La imagen de una playa cualquiera es lo primero que aparece en la pantalla del escenario gigante del Movistar Arena. El instante dura nada, sólo una ola perdiendo fuerzas en la orilla. Pero alcanza para entender allí un claro guiño a Búzios y al comienzo de todo en la historia de Serú Girán, la idílica aldea de pescadores donde Charly García y David Lebón empezaron a componer en 1978 los primeros borradores de una obra trascendental para el rock argentino.
Al dúo fundador se sumaron luego Oscar Moro y un jovencísimo Pedro Aznar, en lo que fue la formación inalterable de un período de oro que duró solo cuatro años. Casi medio siglo después, la alianza Lebón-Aznar evoca con total autoridad un reportorio que les pertenece. A pesar de las ausencias de Moro y Charly, el dúo, respaldado por una banda todo terreno, brindó durante dos horas un tremendo rescate emotivo de algunas canciones sagradas, las mismas que fueron, para buena parte del público que colmó el micro-estadio de Villa Crespo, refugio y también manuales de supervivencia durante la más terrible dictadura militar que sufrió la Argentina.
El tono íntimo, a dos guitarras acústicas, en plan Crosby y Nash, marcó el arranque con “Parado en el medio de la vida”. La combinación de voces entre David y Pedro, rúbrica de estilo Serú, tocó la primera cuerda sensible de un show que volvería una y otra vez a ese punto donde se mezclan la nostalgia con el contagio colectivo de una multitud cautivada. La introducción coral de “La grasa de las capitales”, un registro grabado en 1979, es la señal de ajuste para que la banda completa explore el poder funky-disco de “Frecuencia modulada”. No importa si Lebón llega tarde al micrófono porque su guitarra habla por él cuando la canción lo requiere, mientras que el soporte de Aznar conduce a una formación que se sube al tema con total poder de apropiación. Mientras tanto, las pantallas muestran la histórica foto de Rubén Andón, en donde el cuarteto original luce cintas adhesivas sobre sus bocas (circa 1980).
Todavía el show no había llegado a los diez minutos y el bajista decidió hacer justicia presentando a los músicos, parte esencial de Serú Girán por Lebón y Aznar: Federico Arreseygor (teclados y voces), Fernando Cosenza (guitarras), Matías Sabagh (batería) y Fermín Ferraris (teclados) forman un doble comando de swing y precisión, como queda demostrado en los cambios de progresiones rítmicas y armónicas que pide “El mendigo en el andén”.
“Necesito decirles a todos ustedes que han pasado muchas cosas desde que nací hasta ahora… Nunca me imaginé que a los 74 años iba a llenar estadios”, dice David, visiblemente emocionado después de agradecerle a Pedro por haber armado la banda que los acompaña. Suena “Canción de Alicia en el país” y Aznar vuelve a intervenir la letra como en la presentación durante Quilmes Rock, el año pasado: “Los inocentes son los culpables, dice su señoría, la policía”.
Las pantallas muestran a Serú modelo 92 durante los caóticos conciertos en River, Charly -en plena etapa Say No More-, aparece como un endemoniado saltimbanqui. En el aire suena una versión demoledora de “Perro andaluz” desde la construcción mural del bajo fretless de Aznar. El show sigue con Lebón y la balada “Nos veremos otra vez”, primera visita a Serú Girán 92, el disco de regreso en los noventa que en este nuevo contexto parece acoplarse mejor a la discografía de la banda, aunque su momento fue duramente resistido por los defensores de la gloriosa etapa inicial.
Aznar y Lebón se reparten las líneas vocales de “Cinema verité” y “Desarma y sangra”, dos momentos García en donde es imposible borrar de la memoria las interpretaciones originales. Alguien grita desde la platea baja: “¡Gracias Charly!”, y tiene razón. La secuencia no baja el tono emocional: se suman tres canciones de La grasa de las capitales: “Noche de perros”, “San Francisco y el lobo” y “Viernes 3AM”, la secuencia es un viaje directo a los días de “paranoia y soledad”.
El primero de los Movistar Arena también incluyó pequeños sets solistas. Lebón lució muy a gusto tocando las tumbadoras para recrear “En la vereda del sol”. Aznar, en cambio, fue pura concentración en una preciosa reinvención acústica de “Déjame entrar”, en donde se destacó el piano de Arreseygor. Luego de un celebrada versión de “Encuentro cercano con el diablo”, Aznar contó cómo nació “A cada hombre, a cada mujer”. “Esta canción la soñé, y cuando la soñé estaba cantada por tu voz. Fui a escribirla. Y cuando la escuché se me puso la piel de gallina, porque la cantaste tal como la había soñado”.
Poco antes del final, se vivió otro momento de alta intensidad emotiva. Juanito Moro subió al escenario para asumir el rol de su padre. Se sumó en la batería para interpretar “Cuánto tiempo más llevará” y también lució en la arrolladora versión de “No llores por mí Argentina”. En tanto, las pantallas mostraban fotos del gran Oscar Moro fallecido en 2006. El legendario batero de Los Gatos, Color Humano y La Máquina de Hacer Pájaros, entre otros grupos, fue el artífice de un sonido que en los discos de Serú buscaba la contundencia y pegada masiva al estilo Phil Collins en Genesis, una elección que tanto Juanito como Matías Sabagh llevaron adelante a lo largo de todo el show.
Es cierto que faltaron algunos clásicos como “Eiti Leda” o “Mientras miro las nuevas olas”, pero la ovación final no dejó dudas. Muchos de los que colmaron el estadio cerrado ni habían nacido cuando la banda se tomó el año sabático que duró una década. Muchos otros, los que escucharon en tiempo a Serú, tampoco acusaron quejas después de sumarse a un coro multitudinario, primero con “Peperina” y en el cierre cantando “Seminare”, otro tsunami que pasó por Buenos Aires en el inició de un tour que promete no dejar a nadie ajeno al abrazo sensible que provocan las canciones de Serú Girán en las voces de Lebón y Aznar.
Próximas fechas de Serú Girán por Lebón-Aznar: 19 de junio, 21 de junio, 10 de julio y 9 de agosto, en el Movistar Arena, Buenos Aires, agotadas. Nueva fecha en Buenos Aires: 12 de septiembre. Córdoba: 26 de junio (agotado) y 25 de septiembre. Rosario: 4 de julio. Mendoza: 25 de julio. Mar del Plata: 14 de agosto | Polideportivo Mar del Plata | Mar del Plata.
The post Un abrazo sensible: cómo fue el emotivo primer concierto de “Serú Girán por Lebón-Aznar” appeared first on Rolling Stone en Español.
Ken Carson has announced his new album xperiment, due July 3 via Opium/Interscope Records, alongside the release of a short film teasing the project.
The announcement comes off a milestone week for the Atlanta-born rapper. At Summer Smash in Chicago on Wednesday, Carson joined Playboi Carti on stage during Carti’s festival-closing headlining set, where the pair performed their unreleased track “Cover My Ears.”
He has also been announced as a headliner for ComplexCon 2026 on Saturday, Oct. 3 in Los Angeles, as part of Opium’s takeover of the festival’s 10th anniversary celebration.
xperiment follows More Chaos, Carson’s 2025 Billboard 200 No. 1 album — the first time Carson had a top 10 entry on the chart, debuting at No. 1 with 59,500 equivalent album units, replacing label boss Playboi Carti at the summit. The album followed A Great Chaos (No. 11, 2023) and X (No. 115, 2022).
The momentum around More Chaos was amplified by “Off the Meter,” a surprise bonus track released on launch night that marked the first official collaboration between Carson, Carti and Destroy Lonely.
Last month, Carson delivered what many described as a career-defining performance at Rolling Loud Orlando 2026, closing out the Under Armour Stage with his first-ever Sunday night headlining set at the festival. The set previewed music from xperiment alongside tracks from More Chaos and A Great Chaos, with surprise appearances from Lil Tecca, Destroy Lonely, Young Thug and Playboi Carti.
Beyond the stage, Carson has built a cultural footprint through sold-out touring — including an 80-date Chaos World Tour and sold-out WTF headline run across Europe and the UK — and fashion collaborations with Affliction, SKIMS x Cactus Plant Flea Market and Jesse Jo Stark’s Deadly Doll line. He will continue his summer run with European festival appearances at Roskilde in Denmark, Splash! in Germany, Openair Frauenfeld in Switzerland, Clout Festival in Poland and Frequency Festival in Austria.
Durante décadas, los grandes hoteles fueron concebidos como espacios de tránsito. Lugares donde dormir, reunirse o hacer una escala antes de salir a explorar la ciudad. Pero esa lógica está cambiando. En las principales capitales del mundo, la gastronomía se ha convertido en uno de los grandes motores de la experiencia hotelera, transformando hoteles en destinos por derecho propio. Madrid no es ajena a esta tendencia y el renovado Madrid Marriott Hotel Princesa Plaza acaba de dar un paso decidido en esa dirección.
Ubicado entre los barrios de Argüelles y Chamberí, a pocos minutos de Plaza de España y la Gran Vía, el hotel inició una nueva etapa tras una profunda renovación valorada en 51 millones de euros. El edificio, inaugurado originalmente en 1976 y considerado uno de los exponentes del brutalismo madrileño, reabrió sus puertas en 2025 con una propuesta que combina el peso de su historia con una mirada contemporánea sobre la hospitalidad.
Ahora, esa transformación encuentra una de sus expresiones más visibles en la cocina.
Una carta de amor a Madrid
La apuesta gastronómica del hotel se articula alrededor de dos conceptos complementarios: La Chata, una abacería castiza que reivindica la tradición culinaria madrileña, y La Mimosa, una coctelería de autor que interpreta la ciudad desde la mixología. Juntos conforman una propuesta que busca conectar tanto con viajeros como con residentes, invitándolos a descubrir Madrid desde una perspectiva sensorial.
La decisión no es casual. En una ciudad que vive uno de los momentos gastronómicos más dinámicos de Europa, donde conviven restaurantes centenarios, mercados reinventados y propuestas de vanguardia, el reto consiste en encontrar una voz propia. El Marriott Princesa Plaza lo hace mirando hacia las raíces.
La Chata: tradición sin nostalgia
El nombre del restaurante remite a la Infanta Isabel de Borbón, una de las figuras más queridas de la monarquía española y conocida popularmente entre los madrileños como “La Chata”. La referencia no es solo histórica; funciona como declaración de intenciones. Aquí la cocina tradicional se reivindica desde una mirada actual, sin caer en la nostalgia ni en la reinterpretación excesiva.
La carta se apoya en recetas reconocibles y en el protagonismo del producto. Entre los entrantes aparecen clásicos como el jamón ibérico de bellota con pan de cristal y tomate, las anchoas de Santoña con crema agria o la ensaladilla rusa con ventresca de bonito. Son platos que forman parte del ADN gastronómico español y que aquí encuentran una presentación contemporánea sin perder su esencia.
Los platos principales continúan ese diálogo entre tradición y actualidad. Los callos a la madrileña conviven con un bacalao confitado al pil pil y con carrilleras de ternera estofadas acompañadas de puré de patatas. También hay espacio para propuestas más ligeras como el tartar de salmón con aguacate o una ensalada de tomate extradulce con cecina de León.
Más allá de la carta, el espacio ha sido concebido para reflejar una forma muy madrileña de entender la gastronomía: como un acto social. Su amplia sala y la terraza acristalada permiten que la experiencia se adapte a distintos momentos del día, desde una comida de trabajo hasta una cena prolongada entre amigos.
La ciudad en una copa
Si La Chata conecta con la tradición culinaria, La Mimosa explora otro de los rituales fundamentales de la vida madrileña: el tardeo.
La terraza y coctelería del hotel nace con la intención de convertirse en un punto de encuentro para quienes buscan prolongar la jornada entre conversaciones, música y cócteles. Pero su propuesta va más allá de la simple coctelería de hotel. Aquí cada bebida funciona como un homenaje a la ciudad.
La carta está inspirada en algunos de los barrios, personajes y símbolos más emblemáticos de Madrid. Cócteles como Manuela Malasaña, Chueca, La Gata de Lavapiés o El Rastro buscan capturar la personalidad de estos lugares y traducirla en sabores, aromas y texturas. La idea es que cada copa actúe como una interpretación líquida de la capital española.
La experiencia se complementa con una selección de platos informales que reinterpretan clásicos populares. Croquetas de jamón y huevo, patatas bravas, bikini mixto en pan tramezzini o steak tartar sobre croissant acompañan una propuesta pensada para extenderse desde el aperitivo hasta la noche.
Abierta de martes a sábado, La Mimosa se suma a una escena cada vez más activa de terrazas urbanas que han redefinido la vida social madrileña en los últimos años.
El hotel como punto de encuentro
La renovación gastronómica forma parte de una visión más amplia. Con 414 habitaciones renovadas, un lobby concebido como el Great Room de Marriott Hotels y más de 1.200 metros cuadrados destinados a eventos y reuniones, el Princesa Plaza busca consolidarse como un espacio abierto a la ciudad y no únicamente a quienes se alojan en él.
Ese enfoque responde a una transformación que atraviesa la industria hotelera global. Los hoteles contemporáneos ya no compiten solo por ofrecer mejores habitaciones, sino por convertirse en centros culturales, sociales y gastronómicos capaces de integrarse en la vida urbana.
En Madrid, una ciudad donde la comida sigue siendo una de las formas más auténticas de relacionarse, la estrategia parece especialmente pertinente. La Chata y La Mimosa no solo amplían la oferta del hotel: también funcionan como una invitación a redescubrir la capital desde dos de sus lenguajes más universales, la cocina y la conversación.
Porque al final, pocas cosas explican mejor el carácter de una ciudad que aquello que sirve en la mesa y en la copa. Madrid lo sabe. Y ahora, también lo sabe el Marriott Princesa Plaza.
The post Madrid se sirve a la mesa: el renacer gastronómico del Marriott Princesa Plaza appeared first on Rolling Stone en Español.
The family of Tay Keith, the chart-topping hip-hop producer who passed away Thursday (June 18) at age 29, has released a statement following his death.
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“It is with profound sadness that we confirm the passing of BryTavious ‘Tay Keith’ Chambers,” Keith’s family wrote in a statement sent to Billboard on Friday.
Keith was found unresponsive in his Nashville apartment during a welfare check by Metro Nashville Police on Thursday. His cause of death has not been reported.
With 11 top 10 hits and four No. 1 s on the Hot 100, including Travis Scott’s “Sicko Mode” and Drake’s “First Person Shooter,” Keith additionally holds this decade’s record for most No. 1s on the Hot R&B/Hip-Hop Songs chart, with six. Born in Memphis but working out of Nashville, the prolific producer also expanded into country music as the founder of Drumatized, a label and creative hub serving both hip-hop and country artists.
“BryTavious was a visionary producer, songwriter, entrepreneur, philanthropist, and cultural force whose work helped define the sound of a generation. From Memphis to the global stage, he shaped countless hit records and left a lasting mark on music and culture. He was deeply committed to creating opportunities for others through his company, Drumatized, supporting emerging songwriters, producers, and artists,” his family said.
Of his accomplishments, they added, “A proud graduate and honorary professor of Middle Tennessee State University, BryTavious remained an active alumnus, mentor, and advocate for young creatives. He was also a passionate supporter of mental health awareness and cancer-related causes in honor of his late mother.”
“Above all, BryTavious was a beloved son, brother, uncle, family member, and friend,” the statement noted. “While the world knew him as Tay Keith, his family knew him as BryTavious — a source of love, strength, laughter, and guidance. We take comfort in knowing that his legacy will live on through the music he created, the opportunities he provided, and the lives he touched.”
Keith’s family said memorial arrangements will be shared at a later date, and that they “respectfully ask for privacy and continued prayers for his family and loved ones during this difficult time.”
Justin Cary, the longtime bassist for Sixpence None the Richer, has died. He was 50.
Cary passed away Thursday (June 18) after recently suffering a stroke, according to Sixpence None the Richer singer Leigh Nash and a GoFundMe campaign established to support the musician and his wife, Linda.
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“’We sure had a great time’ is an understatement. Thank you, Justin,” Nash wrote on Instagram alongside throwback photos with Cary. “We love you forever. Please keep his dear Linda close to your hearts. She is our family. There’s never been anybody like Justin.”
“Justin passed peacefully this morning and Linda was next to him,” a statement on the GoFundMe page reads. “Please continue to pray and give strength during this very difficult time.”
Cary had “suffered a serious stroke” in recent days and was receiving treatment at Albany Medical Center in New York, according to the fundraiser.
Earlier in the week, Nash encouraged fans to visit the GoFundMe page and support her bandmate.
“We love our brother so so much. Words don’t cover it. I know so many out there love him too,” she wrote on Instagram. “Saw his brilliance, second to NONE professionalism, class, humor (oh my lord the humor) wit, tough as an old boot as they say. Many more adjectives to describe him. Please pray for Justin and Linda.”
Sixpence None the Richer formed in 1992, and Cary joined the band in 1997, replacing former bassist J.J. Plasencio. That same year, the group released its self-titled album, which featured the breakthrough hit “Kiss Me.” The song peaked at No. 2 on the Billboard Hot 100 and earned a Grammy nomination for best pop performance by a duo or group with vocals in 2000.
Beyond his work with Sixpence None the Richer, Cary played bass for a number of artists and bands, including Counting Crows, Jennifer Knapp and Lee Brice, according to his website.
From a Michael Jackson-inspired opening to DeLorean-coded visuals, surprise guests and a closing stretch that brought the show full circle, Fuerza Regida launched their first-ever U.S. stadium trek with a performance built on memory, ambition and sheer force.
When Jesús Ortiz Paz (JOP) and crew opened their This Is Our Dream Stadium Tour at San Diego’s Petco Park on Thursday night (June 18), the San Bernardino band unveiled the most fully realized live production of their career on the biggest domestic stage they’ve played to date. Over the last several years, the group has pushed corridos into a more elastic, more commercially dominant and more visually ambitious space. In front of approximately 44,000 fans, that evolution came into focus in a show designed as much to trace their rise as to celebrate it.
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Framed by a Back to the Future-inspired concept, the production moved through the group’s past, present and future with a black pickup-truck take on the DeLorean, archival footage, family skits, fashion-forward flourishes, local symbolism and well-placed guest appearances — transforming a catalog-driven concert into something closer to a live origin story. It also left room for plenty of swagger, mischief and the unapologetic attitude that runs through Fuerza Regida’s music.
That sense of narrative gave the night much of its shape. The set moved from early breakout records like “Radicamos en South Central” and “Sigo Chambeando” through the songs that expanded the band’s reach, including “CH y La Pizza,” “Bebe Dame,” “TQM,” “Harley Quinn” and “Qué Onda,” before arriving at newer material from their No. 2 Billboard 200-charting 111XPANTIA (2025) and a preview of the unreleased “67.”
Even before the first note, Petco Park was already buzzing with hometown and cross-border energy, as fans in Mexican jerseys, black leather, cowboy hats and vaquera-style fringe packed the venue to see the SoCal hometown heroes open their tour after watching Mexico defeat South Korea 1-0 in a World Cup match shown inside the Padres’ ballpark.
By night’s end, JOP, Samuel Jaimez, Khrystian Ramos, José García and Moisés López had delivered a show that felt expansive without losing its grit — a stadium-scale performance rooted in memory, movement and the unruly energy that got them there in the first place.
Bootsy Collins has welcomed roots-soul singer-songwriter Davie as the first artist signed to Bootzilla Records, the funk legend’s newly launched label.
“Davie, welcome to Bootzilla Records,” Collins said in a statement. “You know you got a burning tent revival going on deep down in your soul, and all I can say is Church.”
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He added, “As the first signing to Bootzilla Records, Davie is helping lead the front line of what this label is here to bring to the people. He brings real soul, grit, and that feel-good fire that makes folks stop, listen, and believe every word he’s singing. We’re looking forward to rolling this thing out with him, letting his soul, fire, and truth touch the world the way only he can.”
Bootzilla Records is distributed through Jay-Z’s Roc Nation. The label “is built around artists Collins discovers organically, artists whose music is deeply rooted in tradition while connecting with audiences everywhere,” according to a press release.
“Bootsy is a legend,” Davie said in a statement. “He’s built a sound that’s unmistakably his own: funky, effortless, timeless, and full of personality. What inspires me most is how his music can be deeply rooted in Black musical traditions while still connecting with people everywhere. That’s something I aspire to as an artist.”
Davie made his label debut with “Soul,” released Friday (June 19).
“Juneteenth is a day to celebrate together freedom for all, and Black music has always been the soundtrack of our cultural expression,” Davie said. “The song draws from a rich history of blues, soul, and funk, which have been the soundtrack to joyful moments and celebrations worldwide. So, I wanted to join the celebration by lending my voice.”
Stream Davie’s new song “Soul” below.
The eighth edition of the Reggaeton Beach Festival (RBF) was canceled on Thursday (June 18) by the event’s organizers, who attributed the decision to economic and operational difficulties. The measure affects the seven events planned for this summer in Spain, including the one in Barcelona scheduled for June 27-28, which was set to be the first one to take place in 2026.
The lineup included performances from artists such as Myke Towers, Omar Courtz and Anuel AA. In an official statement published on social media, the organizers explained that the decision came after analyzing the global situation of the project and concluding that the company’s operational and financial structure no longer allows them to carry out an event of this magnitude with the necessary guarantees.
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Billboard Español reached out to the organizers for more details but had not received a response at the time of this publication. For now, no information has been provided about the procedure attendees should follow to recover the cost of tickets and passes already purchased.
The statement also noted that the new management had identified “economic, financial and operational circumstances that significantly affect the viability of the project.” As a result, they stated that the managing company “is not in a position to continue with the 2026 tour or to maintain the operational activity required for the development of the scheduled events.”
“We are fully aware of the disappointment, concern and inconvenience that this announcement causes to everyone who has placed their trust in RBF for this edition,” they added. “We know that behind every festival there are tickets, trips, excitement, plans and expectations. For this reason, we deeply regret that the 2026 tour cannot take place.”
The message concludes by thanking everyone who was part of the festival over the years.
Zara Larsson’s resurgent 2026 adds another milestone, as the Swedish pop star’s “Midnight Sun” rises three places to No. 1 on Billboard’s Pop Airplay chart (dated June 27).
Larsson lands her second leader on the list, a week after her and PinkPantheress’ “Stateside” reached the top spot. She becomes the first artist ever to post two initial No. 1s in consecutive weeks, dating to the chart’s October 1992 start.
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Meanwhile, only two acts previously claimed their first two Pop Airplay No. 1s back-to-back overall. In December 2003, OutKast’s “Hey Ya!” began a nine-week command, which ended when the duo’s “The Way You Move,” featuring Sleepy Brown, took over the following February for three weeks. In June 2014, Iggy Azalea’s “Fancy,” featuring Charli xcx, hit No. 1 for three weeks. Directly after, Ariana Grande’s “Problem,” featuring Azalea, led for two weeks that July.
(Beyond acts’ first two Pop Airplay No. 1s, Mariah Carey, Halsey, Grande and Doja Cat have also replaced themselves atop the chart with consecutive leaders; unlike Larsson, none notched two new No. 1s in a span of two weeks.)
Meanwhile, Larsson charts four titles on Pop Airplay for a seventh week — she’s the only act to achieve the feat this year. Alongside “Midnight Sun” and “Stateside,” which dips to No. 2, Tyla’s “She Did It Again,” featuring Larsson, climbs 29-27 for a new best and 2016’s “Lush Life” holds at its No. 28 high.
“Midnight Sun” is the title track from Larsson’s fifth studio set, which peaked in the top five on Top Dance Albums and the top 40 of the Billboard 200 in May.
“For the first time in a long time, I’m on the Billboard charts. I’m reaching so many new heights 10 years into my career, which is exciting and a testament to never giving up,” Larsson, Billboard’s 2026 Women in Music Breakthrough award winner, recently mused. “This change really came with the creation of Midnight Sun. Sometimes I think of my career like this car I’ve been sitting in. I’ve known where we’ve been heading, but I’ve been in the back seat. With this album, I was like, ‘Guys, I feel like I should drive.’ ”
All charts dated June 27 will update on Billboard.com Tuesday, June 23.
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Bunnie Xo’s memoir has returned to the top of the charts, following the influencer’s recent split from husband, Jelly Roll.
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Bunnie’s book, titled Stripped Down: Unfiltered and Unapologetic, was released on Feb. 17, and quickly became a bestseller, thanks to its raw and revealing anecdotes, which touched on everything from her work in the sex industry to her at-times rocky marriage to Jelly Roll.
Now, Stripped Down has returned to number one on Amazon’s entertainment biographies chart, as fans seemingly scramble to seek clues into what led to the star’s much-publicized split.
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‘Stripped Down: Unfiltered and Unapologetic’
Amazon has the hardcover version of Bunnie’s book discounted to just $16 right now — a 46% discount. You can also listen to Stripped Down as an audiobook, narrated by Bunnie herself.
The book is branded as a “modern-day rags-to-riches story,” spinning a tale of triumph against all odds. “Stripped Down is the rawest reflection of who I am in every form. It felt only fitting to name my book after the way I’ve always lived life — raw, unfiltered and in my naked truth,” Bunnie said in an interview with People in regards to the memoir.
The memoir is witty and, at times, intense. That wittiness comes in handy to bring levity to otherwise dark topics. According to a synopsis from Amazon, the book is “cold, clear evidence that no one is irredeemable. With a heavy dose of humor and a refreshing sense of self-awareness, Bunnie pulls no punches as she shares her journey of redemption while offering some homespun wisdom to those who need a little saving themselves.”
The book’s cover is a reflection of Bunnie’s — born Alyssa DeFord — time in the sex-work industry. The star stands topless with her jeans unbuttoned, bearing her truth both physically and emotionally, through this memoir. According to Bunnie, her stint in the industry enabled her to “reclaim her power” following her struggle with addiction and the abuse she faced as a teen. Flash forward, and Bunnie has built an empire around Dumb Blonde Productions, creating a successful podcast with thousands of monthly listeners.
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Bunnie and Jelly met in Las Vegas while the musician was performing at the Las Vegas Country Saloon in 2015. The pair married a year later at Las Vegas’ Stained Glass Wedding Chapel in August 2016. They briefly split in 2018, but they rekindled their relationship. Since their whirlwind love story began, Jelly Roll has written songs dedicated to his wife, including “Hey Mama” from Beautifully Broken and “Kill a Man” from Whitsitt Chapel.