A collection of late Country Music Hall of Famer Johnny Cash’s personal archives is set to have a permanent home at Nashville’s Belmont University.

A partnership among the Cash family, the John R. Cash Revocable Trust and Belmont University allows the collection to serve as the anchor for the new Johnny Cash Learning Center at Belmont’s Mike Curb College of Entertainment & Music Business’s upcoming Music Row-located building. The collection is from the late singer-songwriter’s children, Rosanne Cash, Kathy Cash Tittle, Cindy Cash, Tara Cash Schwoebel and John Carter Cash. The $8.6 million acquisition was made possible in part through the support of Scott and Sandi Borchetta, Mike and Linda Curb and the Harper House Music Foundation.

The archives collection includes some of Cash’s personal correspondence with fellow artists, family and other public figures, as well as personal notes, photographs, scrapbooks, handwritten lyrics, cassette tapes and more. Belmont also begin a digitization process to catalog and preserve the collection prior to the opening of the Cash Learning Center. That digitization effort will be spearheaded by Dr. Mary Ellen Pethel, who will serve as director of the Johnny Cash Learning Center, in partnership with Belmont University Special Collections.

The Johnny Cash Learning Center will also include space for archival research, digital and physical exhibits, and educational programming integrated into Belmont’s curriculum. The space will also include a secure reading room to allow appointment-based access for researchers, while an open digital collection allow the archival materials to be available to the public online.

“We are thrilled that our father’s archive has found a home at Belmont University. An enormous body of his work, including unpublished writings, will now be available for scholars and students to more intimately connect with the foundational elements of his artistry for years to come,” the Cash family said in a statement.

“Johnny Cash was one of the greatest storytellers in American music,” added Belmont University President Greg Jones. “At Belmont, his archives will bring those stories to life for students across every discipline. We are humbled that the Cash family chose us as the permanent home for this legacy, and deeply grateful to everyone who made it possible.”

“There is no parallel for what this means for our students and scholars,” said Brittany Schaffer, Dean, Mike Curb College of Entertainment & Music Business. “Direct access to the personal papers and lyrics of one of the most important artists in American history is something most institutions can only dream of. The Johnny Cash Learning Center will be a place where his story is not just preserved but experienced.”

“As Trustee, it’s been an honor and pleasure to work with the family to find a home for this archive,” said Catherine Sullivan of the John R. Cash Revocable Trust. “As a lifelong resident of Nashville, Tennessee, I’m proud to know that generations of Belmont students will be able to study Johnny’s legacy.”

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Zara Larsson season is officially here. The Swedish pop star is having a major 2026, with her latest Midnight Sun era bringing together chart-topping music, festival performances at Lollapalooza and All Things Go and a growing fashion moment. For fans looking to channel Larsson’s signature Y2K style, there are plenty of new pieces to shop. 

Earlier this week, the singer launched a limited Depop drop featuring pieces from her personal early-aughts wardrobe alongside upcycled Midnight Sun merch, with proceeds benefiting charity. The collection sold out within minutes, but fans can still shop her nostalgic aesthetic through official merch, including baby tees, low-rise jeans and her recently restocked True Religion collaboration now on sale.

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Your denim collection deserves a pop of personality with True Religion’s Jennie Mid Rise Super T Curvy Skinny Jeans. Designed with pink Super T stitching, clean hardware and horseshoe back pockets, this style puts a playful spin on the classic denim skinny silhouette.

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If bold merch isn’t your style, this Hollister graphic tee offers a more understated way to rep Zara Larsson. Crafted from 100% cotton, it features a classic crew neckline, short sleeves and an oversized fit that’s easy to style with everything from low-rise jeans to cargo pants. At just $20, it’s also one of the most affordable picks in the collection and is available in four additional concert-inspired graphics.

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A colorful take on a Y2K favorite, these Joey Mid Rise Pink Flap Flare Jeans pair a mid-rise fit with a flared leg for a nostalgic silhouette. Style them with a baby tee or going-out top to channel Zara Larsson’s signature look. Please note: The crystals on Zara’s pair were hand-bedazzled by the singer and are not included.

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Rep Zara Larsson’s Midnight Sun era with this light pink graphic tee. The front showcases a tonal portrait of the singer wearing her “Connected” tee, along with Zara Larsson’s logo underneath for a subtle nod to the album. Made from 100% cotton, it’s available in unisex sizes XS to 2X.

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As Midnight Sun continues its summer takeover, younger fans can celebrate Zara Larsson’s latest era with this graphic tee. The under-$20 style comes with a round neckline, short sleeves, a bright pink logo and a Y2K-inspired portrait of the singer on the back. It’s available in kids sizes for ages six to seven and 11 to 14 years.

Larsson’s latest wave of success marks a major milestone in a career that has been more than a decade in the making. After winning Sweden’s Got Talent in 2008 at just 10 years old, the singer went on to release her debut album in 2014 and quickly became a global pop force with hits including “Never Forget You,” “Lush Life” and “Ain’t My Fault.”

Now, the Swedish singer is reaching new heights with her Midnight Sun album. Larsson recently made Billboard history by becoming the first artist to earn their first two Pop Airplay No. 1 hits in consecutive weeks, with “Stateside” featuring PinkPantheress followed by “Midnight Sun.” The achievement marks another defining moment for an artist who has continued to evolve while building a loyal fan base around the world.

The momentum isn’t slowing down anytime soon. Larsson is set to perform at Lollapalooza and All Things Go this summer, while songs from Midnight Sun continue finding new listeners after being featured throughout the latest season of Love Island USA. Between her chart success, sold-out Depop drop and Y2K-inspired merch, Zara Larsson’s latest era proves she’s entering one of the biggest chapters of her career yet.

Aaron Dessner and Gracie Abrams have now made three albums together, with the pop star’s third studio effort, Daughter From Hell, arriving July 17. But one song in particular has stirred up a few misconceptions, and in a recent conversation with Billboard, the producer cleared them up.

Hopping on a Zoom call on Tuesday (July 21) — just days after joining Noah Kahan on stage in New York to perform one of The Great Divide songs he produced, a cameo that severe weather almost ruined — Dessner addressed confusion over the production and subject of “Death Wish,” one of the most talked-about tracks on Daughter From Hell. Some listeners have expressed surprise that the spritely album version sounds so different from the somber live piano version Abrams initially recorded and released amid her Secret of Us Tour, questioning why the duo would “change” the “original.” (Spoiler alert: They didn’t.)

Meanwhile, others have speculated that Abrams’ former Eras tourmate Taylor Swift inspired eviscerating lyrics such as “And I used to pretend that it didn’t feel evil/ Your light of a million suns burns through people,” even though the Gen-Z star has only ever praised the 14-time Grammy winner and even attended her wedding to Travis Kelce earlier in July. (Abrams has also said herself that “Death Wish” is about “a friend of mine who recently was dating, like, a mega narcissist,” something doubters have either forgotten or ignored.)

But if the commenters won’t listen to Abrams, maybe they will listen to Dessner. He sets the record straight in the condensed conversation below, while also telling Billboard about his ever-evolving dynamic with Abrams, whether she fills him in on the drama that may or may not inspire her songs, his cameo at Kahan’s show and more.

What’s the story with “Death Wish”?

The studio version predates [the live recording] by several months. We wrote it, actually, the week that we recorded “That’s So True,” “I Told You Things” and [other] songs that were on The Secret of Us deluxe. In the wake of [Daughter From Hell] coming out, people were like, “Wait, what about the original version?” This is the original version.

There’s been speculation online that it’s about Taylor Swift.

Yeah, definitely not. It was written at a time when [Gracie] was writing about a friend’s ex, being in a bad relationship. So it was kind of about that person, I think. I wouldn’t even actually know who that person was.

How much do you and Gracie — or any of the artists you work with — talk about the real-life subjects of songs while you’re working on them?

Ultimately, you just become friends. Like, Gracie and I have worked together for more than six years now, and you kind of grow together, and there’s a lot of experience that has nothing to do with making songs. She’s very aware of my personal life, and I’m of course aware of hers — she’s close with my kids, for example. So I think, naturally, if she writes something, I’ll know. But we don’t really talk about it. It’s weird. It’s kind of unsaid.

I would say the same thing for other people I’ve worked with. [I’m] giving feedback at times, lyrically, but I tend to … you don’t want to be like, “Well, you’re talking about this, right?” It’s more mysterious not to.

Gracie said recently that she tried to be less “careless” this time in terms of how songs might impact their subjects. Is that something you observed firsthand?

I think she’s probably referring to certain songs that were written about past relationships. [As] songwriters, we all deal with this. What’s most compelling is to write about your own life or your experience, but … this record, to me, is more looking at herself. [She] was not editing [lyrics] after the fact, or writing and being like, “Oh, I gotta take that out. It’s too painful for someone else.”

Do you have a favorite song on Daughter From Hell?

“What If It’s Right?” is one that when I listen to it, I’m still just floored. The song “Humming” is one that we had written, and then Justin Vernon [of Bon Iver] joined us and helped finish it. It’s just so magical.

“Cold Goodbyes” is just me playing this one synthesizer DX7 organ and Gracie’s singing, and it’s almost improvised in the studio. You could just tell that that was going to be the last song of the record. It still gives me chills.

I was personally surprised that Daughter From Hell was even less pop-centered than The Secret of Us, especially at a moment when Gracie could easily start reaching for bigger chart hits.

Some of the [songs] that we left off [the album] might be more obvious [pop hits], because they fit the bill of what someone might expect, but I think where she’s coming from, who she is as an artist … her motivation is very pure. She’s not trying to chase that kind of chart success or dominance. It’s much more about what feels most compelling artistically, and this was the group of songs that felt closest, I think, to her heart.

Also, for us, they’re all hits, you know? And I think that over time, my favorite records are ones that take time to reveal themselves, and this is one of those.

You performed with Noah over the weekend and have joined Taylor and Gracie on stage several times as well. As their producer, what goes through your head when you’re up there with them?

If you would allow yourself to think for a second that the song you made in the quiet of your home was now in front of 90,000 people with their phones out, it can be pretty scary. But I love the feeling of when songs take on meaning for people — you work on them so hard, they finally get released to the world, and then you’re hearing them sung back at you.

Going on stage with Taylor at the Eras Tour, there was nothing that could prepare you for that. Those are NFL stadiums … there was no way to really know what that would feel like until you’re up there. Fortunately, she’s really good at making you feel in the moment. It felt safe. Noah, he’s so himself up there, the [same] way he is in the studio. [The Great Divide] is so loved, so the vibe is just really amazing. It felt very warm to go into that and join him.

You were originally supposed to perform with him the night prior, before that show was canceled due to severe weather, right?

There were constant meetings with meteorologists, basically. And they just figured out that, there was no safe way to do it. I was driving over there earlier in the day, and there was flooding everywhere. Even right around Citi Field, there was four feet of water.

It was a real bummer to be that close to performing, and then to cancel it. I was going to have to travel — the World Cup Final was the next day, which is very important to me [laughs] — but then we were like, “Is there a way I could stay?” And we figured it out.