Keith Richards has suggested that The Rolling Stones may shift away from traditional touring in favour of residencies, revealing that the physical demands of travel have become the biggest obstacle to the band performing live.

“I don’t know if tours are possible,” Richards told Uncut Magazine. “It’s the travelling that takes it out of you. But I do see the possibility of us doing residency somewhere. Wherever it is, London, New York, Paris, anywhere. I’ll play Rome! But I don’t see why they shouldn’t be able to throw some shows together in a new format.”

The comments build on remarks Mick Jagger made recently on BBC Radio 2, where the frontman said he “can’t wait” to get back on the road and is hoping to tour again “as soon as possible” — though he acknowledged it would not happen this year. The band scrapped plans for a U.K. and European stadium tour in 2026 after Richards was unable to commit to the run.

Despite the logistical questions, Richards was clear that the desire to play has not diminished. “It’ll be exciting until something inside me says, ‘That’s that,’” he said. “I love working with the guys. I mean, what am I gonna do?”

The Stones are preparing to release their 25th studio album Foreign Tongues on July 10 via Polydor/Universal Music. Recorded in less than a month at Metropolis Studios in West London with producer Andrew Watt, the album features guest appearances from Paul McCartney, The Cure’s Robert Smith, Red Hot Chili Peppers’ Chad Smith and Steve Winwood, alongside a special appearance by late drummer Charlie Watts recorded during one of his final creative sessions with the band before his death in 2021.

The album includes previously released tracks “Rough and Twisted” and “In the Stars,” as well as a cover of Amy Winehouse’s “You Know I’m No Good.”

Richards reflected on the recording process in the album’s announcement. “The Foreign Tongues album has a continuity from Hackney Diamonds, and it was great to be working in London again, and to have that London vibe around us,” he said. “It was a month of concentrated punch.”

Hackney Diamonds, the Stones’ first album of original material in 18 years, debuted at No. 3 on the Billboard 200 and produced “Angry,” which became the band’s first U.K. top 40 hit since 2005.

Kylie Minogue is returning to acting, joining the cast of Jamie Adams’ new film Tangled Up In Blue alongside filmmaker Quentin Tarantino, as first reported by Variety.

The film — named after Bob Dylan‘s song of the same name from his 1975 album Blood on the Tracks — also stars Jason Isaacs, Allison Williams, Sofia Boutella and Wu-Tang Clan’s RZA. Filming reportedly began over the weekend, with Minogue and Tarantino spotted at a restaurant in the Welsh town of Porthcawl, where Adams grew up and lives.

Adams has gained a reputation for his prolific output of films named after famous songs, including Bittersweet Symphony (2019, after The Verve) and Love Spreads (2021, after The Stone Roses). His most recently released film, Only What We Carry, also features Tarantino and Boutella alongside Simon Pegg, Charlotte Gainsbourg and singer-songwriter Lizzy McAlpine.

Tarantino’s involvement comes while the director is based in the U.K. preparing his West End play The Popinjay Cavalier ahead of a planned 2027 launch.

Minogue began her career in Australian television — appearing on The Sullivans, The Henderson Kids and Neighbours, where she played Charlene Mitchell across nearly 350 episodes from 1986. She first hit the Billboard Hot 100 in 1988 with the No. 3-peaking “The Loco-Motion,” a cover of Little Eva’s 1962 hit.

She returned to the top 10 fourteen years later with “Can’t Get You Out of My Head” (No. 7), the lead single from her Grammy-winning album Fever, which reached No. 3 on the Billboard 200 — her highest career peak on the chart.

She has landed 11 total titles on the Billboard 200, including 2010’s Aphrodite (No. 19), and logged seven Hot 100 entries with two top 10 hits. On Billboard’s Hot Dance/Electronic Songs chart she has proven equally dominant, with 18 entries including top 10 hits “Dance Alone” with Sia (No. 8) and “Padam Padam” (No. 7) — the latter becoming the first song to win the newly created Grammy for Best Pop Dance Recording.

“Padam Padam” also peaked at No. 32 on Pop Airplay, her first appearance on that chart in nearly two decades. She won her first Grammy in 2004 when “Come Into My World” took home Best Dance Recording. She is also set to headline the AFL Grand Final in September.

Tangled Up In Blue is being produced by New York-based Visor Entertainment and does not yet have a release date.

Following the death of Clive Davis on Monday (June 22) at the age of 94, professionals across the music industry are remembering the legendary executive, who launched the careers of such stars as Whitney Houston, Barry Manilow and Alicia Keys.

Davis’ music business career is the stuff of legend and undoubtedly inspired multiple generations of music industry executives. Known as “The Man With the Golden Ear,” he launched his career as assistant counsel at Columbia Records and was eventually named president of Columbia’s parent company, CBS Records. He later founded his own label, Arista, in 1974, where he went on to sign Manilow, Aretha Franklin, Patti Smith and more. That was followed by J Records in 2000, which launched future stars Alicia Keys and Maroon 5. He was later named chief creative officer at Sony Music Entertainment, a role he held until his death.

See below for all the reactions. We will update this story as more come through.

Merck Mercuriadis:

“I am so sorry to hear of Clive’s passing. We have all lost an extraordinary man the likes of which you will never see again but you have lost a father — a father to us all. It’s impossible to measure his impact on music, culture and life across the globe. He accelerated the growth of the music business like few others and he supported his artists like a man possessed. His focus on songs was unique in a post Beatles world and as a result his emphasis and support of outside songwriters and producers was unparalleled.

“It must also be mentioned that no one could launch an artist the way Clive could and the Clive playbook became the envy for anyone marketing and promoting music. Spotting talent is not difficult, spotting it and knowing what to do is something very very few can do.

“His annual Grammy party was the only one that mattered and as anyone who ever had the privilege of attending can tell you he was also a special orator. Clive is the only person that I know that could introduce 50 superstars in a night with unbelievable dignity and elegance and never use the same adjective twice.

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Rob Stringer, chairman of Sony Music Group:

“Clive of course played a seminal role in the story of Sony Music through two incredible chapters, and he is responsible for a huge part of the recorded legacy of the company permanently. Not only are many, many artists we represent continuously indebted to his service but so many staff members have been influenced and mentored by his deep love and respect for our company which he carried right up until today. Our working lives are better for having had his constant presence in the aura and perception of Sony Music.”

Monte Lipman, executive chairman, REPUBLIC

“Avery and I got our start in the music business working for Clive at Arista Records in the late 1980s. By virtue of being in his orbit, we had a front-row seat to his extraordinary success as he discovered and championed legendary artists who’ve gone on to make the world a better place. It was his passion for culture, community and music, along with his unwavering commitment to excellence in every aspect of his life, that resonated with us so profoundly; but the most valuable lesson he ever taught us was that family always comes first. Earlier this year, Avery and I had the privilege of being recognized by Clive at his legendary Grammy Gala. To stand alongside him nearly 40 years later was a deeply meaningful full circle moment that we will always cherish and hold dear in our hearts. We love you Clive.”

Avery Lipman, vice chairman, REPUBLIC

“My first job in the music business was working as Clive’s part-time secretary. On my very first day, I handed him a list of missed calls and mentioned that his son had called while he was in a meeting. Clive immediately told me, ‘If any of my children call, you need to grab me.’ From that day forward, I interrupted meetings and calls whenever one of his children reached out and every single time, he stopped what he was doing and took the call. Years later, when people asked me what it was like to work for such an iconic executive, my first thought was always the same: he was the most devoted father. The world will remember Clive for his unparalleled contributions to music and culture, but I’ll always remember the example he set as a parent, mentor and leader. I am deeply grateful to have known him.”

Harvey Mason jr., CEO, Recording Academy

Music lost one of its most important and impactful figures today, and I lost a dear friend and mentor. With his ears of gold and natural gift of hitmaking, Clive Davis developed music’s brightest legends and stars, earning him four Grammy wins and the Recording Academy Trustees Award in 2000. Clive was a generous supporter of MusiCares, and the Recording Academy has been proud to co-host the annual Pre-Grammy Gala with him for over 15 years, a tradition Clive started over 50 years ago, gathering music’s most innovative and accomplished people every year on the Saturday night before the Grammy Awards. Clive being a part of our industry has made a massive impact on music people everywhere, including myself. Thank you, Clive, for all you’ve done for all of us in music. You will be missed!

Barry Weiss, founder, Records

“My memories and relationship with Clive Davis are hard to put into a brief sentence or two. Having grown up in the music business, I’ve heard his name for years and first met him at a CBS Records convention at the Century Plaza Hotel in 1972. I was also well aware of him through my father and his affiliation with Stax Records and my childhood neighbor Ron Alexenburg another protege of Clive’s like so many of us. We worked closely with him at Arista Records who was Jive Record’s US licensor in our infancy. Simply put he was a “record man’s record man”. Brilliant and expansive intellect, incredible taste and musical instincts and phenomenal problem solving abilities. All rolled into one very sophisticated, gentleman. As Clive Calder and I used to say ‘we’re in the record business while Clive is in Show Business!’.  He will be missed.”

Joe Galante, former chairman, RCA Label Group, Nashville

“He loved spending that time with artists and producers and songwriters. I give him a lot of credit for creating the [pre-Grammy gala] That’s where the boat show [before Country Radio Seminar] came from: ‘Oh, you can steal people away before an important event?’ But we’ll put them on the water. I just stole the idea from Clive in terms of that night. But he was very open to always watching what was coming up; he didn’t get mired down and just say, ‘I’ve got what I need.’ His head was always on a swivel, looking out, trying to meet new people and bring them into the fold.”

Julie Widler, vice chiar, board of trustees, T.J. Martell Foundation

“Clive Davis was one of the most important figures in the music industry, a true original.  To all of us at the T.J. Martell Foundation, he was also a steadfast supporter of our mission. From the earliest days of the Foundation, Clive stood alongside Tony Martell, helping champion the fight against cancer and other life-threatening diseases. He understood the difference this work could make and remained committed to it for decades.
 
“We are grateful for his friendship, his guidance, and the many ways he supported the Foundation over the years. The T.J. Martell Foundation would not be what it is today without Clive’s enduring support. His absence will be felt deeply, but his legacy lives on in the work he helped make possible. We extend our heartfelt condolences to his family, loved ones, and all those whose lives he touched.”  

Jon Platt, chairman and CEO, Sony Music Publishing

“Clive Davis was a music publisher’s best friend – someone who always understood the value of a song and the songwriter. What mattered most to Clive was a great song, and that passion was evident. We were fortunate to experience the one and only Clive Davis.”

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If you’re looking to upgrade your TV for something more advanced, modern and sleek, you’ll want to consider some of the latest premium TV models from Sony. Available at Best Buy now, the new Sony TVs are made for gaming, watching movies and TV shows, though they’re also fine-tuned to let you stream your favorite music playlist and experience live sports at home, with pristine audio and picture quality. For a limited time, you can save up to $300 on select models at BestBuy.com.

Our pick: The Sony 65-inch BRAVIA 7 II True RGB 4K TV is the company’s latest TV that offers more vivid and brighter colors in picture quality. While sharpness and detail are important in a 4K Ultra HD TV, Sony’s new model shines with brilliant and precise color volume, thanks to its True RGB (Red, Green, and Blue) LED display.

The Sony big screen TV is on sale right now for $2,299.99 (regularly $2,599.99) at Best Buy. But act fast and shop now, as these Sony TV deals end on Sunday (July 5).

With True RGB, picture quality is brighter and vibrant with deeper, richer and more accurate color contrast that pops. This is ideal for gaming, especially with a PlayStation 5 since Sony makes both the 4K TV and console. Watching live sports, meantime, gets more immersive, with active color and action shifts for high-paced motion.

The Sony BRAVIA 7 II True RGB 4K TV is also great for rooms that get direct sunlight that would otherwise cut through picture quality and dull images. The contrasts on screen remain crisp and clear, even in daylight.

As far as audio, Sony’s newest 4K TV sounds as good as it looks with cinema-like audio, thanks to the company’s “Acoustic Multi-Audio+” feature that matches and balances picture with sound for a layered viewing experience.

It also has Sony’s “3D Surround Upscaling” settings for a wider range of audio that’s crisp, clear and detailed with advanced 3D audio. The TV also enhances dialogue and voices with its “Voice Zoom 3” feature, so you don’t have to turn up the volume to hear characters talking to each other in a movie or TV show. The Sony BRAVIA 7 II True RGB 4K TV makes your experience more memorable.

Other features to note: the 4K TV runs built-in Google TV with Gemini AI for voice navigation, controls and recommendations. It features popular video and music streaming apps, including Netflix, HBO Max, Prime Video, Hulu, Disney+, YouTube, Spotify and others.

Beginning on Monday, June 22, the Sony BRAVIA 7 II True RGB 4K TV is available with prices starting at $1,599.99 at Best Buy. It ranges from 50 inches to 98 inches in size (though we’re partial to the now-industry standard 65-inch model above). Learn more about Sony’s new 4K TV deals at BestBuy.com.

The Sony TV deals come on the heels of Best Buy’s “Tech Fest” savings event, which offer up to 50% off home theater products, gaming consoles and accessories, audio gear and more.

For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

Clive Davis was a chart enthusiast even before he became a music industry legend. In his 1974 biography Clive: Inside the Record Business (which he co-wrote with James Willwerth), he explained his fascination with charts, which, he said, grew out of an earlier fascination with baseball statistics and Variety’s lists of top box-office hits.

“It was an extension of the star syndrome,” he wrote, “measuring how singers did against each other, watching their songs climb the Hit Parade. I was a reader of charts and statistics, and I found an excitement in them which is hard to explain, as if they represented a form of energy.” (Emphasis in the original.)

Since Davis was a chart fan to begin with, imagine what a kick it must have been for him to see his companies’ records ascend to the top spot on Billboard Hot 100, especially in the nearly four decades that he directly oversaw day-to-day operations at a succession of labels: CBS (Columbia and Epic), Arista and J Records.

According to Davis’ official bio, the exec was appointed vp and general manager of Columbia Records in 1966. In 1967, he was named president of the company. He oversaw Columbia and Epic and, in the early 1970s, signed a deal with Kenny Gamble & Leon Huff’s famed Philadelphia International Records, which had two No. 1 hits on the Hot 100 in 1972-73.

Davis was fired from CBS in May 1973 for reasons that have never been entirely clear, but which most certainly had nothing to do with his ability to do the job. Afterwards, he wasted no time in re-establishing his career: In January 1975, his Arista Records (named after his high school honors society) landed its first No. 1 Hot 100 hit with Barry Manilow’s “Mandy.” Again, Davis signed agreements that brought in more talent, especially in the burgeoning Black music area. He made an agreement with L.A. Reid and Babyface to form LaFace Records in October 1989. And in 1994, Davis and producer/entrepreneur Sean “Puffy” Combs (later known as Diddy) entered into a 50/50 joint venture that resulted in the creation of Bad Boy Records.

In 2000, Davis was forced out of Arista for age reasons (he was 68 at the time). But again, he wasted no time in re-establishing himself. That same year, he formed J Records (Jay was his middle name), which in August 2001 landed its first No. 1 Hot 100 hit with Alicia Keys’ “Fallin’.” (Both Manilow’s “Mandy” and “Fallin’” received Grammy nods for record of the year. In addition, “Fallin’” won song of the year.)

In November 2002, Davis became president/CEO of the RCA Music Group, assuming responsibility for RCA, Jive, Arista, LaFace and J. In April 2008, he was appointed chief creative officer of all of Sony Music Entertainment, which, as his official bio notes, represented “a change in operational responsibility but an expansion of the artists he would now creatively be responsible for.”

Our focus here is on the 36 years he was the top man at an individual label, not the later years when he oversaw entire label groups. He had 11 No. 1 hits by Whitney Houston in those years, more than any other artist. Elsewhere, he had four with TLC (on LaFace/Arista), and three each with Simon & Garfunkel, Sly & the Family Stone, Manilow, Billy Ocean (on Jive/Arista), Milli Vanilli and Puff Daddy (on Bad Boy/Arista).

Here’s a list of all the Hot 100 No. 1 hits at Davis-headed labels in those 36 years. The dates represent the date each single first reached No. 1, followed by the artist’s name and title of the record, the number of weeks the song held the top spot and the label.

Jan. 1, 1966: Simon & Garfunkel, “The Sounds of Silence,” (two weeks, Columbia)

Sept. 3, 1966: Donovan, “Sunshine Superman” (one week, Epic)

Oct. 21, 1967: Lulu, “To Sir With Love” (five weeks, Epic)

June 1, 1968: Simon & Garfunkel, “Mrs. Robinson” (three weeks, Columbia)

Feb. 15, 1969: Sly & the Family Stone, “Everyday People” (four weeks, Epic)

Feb. 14, 1970: Sly & the Family Stone, “Thank You (Falettin Me Be Mice Elf Agin)” (two weeks, Epic)

Feb. 28, 1970: Simon & Garfunkel, “Bridge Over Troubled Water” (six weeks, Columbia)

March 20, 1971: Janis Joplin, “Me and Bobby McGee” (two weeks, Columbia)

July 24, 1971: Raiders, “Indian Reservation (The Lament of the Cherokee Reservation Indian)” (one week, Columbia)

Dec. 4, 1971, Sly & the Family Stone, “Family Affair” (three weeks, Epic)

Aug. 26, 1972: Looking Glass, “Brandy (You’re a Fine Girl)” (one week, Epic)

Sept. 23, 1972: Mac Davis, “Baby Don’t Get Hooked on Me” (three weeks, Columbia)

Nov. 4, 1972: Johnny Nash, “I Can See Clearly Now” (four weeks, Epic)

Dec. 16, 1972: Billy Paul, “Me and Mrs. Jones” (three weeks, Philadelphia International)

March 24, 1973: The O’Jays, “Love Train” (one week, Philadelphia International)

May 26, 1973: The Edgar Winter Group, “Frankenstein” (one week, Epic)

Jan. 18, 1975: Barry Manilow, “Mandy” (one week, Arista) 

Jan. 3, 1976: Barry Manilow, “I Write the Songs” (one week, Arista)

Jan. 17, 1976: The Bay City Rollers, “Saturday Night” (one week, Arista)

Sept. 23, 1977: Barry Manilow, “Looks Like We Made It” (one week, Arista)

July 25, 1981: Air Supply, “The One That You Love” (one week, Arista)

Aug. 11, 1984: Ray Parker Jr., “Ghostbusters” (three weeks, Arista)

Nov. 3, 1984: Billy Ocean, “Caribbean Queen (No More Love on the Run” (two weeks, Jive/Arista)

Oct. 26, 1985: Whitney Houston, “Saving All My Love for You” (one week, Arista)

Jan. 18, 1986: Dionne & Friends, “That’s What Friends Are For” (four weeks, Arista)

Feb. 15, 1986: Whitney Houston, “How Will I Know”  (two weeks, Arista)

May 17, 1986: Whitney Houston: “Greatest Love of All” (three weeks, Arista)

July 5, 1986: Billy Ocean, “There’ll Be Sad Songs (To Make You Cry)” (one week, Jive/Arista)

April 18, 1987: Aretha Franklin & George Michael, “I Knew You Were Waiting (for Me)” (two weeks, Arista)

June 27, 1987: Whitney Houston, “I Wanna Dance With Somebody (Who Loves Me)” (two weeks, Arista)

Sept. 26, 1987: Whitney Houston, “Didn’t We Almost Have It All” (two weeks, Arista)

Jan. 9, 1988: Whitney Houston, “So Emotional” (one week, Arista)

Feb. 20, 1988: Expose, “Seasons Change” (one week, Arista)

April 9, 1988: Billy Ocean, “Get Outta My Dreams, Get Into My Car” (two weeks, Jive/Arista)

April 23, 1988: Whitney Houston, “Where Do Broken Hearts Go” (two weeks, Arista)

July 1, 1989: Milli Vanilli, “Baby Don’t Forget My Number” (one week, Arista)

Sept. 23, 1989: Milli Vanilli, “Girl I’m Gonna Miss You” (two weeks, Arista)

Nov. 25, 1989: Milli Vanilli, “Blame It on the Rain” (two weeks, Arista)

April 7, 1990: Taylor Dayne, “Love Will Lead Me Back” (one week, Arista)

Dec. 1, 1990: Whitney Houston, “I’m Your Baby Tonight” (one week, Arista)

Feb. 23, 1991: Whitney Houston, “All the Man That I Need” (two weeks, Arista)

Nov. 28, 1992: Whitney Houston, “I Will Always Love You” (14 weeks, Arista)

March 12, 1994: Ace of Base, “The Sign” (six weeks, Arista)

Jan. 28, 1995: TLC, “Creep” (four weeks, LaFace/Arista)

July 8, 1995: TLC, “Waterfalls” (seven weeks, LaFace/Arista)

Nov. 25, 1995: Whitney Houston, “Exhale (Shoop Shoop)” (one week, Arista)

July 27, 1996: Toni Braxton, “You’re Makin’ Me High” / “Let It Flow” (one week, LaFace/Arista)

Dec. 7, 1996: Toni Braxton, “Un-Break My Heart” (11 weeks, LaFace/Arista)

March 22, 1997: Puff Daddy (feat. Mase), “Can’t Nobody Hold Me Down” (six weeks, Bad Boy/Arista)

May 3, 1997: The Notorious B.I.G., “Hypnotize” (three weeks, Bad Boy/Arista)

June 14, 1997: Puff Daddy & Faith Evans (feat. 112), “I’ll Be Missing You” (11 weeks, Bad Boy/Arista)

Aug. 30, 1997: The Notorious B.I.G. (feat. Puff Daddy & Mase), “Mo Money Mo Problems” (two weeks, Bad Boy/Arista)

Feb. 14, 1998: Usher, “Nice & Slow” (two weeks, LaFace/Arista)

April 25, 1998: Next, “Too Close” (five weeks, Arista)

Oct. 3, 1998: Monica, “The First Night” (five weeks, Arista)

Feb. 13, 1999: Monica, “Angel of Mine” (four weeks, Arista)

April 10, 1999: TLC, “No Scrubs” (four weeks, LaFace/Arista)

Sept. 18, 1999: TLC, “Unpretty” (three weeks, LaFace/Arista)

Oct. 23, 1999: Santana feat. Rob Thomas, “Smooth” (12 weeks, Arista)

April 8, 2000: Santana feat. The Product G&B, “Maria Maria” (10 weeks, Arista)

Aug. 18, 2001: Alicia Keys, “Fallin’” (six weeks, J)

Leave it to Beyoncé to drop the ultimate Father’s Day tribute.

On Sunday night (June 21), Queen Bey’s haircare brand, Cécred, closed out Father’s Day by sharing a link to a seven-minute vlog titled “The Blueprint.” And, when it comes to The Carters, the whole world knows exactly who “The Blueprint” refers to.

Narrated by Beyoncé, the new clip follows the complete timeline of Jay-Z’s hair journey — from a low-cut Caesar to his Basquiat-esque wicks and now, his voluminous Afro, which he debuted during his headline-dominating Roots Picnic set last month (May 30).

“Jay told me a few months ago he was planning on combing out his locs for the Philly show with The Roots. He wanted to do this in honor of his father… his dad used to rock a fro, so he wanted to rock a fro in his honor,” Beyoncé explains between bits of behind-the-scenes Roots Picnic rehearsal footage, including a sweet clip of Rumi, their youngest daughter, shadowing her father onstage. “I wasn’t all the way convinced that he would be able to comb out his locs, considering he had such thick, long wicks, and his hair had been locking for over eight years. I thought it was always beautiful that the real reason Jay grew out his hair was to show Blue that her hair was like his hair.”

Those old enough to remember will recall the way the world treated Blue Ivy when she was born in 2011. Both online and in real life, people lambasted The Carters for “not combing” Blue’s hair and denigrated its look and texture. According to Beyoncé, Blue was around five years old when she first expressed a lack of confidence in her hair, which, in turn, inspired Jay to start growing out his. “We really wanted her to love and embrace every inch of her gorgeous curls,” says Beyoncé.

Pouring into their daughter eventually became part of Beyoncé and Jay-Z’s artistic mission. Blue appeared with her natural hair in both Beyoncé’s Grammy-winning “Formation” music video and Jay’s Ava DuVernay-helmed “Family Feud” clip, provided guest vocals on her mother’s “Brown Skin Girl,” and even narrated Matthew A. Cherry’s Hair Love audiobook, picking up a voice arts award in the process (best voiceover — children’s audiobook). The Carters also used a photograph of a Black woman picking out a Black man’s Afro for the cover of their 2018 Everything Is Love joint album. Blue Ivy also appears in the new Cécred clip, pitching in to help comb and detangle her father’s hair while quipping, “I’m gonna be an influencer!”

Even though Beyoncé wasn’t initially on board with Jay taking out his locs — “It’s a lot of memories stored in locs,” she muses over a clip of Jay holding and kissing their twins Rumi and Sir. “Locs can be like antennas, connecting us to frequencies and energies” — she understood that this was also an emotional transformation.

It took six days for Beyoncé, Blue and Houston loctician Letisia “Lety” Ravelo to comb out Jay’s locs — and an additional day just to detangle his hair. They exclusively used Cécred products, which Jay has also been using for his hair for the past eight years, including the brand’s parting tail comb, detangling spray and hair and scalp balm.

“And on show day, his fro was beautiful, from start to finish,” Beyoncé closes out the vlog, complete with family-centric backstage footage from Hov’s fiery Roots Picnic headlining set. “I wanna thank Jay for trusting Cécred on his hair journey.”

It’s been a banner year for Jay-Z as he celebrates 30 years of his debut studio album Reasonable Doubt. The New York Times hailed him as one of the 30 greatest living American songwriters; he fired back at everyone from Dame Dash to Nicki Minaj in his buzzy Roots Picnic freestyle, and he’ll play a trio of Yankee Stadium shows next month (July 10-12), one of which will honor the 25th anniversary of his classic The Blueprint.

Check the full Cécred blog recounting Jay-Z’s hair journey below.

From “Jealousy, Jealousy” on Sour, “Lacy” on Guts and “My Way” on You Seem Pretty Sad for a Girl So in Love, the topic of jealousy as shown up in Olivia Rodrigo‘s songs across all three of her albums.

In a cover story interview with Pitchfork published Monday (June 22), the pop star explained why she thinks envy — specifically in regard to other women — has been such a dominant emotion in her life and music. “It’s something I have felt intensely since I was young,” she began, tracing it back to when she got her start as a child actress and found fame on Disney’s Bizaardvark and High School Musical: The Musical: The Series.

“It’s sort of the thing of like, ‘If you don’t want to do this, we’ll get another cute little 12-year-old girl to do it,’” she continued. “I think it was some weird programming in my brain that tripped that wire. I think it’s not specific to my experience, it’s a larger play against women.

“As I got older, I realized more and more how some of my female friendships matter the most to me,” Rodrigo added. “And that intensity you get from them is so important.”

Despite struggling with jealousy, Rodrigo has never let it get in the way of her passion for championing women and girls. After establishing herself as an activist with her Fund 4 Good — which, over the course of her 2024 Guts World Tour, raised more than $2 million for abortion funds and other charities supporting women’s education and freedom — the Grammy winner has now announced that she’s starting her own festival benefit.

Dubbed Daisy Chain Fields, the event will feature a lineup consisting of Chappell Roan, KATSEYE, Stevie Nicks, Doechii and other women artists, including Rodrigo. All of the net proceeds will go to organizations supporting women and girls.

“I actually feel like it’s my calling in some weird way,” she told Pitchfork of the festival. “I … have had this dream to do this festival for a really long time.”

The interview and festival announcement comes shortly after the release of You Seem Pretty Sad for a Girl So in Love earlier in June. Debuting at No. 1 on the Billboard 200, the project moved 485,000 equivalent album units in its first week — marking the best opening week Rodrigo has had for an album to date, and 2026’s second-biggest opening week (after BTS’ Arirang) for an album.

See Rodrigo on the cover of Pitchfork below.

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