediate feedback of a live audience. That public adulation was half the fun of being a musician, he felt, and his need for the sound of applause was so strong that one day, high on LSD, he stopped at a roadside pub in Bedfordshire and played the piano for the delighted patrons. Paul had decided that it was important for The Beatles to ‘get back to their roots,’ and that was what Get Back was supposed to be.

“However,” he adds, “the idea of a huge tour was greeted with great reluctance by the others, and it was whittled down to having a documentary filmed of them making the album, capped by a single live performance. Paul wanted to justify the idea of one show by holding it in some grandiose location. A Tunisian amphitheater was considered but dismissed as impractical, as was holding the concert on an ocean liner in the middle of the Atlantic. John’s personal suggestion was that they hold the concert in a ‘lunatic asylum,’ and perhaps he was right. The Beatles needed their heads examined to embark on such a project.”

The ‘Get Back’ Project

The idea that McCartney was pushing eventually evolved into what became known as the Get Back project—an attempt to strip away studio experimentation and document the band writing and rehearsing new material before performing it live.

The project would ultimately be filmed by director Michael Lindsay-Hogg and eventually released as the 1970 documentary Let It Be. Decades later, the same footage would be revisited and dramatically expanded by Peter Jackson for the 2021 documentary series The Beatles: Get Back, which revealed a far more nuanced portrait of the band’s creative process than audiences had originally seen.

In the earliest stages of the project, one fan of the idea was producer George Martin, who explained, “They wanted to write a complete album and rehearse it and then perform it in front of a large audience. A live album of new material. Most people who did a live album would be rehashing old stuff, but they thought, ‘Let’s have a completely new album that nobody has ever heard, and put it in front of an audience.’ It was a great idea, except that you couldn’t have an open-air concert in England in February and there was no venue available that would take The Beatles and their crowds. So we then started thinking about staging it abroad, we thought about doing it in California, but that would have been too expensive. We thought of going to Marrakech and importing people—but that fell through. In the end, because there was so much vacillation, there was nowhere left at all. So they started rehearsing down in Twickenham Film Studios.”

The rehearsals at Twickenham Film Studios were famously tense. Cameras rolled as the band worked through new material, sometimes arguing, sometimes rediscovering their musical chemistry. Those sessions would later move to the newly constructed basement studio inside the Beatles’ headquarters at Apple Corps.

‘We need an ending!’

But director Lindsay-Hogg had a growing concern: his film had no ending. “I didn’t want to make a straight documentary,” he said of his intent for the film. “I figured if we just showed them working, we’d learn quite a bit about them. But I did want an ending. We had all of these rehearsals and all this footage and it wasn’t going anywhere. One day we had lunch and I said to them, ‘Listen, we’ve got to do something to have an ending because this is the project.’ I was told, ‘There is no special. It’s just going to be what this is,’ but I said, ‘We just don’t want to put it in a drawer when it’s over. We need some kind of climax here. We need some kind of resolution.’ I didn’t want to let Let It Be get put in the closet, because the momentum was gone. So the only way I knew to fix it was to have some sort of climax. I said, ‘Why don’t we just do some sort of concert on the roof?'”

McCartney immediately responded to the idea, though he was the only one initially enthusiastic. Noted Lindsay-Hogg, “George didn’t [want to do it], which was the usual breakdown of the personalities. And then John, who was the leader of the democracy, if he chose to be, said, ‘Oh, f**k it, come on, let’s do it.’ And so we all walked up that little staircase and kind of into history.”

And so, on January 30, 1969, The Beatles stepped onto the rooftop of Apple’s headquarters at 3 Savile Row in London.

“We went on the roof in order to resolve the live concert idea,” said George Harrison, “because it was much simpler than going anywhere else. Also, nobody had ever done that, so it would be interesting to see what happened when we started playing up there. It was a nice little social study.”

Reflected Ringo Starr, “I remember it was cold and windy and damp, but all the people looking out from offices were really enjoying it.”

“It was good fun, actually,” enthused McCartney. “We had to set the mics up and get a show together. It was really good fun, because it was outdoors, which was unusual for us. We hadn’t played outdoors for a long time.”

Mojo magazine summed up the “concert” pretty succinctly: “The Beatles, with Billy Preston in tow [he played keyboard], took to the roof of 3 Savile Row for what was to be their last public performance, played to an audience of Apple staff, reporters, local office workers, businessmen and passers-by. And, for three-quarters of an hour, The Beatles actually gelled as they blasted their phenomenally loud, rockier numbers into the icy London air. McCartney was proven right; the four musicians enjoyed themselves as they ran through several takes of ‘Get Back,’ ‘Don’t Let Me Down,’ ‘Dig A Pony,’ ‘I’ve Got A Feeling’ and ‘One After 909.’

“The impromptu concert was brought to a premature end by local police after the manager of a nearby bank complained about the breach of the peace,” the article continued. “Although no arrests were made, it was as dramatic as they could manage. Afterwards, The Beatles felt the elation of the live performance. ‘The whole scene is fantastic,’ beamed Lennon.”

For one brief moment, the band looked and sounded like the Beatles of old — four musicians enjoying the simple thrill of playing together.

Sadly, but for that one moment in time, there was no escaping one fact: it was all coming to an end. Which it did in 1970.

Whether you were blasting it on your Discman or hearing it echo from your daughter’s bedroom down the hall, Britney Spears’ self-titled third studio album has been part of the soundtrack of our lives for a quarter century now. Released on October 31, 2001, Britney marked a shift toward more mature pop and R&B sounds, critics claimed — and for fans who had followed Spears from her schoolgirl-outfit era into something bolder, this album wasn’t just music. It was a moment.

Britney has had a tough week—and a tough journey. And we’ve been fans the whole time.

The tracklist that takes you right back

The beloved album included some of Spears’ top songs, and honestly, just reading these titles might be enough to send you back in time:

• “I’m a Slave 4 U”
• “I’m Not a Girl, Not Yet a Woman”
• “Lonely”
• “Overprotected”
• “Cinderella”

According to the Grammys, “I’m a Slave 4 U,” “I’m Not a Girl, Not Yet a Woman,” and “Overprotected” became her most popular songs to date. If you’re humming at least one of those right now, you’re far from alone.

Each track carried a different energy, but together they told the story of an artist who was done being boxed in. “Overprotected” felt like the anthem for every argument about staying out past curfew — whether you were the one fighting for freedom or the parent holding the line. “I’m Not a Girl, Not Yet a Woman” captured that in-between feeling of adolescence that so many young women were living through in real time. And “I’m a Slave 4 U”? That was something else entirely.

That VMA performance you’ve never forgotten

You know exactly what’s coming.

Months before the album’s release, Spears performed her first single from the album, “I’m a Slave 4 U,” at the 2001 VMAs. The performance continues to go down in history — she performed with a live snake draped around her neck and shoulders.

Whether you watched that night on your family’s living room TV or caught it later in replays, you probably remember the feeling. The choreography, the sweat, the sheer audacity of a live albino Burmese python casually draped over one of the biggest pop stars on the planet. It was a break from the cookie-cutter image she portrayed early in her career, and the album itself carried that same energy.

That single performance cemented itself as one of the most talked-about VMA moments of all time. Over two decades later, it remains a cultural touchstone — one of those “where were you when” moments, except fueled by pure, unfiltered pop spectacle.

From pop princess to something more

The Britney album represented an artist in transition, and one of the most fascinating evolutions in pop music at the time.

As Random J Pop wrote at the time:

“Britney in the late 90s to early 2000s was a freight train. She came out of nowhere, broke all the records, was a standard and became a part of pop music history with just two albums. But the whole time Britney was securing hits and bags, she was also growing up and out-growing the sound that made her. And the formula that was now evident couldn’t just be trotted out for a third album outright. So her third studio album had to account for this, whilst being an experiment in seeing what Britney could get away with. Oh, and there was also a film that Britney was the lead in. So it had to be a bit of a soundtrack too.”

That tension between the bubblegum pop machine and the young woman trying to find her artistic footing is exactly what made Britney resonate so deeply. For fans who were the same age, growing up alongside her, the album felt like a shared experience. She was figuring it out — and so were they.

The movie that came next

Following the album’s release, Britney’s beloved movie Crossroads premiered the following year in 2002. If the album was about growing up musically, Crossroads was about growing up on screen, with an ensemble cast that, looking back now, is almost unbelievable.

Spears starred alongside Taryn Manning (Orange is the New Black), Zoe Saldaña (Guardians of the Galaxy), Kim Cattrall (Sex and the City), and more. Before Saldaña was leading intergalactic missions and Manning was navigating Litchfield Penitentiary, they were road-tripping across the country in a coming-of-age film.

The movie follows Spears, Manning, and Saldaña’s characters, who were once childhood friends after they grew apart in high school. A simple premise — friendship, heartbreak, self-discovery, and a killer soundtrack.

Her song “I’m Not a Girl, Not Yet a Woman,” featured in the film, remains one of her most popular songs to date. The track captured the theme of the movie and, frankly, the theme of those early 2000s years: being caught between who you were and who you were about to become. That’s a feeling that doesn’t have an age limit.

Why it still hits at 25

A quarter of a century. That’s how long it’s been since Britney arrived and changed the trajectory of one of pop music’s biggest careers. For those who saved up allowance money for the CD, memorized every lyric, or tried (and failed) to recreate the “I’m a Slave 4 U” choreography — this anniversary carries real weight.

The album was where Spears stopped being just a teen pop sensation and started becoming something bigger, something more complex, something lasting. The music shaped us. The pop star grew up alongside a generation. And the cultural moments from that era? We carry them with us still.

So here’s to 25 years of Britney — the album, the era, and the memories that come flooding back every time you hear that first beat drop.

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Beyond the Ranch: Luke Grime’s new album and ‘Marshals’ song 

On Friday, February 13, Grimes announced that he would be releasing Redbird, his second studio album, on April 3. He also shared that one of the songs—“Love You Now”—was is currently available to stream. 

“Making Redbird was a cathartic experience in many ways,” Grimes said in a statement. “Sometimes the highs and lows of life are too much to express with words, so song becomes necessary. As deeply personal as it is, the themes are simple and universal: love, loss and learning along the way.”

Redbird will feature 10 songs, which you can view below, all of which were co-written by Grimes, Jessie Jo Dillon, Natalie Hemby, Nick Walsh, Wolf Mahler and Dave Cobb, who also produced the album. 

1. “High Rise Jeans” 
2. “Come Home”
3. “Love You Now” 
4. “Hummingbird”
5.  “Drink Drink Drink” 
6. “Love Me That Way” 
7. “I’m Not Gonna Leave You” 
8. “Without You” 
9. “Haunted” 
10. “A Little More Time” 

“Grimes co-wrote much of the album and contributed acoustic guitar, percussion, and drums throughout the sessions, working alongside Cobb and collaborators including Jessie Jo Dillon, Natalie Hemby and others,” reads the album synopsis sent to Woman’s World. “Songs like ‘Drink Drink Drink’ and ‘Haunted’ wrestle with self-doubt and reckoning, while ‘Without You,’ ‘A Little More Time’ and today’s release ‘Love You Now’ reflect on commitment, loss and the quiet strength found in staying present.” 

Following that, Grimes announced that his song “Haunted” would not only be available to stream ahead of the album’s release, but it would also be featured in Marshals. 

“Anchored by sparse instrumentation and his steady baritone, the track builds with quiet intensity—reflecting both the emotional undercurrent of the song and the character-driven tension at the heart of Marshals,” reads the press release issued to Woman’s World. “The release marks a rare intersection of Grimes’ dual creative worlds. As the star of Marshals, Grimes takes center stage in the new CBS series, and ‘Haunted’ serves as a thematic companion to the show’s exploration of responsibility, reckoning, and resilience. The placement underscores his growing presence not only as an actor but as a songwriter whose music mirrors the depth and complexity of the roles he portrays.” 

Naturally, fans are buzzing and have even begun to wonder if the song is a callout to Grimes’ character Kayce Dutton’s journey in Marshals. Ever since the trailer was released, fans have been wondering where Monica Dutton (Kelsey Asbille) has been. Many viewers believe that she could be dead, which would make sense given Grimes’ song choice of being haunted by the ghost of a lost loved one. 

No official story lines have been confirmed and won’t likely be until the Marshals premiere on Sunday, March 1. 

“It will be weird,” Grimes told People magazine of the show back in June of 2025. “There’s going to be some familiar faces, but there’s going to be a lot of new faces too, so we’ll see how that all feels.”

“We definitely wanted to make sure to give it a real story and make it interesting and make it believable,” he continued. “If it was just like, ‘Well, he’s happy’—we’re just going to watch him be happy? That’s not very cool. But I’ll say this, the idea that was pitched to me is very, very good and very interesting and it really roped me in and I think it will rope the audience in as well.

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A track-by-track look back at Luke Grimes’ most popular songs

Prior to Redbird, Grimes released a self-titled album in 2024, which he told Woman’s World, “thought about it for two years” before actually releasing it. 

“I’m nervous. I don’t want to be judged. I don’t want to look cheesy. I don’t want to look like I’m trying to take someone else’s job. And finally, I was just like, ‘I got to put all that away and get over the fear, and just do it. Because I’ll be really upset one day if I look back and I didn’t,” he continued. 

The album had 13 tracks, as detailed below.

1. “Burn” 
2. “Playing’ on the Tracks” 
3. “Hold On”
4. “Black Powder”
5. “Ghost of Who We Were”
6. “Oh Ohio”
7. “God And A GIrl”
8. “What Angels Do”
9. “No Horse To Ride”
10. “Wait For The Rain to Die Down” 
11. “Ain’t Dead Yet”
12. “South On 75”
13. “Worst Of Me” 

“We all go through things, and that’s the kind of music that I’ve always liked. The stuff that’s always been important to me has been stuff that made me feel like we’re all in this together. Music is such a human thing, and a shared experience,” Grimes said. 

“There’s nothing to hide behind with the music. I feel like with the other job [acting], getting to know me was never part of the job,” he continued. “The point was that you didn’t get to know me, that you can believe me as something else, and the more you get to know me, maybe the less believable that is. So, I think a lot of mystery is a good thing for people who play characters. But my music is way more personal. It’s my words coming out of my mouth.”

You can stream Luke Grimes first album and his new song “Love You Now” now wherever you listen to music. 

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With her striped halo-style hair dye and smiley piercing, Liu doesn’t fit the traditional ice princess image that’s long defined figure skating, and the joy she brought to her free skate is undeniably infectious. The fact that Liu won gold while having so much fun she practically floated on the ice has generated a much-needed conversation about female athletes doing what they love on their own terms, and the sight of her jumping and spinning to the campy disco drama of “MacArthur Park” while wearing a spangled gold costume became instantly iconic, spawning countless appreciative social media posts and changing the face of figure skating.

Alysa Liu’s skating victory hasn’t just made her a household name, it’s also kicked off a “MacArthur Park” resurgence, which has seen the song enter the top 10 on iTunes and be streamed 1,292% more than average on Spotify. Thanks to Liu’s skate, the song has reached a huge new audience, and its writer, Jimmy Webb, couldn’t be happier. Read on to learn about the long history of “MacArthur Park” and see what the songwriter and the skater have said about its surprising new life.

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The origins of ‘MacArthur Park’: ‘The lyrics infuriate some people’

Singer-songwriter Jimmy Webb originally wrote “MacArthur Park” for the ’60s band the Association, but they rejected it, and he gave it to Richard Harris, the Irish actor known for his distinguished roles as King Arthur in Camelot and Dumbledore in the first two Harry Potter movies. When Harris released the song in 1968, it became an unlikely hit, peaking at No. 2 on the Billboard Hot 100 and earning Webb a Grammy for Best Arrangement.

“MacArthur Park” isn’t your typical pop song: It runs over seven minutes, and features an orchestra and lyrics that are both bizarre and evocative, with the famous line, “Someone left the cake out in the rain/I don’t think that I can take it/’Cause it took so long to bake it/And I’ll never have that recipe again,” but this quirkiness is part of what makes it so memorable.

In an interview with The Guardian, Webb shared the inspiration for his lyrics, saying, “The lyrics to ‘MacArthur Park’ infuriate some people . . . They think it’s a psychedelic trip. But everything in the song is real. There is a MacArthur Park in Los Angeles, near where my girlfriend worked selling life insurance. We’d meet there for lunch, and there would be old men playing checkers by the trees, like in the lyrics.”

As for that ill-fated cake, Webb explained, “I’ve been asked a million times: ‘What is the cake left out in the rain?’ It’s something I saw—we would eat cake and leave it in the rain. But as a metaphor for losing a chapter of your life, it seemed too good to be true. When she broke up with me, I poured the hurt into the song.”

How Jimmy Webb’s classic song made it to the Olympics

“MacArthur Park” has been covered over 200 times, and artists from Waylon Jennings to Frank Sinatra to Tony Bennett to “Weird Al” Yankovic have put their spin on it. The best-known cover version came in 1978, 10 years after the original, when disco queen Donna Summer recorded the song. Summer’s version of “MacArthur Park” became an even bigger hit than the original, reaching No. 1 on the Hot 100 and earning the singer her first Grammy nomination.

The “MacArthur Park” renaissance started in 2024, when both the original song and Summer’s version were used in Beetlejuice Beetlejuice. With its mix of theatricality and whimsy, the song proved a natural fit for both Tim Burton’s spooky cinematic world and Alysa Liu’s exuberant energy on the ice. When Liu’s coach, Phillip DiGuglielmo, and choreographer, Massimo Scali, selected the song for her skate, the connection was instant, and her program won gold at the 2025 World Figure Skating Championships, a precursor to the Olympics.

Liu wasn’t originally familiar with “MacArthur Park” (which isn’t too surprising, considering she was born in 2005!). Initially, she had planned a free skate program set to a medley of Lady Gaga songs. While the Lady Gaga songs were a bold choice, Liu and her team felt “MacArthur Park” would create a more dynamic program that better showcased her personality, and in the lead-up to the Olympics, the skater said, “I always wanted to do ‘MacArthur Park’ for the individual free skate event.”

Jimmy Webb on the ‘MacArthur Park’ resurgence: ‘I am elated by it’

With “MacArthur Park” in the zeitgeist thanks to Alysa Liu’s Olympic championship, songwriter Jimmy Webb, now 79, has been enjoying a new wave of attention. In an interview with music critic Wayne Robins, Webb admitted that he was initially nervous to watch the Olympics due to the high stakes of the competition, but once he tuned in, he was amazed, saying, “I saw this angel, Alysa Liu, appear on the ice, dancing. Flying, soaring, really, to my old kind of beat-up song. And she filled it with new life and new enthusiasm. She brought me back to the kind of euphoria I used to feel in the studio when I was working with Richard Harris, and the orchestra would come in on that last chorus. And there was a tremendous feeling of joy, even though the lyric is sadly, you know, about failure. Overcoming failure. And it’s a very potent combination.”

Webb has had a prolific career. Outside of “MacArthur Park,” he’s known for writing many of country star Glen Campbell’s greatest hits, and he worked with other famed musicians like Linda Ronstadt, Art Garfunkel, the Supremes and Carly Simon throughout the ’60s and ’70s. “MacArthur Park” faced mockery over the years, and in the ’90s, the humorist Dave Barry even christened it the worst song ever. Webb told Robins that Liu’s skate has made him look at his signature song from a fresh perspective, remarking, “You know, that magic, that stardust kind of thing, where you ask yourself, ‘Did that really happen?’ The Olympics thing came out of nowhere for me. I am elated by it. Dare I say, it redeems ‘MacArthur Park’ as a song that doesn’t need to be made fun of. And I’m very happy right now. Very, very happy.”

The musician also recently shared a sweet video thanking Liu for using “MacArthur Park,” and in an Instagram post, he said, “I am unbelievably proud to play some small role in her inspiration. I am so impressed with her demeanor; she makes America proud again.” The magic of Jimmy Webb’s “MacArthur Park” spans nearly six decades, and in a time of great polarization, it’s heartwarming to see how the song has impacted people, whether they first heard it long ago or they just discovered it thanks to Alysa Liu.