Pulse Music

After keeping the specifics of her relationship quiet for months, Adele has opened up about boyfriend Rich Paul. In an interview with Elle Magazine, she said she is as happy as she'll ever be and totally in love.

She also put an end to the unrelenting rumors that she and the high-profile sports agent, who manages Labron James, have no plans to tie the knot.

It was only after being asked flat out whether or not she was engaged several different times that Adele finally gave the publication a straight answer and said no, they are not engaged. She did admit that she's totally obsessed with him.

They have been dating since May of last year.

TL;DR:

BTS has reached yet another career milestone with 70 million YouTube subscribers. That number surpasses Justin Bieber, making them the second most followed artist page on the streaming platform.

The #1 act right now is BLACKPINK, the group has nearly 77 million subscribers.

TL;DR:

• BTS has reached 70 million YouTube subscribers.
• BLACKPINK has nearly 77 million subscribers.

A Motley Crue fan fan fell from the upper balcony at Lucas Oil Stadium in Indianapolis during the band's concert there on Tuesday (August 16th) night. According to reports, Motley Crue was about 45 minutes into their set and in the middle of performing "Looks That Kill" when the incident happened. Local police said officers assisted the injured person was "awake and breathing" at the time, but there's no update on his condition.

TMZ released a video that shows a group of people standing around the unidentified man, who, according to witnesses, was surrounded by a puddle of blood.

Motley Crue seemed unaware of the incident and continued performing until the end of their set. So far, the band has not issued a statement.

Set for release on September 23rd is Billy Idol's latest EP, Cage. The four song collection follows last year's The Roadside EP and is also released via George Harrison's resurrected Dark Horse Records imprint now headed up by George's son, Dhani Harrison. Joining Idol on the new set is longtime collaborator and guitarist Steve Stevens.

The Cage EP is available on CD, vinyl LP, and limited edition red vinyl LP. A limited supply of signed copies are available while they last.

Billy Idol has come to terms with the fact that the commerce-based aspects of his job are just as important as the creative ones: "We wanted to dream, we wanted to have fun, we wanted something more. More glamorous than my dad's power tool business that he wanted me to join him in. And he was a great salesman -- fantastic, actually -- but I always thought to myself, the only weakness he's got is, he's selling a product that's not himself. I'm still a bit of the salesman he is, really."

It was 53 years ago today -- August 18th, 1969 -- that the Woodstock Music and Art Fair closed with Jimi Hendrix's epic final set, which wrapped three days of music in Bethel, New York. More than 450,000 people converged upon the small upstate town to hear rock's biggest bands perform. Although Woodstock, which officially ran on August 15th, 16th, and 17th, 1969, was neither the first nor last major festival concert, the fact that the youth of America were able to congregate in one place with no violence during one of the most turbulent years of the decade, gave birth to the notion of the "Woodstock Nation" and gave a voice -- and a face -- to the hippie ideal.

Artists who performed at the legendary festival included Joan Baez, Country Joe McDonald & the Fish, Arlo Guthrie, Richie Havens, Mountain, Janis Joplin, the Who, the Band, Canned Heat, Creedence Clearwater Revival, the Grateful Dead, Sly & the Family Stone, Jefferson Airplane, Santana, Blood, Sweat & Tears, Sha Na Na, John Sebastian, Crosby, Stills, Nash, and Young, Joe Cocker, and many, many more.

WOODSTOCK REMEMBERED

The first day of the festival served to ease the crowd into the music and feature folk groups. The headliner the first day was Joan Baez, who talked about her expectations during the helicopter ride to the grounds: "It was pretty clear on the helicopter ride into Woodstock this was going to be (laughs) a historic weekend. And it was. I mean, I was in the helicopter with Janis Joplin and my mother and my manager. My overwhelming sense was, 'What a treat. I get to be back at this end of the place where everybody, all the entertainers are, meet them all and get fed and treated like a queen (laughs) and hang out in the mud.' It was amazing."

Creedence Clearwater Revival performed on the second day of Woodstock, when the bill featured harder rock acts. CCR's Doug Clifford recalled the feeling of the crowd at that time: "Here you have a half a million people, or whatever it is, under the worst of conditions -- no bathrooms, no food, no water, no shelter. It's raining, and the vibe was just mellow. People were just doing anything they could to help each other out and they were just grooving. They figured, 'Hey, we're here. It is what it is,' and you don't see that, especially in this day and age."

Photographer Elliott Landy was commissioned by Michael Lang, one of the festival's organizers, to take photos of the three-day event. Chances are if you've seen a photo from the festival, Landy was the one who shot it. Landy said he believes that Bob Dylan had a huge influence on the transformation of the now-legendary small town in upstate New York: "At the time, Woodstock was just becoming the mecca for music in the '60s. It became that because Bob Dylan moved there and in the '60s, Bob Dylan and the Beatles were the biggest bands around. And Bob was really, at that time, the most influential, and he lived in Woodstock. And because he lived in Woodstock, a lot of other people went up there -- the Band went up there, and Richie Havens went up there, and Janis Joplin was there -- even Jimi Hendrix was there for a while. A lot of people kind of coalesced, I guess, in Woodstock during that period."

Landy says the experience of Woodstock is something he'll never forget -- for three days, the outside world didn't exist: "The experience of Woodstock, what Woodstock was about, was it took a person who was part of the bigger, of the larger world -- with all its tax problems and its bank problems and its money problems and family problems and responsibility to family and blah, blah, blah -- and it cut everybody off from everything. You were part of a new universe. It was almost like you were transported and put into a new world, and the world was Woodstock."

We spoke with organizer Michael Lang, who sadly died earlier this year, and he recalled Jimi Hendrix's manager Michael Jeffries drove a hard bargain in cementing Hendrix as the festival's closer: "One day I went to his agent's office, to try to sort of definitively try to get this done or not, and came up with the idea of offering him two shows. I wanted him to open the festival with an acoustic set, and close with the band. And I would pay him $15,000 per set. So now, he's getting $30,000. And the other problem was that I'd established this idea of alphabetical billing and everybody getting 100 percent billing, 'cause I sort of wanted this equality between everybody. And I had no problem with any other group except Jimi again, because Michael wanted him to have 100 percent star billing, and I said, 'Well, you'll get it. So will everybody else (laughs).'"

Grateful Dead drummer Mickey Hart still feels that the significance and social value of Woodstock resonates with new generations: "It was important in many ways. But, music, like I said, is not a luxury -- it's a necessity. And people are still resounding over the ages, y'know, 30 years later -- people are still taking note of what we were saying then; and the repercussions of Woodstock. It became a flashpoint (of) musical and social history."

Sly & The Family Stone drummer Greg Errico (pronounced uh-REE-co) remembers that in addition to their performance, the time period before the band played sticks out in his mind: "I remember being at the Holiday Inn where we all were staying -- Jimi and the band, Janis and her band, and us -- and we had commandeered the whole third floor. And I remember the chaos going on, with alcohol flowing back and forth and what have you. And I remember arriving in a helicopter, and seeing this sea of people, and stepping off and feeling the thickness. It was indescribable."

Santana, a relatively unknown group from San Francisco, made their name at Woodstock. During the group's 1998 induction into the Rock And Roll Hall Of Fame, drummer Michael Shrieve talked about the impact Woodstock has had on his life since then: "Bill Graham got us on the bill at Woodstock for 500 bucks. We didn't make much money, but it was the biggest break of our career. And ever since then, everything I've ever done since, everybody said, 'Man, I saw you at Woodstock, I loved it!' (Laughter) I'm walking down Fifth Avenue, people are saying, ‘Man, what happened? You got old!' (Laughter) I said, ‘Man, I was 18-years-old! Y'know, you got old too!'"

In 2013, Joni Mitchell appeared on CBC and was asked how she could articulate the emotions of the 1969 Woodstock festival in her song "Woodstock" -- despite having missed the event: "Because I was one of the many that were thwarted. That was the place every kid wanted to be. And I got to the airport with CSN and our agent David Geffen and our manager, Elliot (Roberts), on a Sunday night when I was supposed to play and it was a catastrophe. I had to do The Dick Cavett Show the following day, y'know, and it was Geffen that decided, 'Oh, we can't get Joni in and we can't get her out (of the concert site) in time,' so he took me back to the Pierre, where he had a suite, y'know, where he lived and we watched (Woodstock) on TV. And I was the deprived kid that couldn't go. So, I wrote it from the point of view of a kid going."

Jefferson Airplane guitarist Jorma Kaukonen (pronounced YOR-ma Cow-COH-nen) says that the festival really was a defining moment in history: "Woodstock was such a seminal event for all of us. I mean, obviously, it's not the same to me as somebody who had actually been there as a participant and sort of lived the experience, y'know? But I just remember, I think it was the first time that we -- y'know, that our generation -- had sort of a collective identity going on. It was, it was a powerful moment."

Country Joe McDonald, whose legendary "Fixin' To Die Rag" was a highlight of both the Woodstock festival and the eventual movie, says that although some artists try to distance themselves from their past, he's honored to be so closely identified with Woodstock: "I'm proud of my appearance there. I thought it was a great festival. The event was great, the talent was great, it was a historic entertainment event, and I'm, I feel grateful to be a part of it."

Shortly before his 2020 death, Leslie West told us that Mountain found out about Woodstock while gigging on the West Coast: "We did the Whisky A Go-Go, we did the Fillmore West, and now we're playing Woodstock. We heard about it out there. And we hired our own helicopter, and I was so fat, the guy had to make two trips. When we landed behind the stage, they were so famisht (Yiddish for mixed up) -- like, they didn't know where's this group, where's that group, trying to get groups on -- somebody says to me, 'Don't all stay together, 'cause if they see you all together, they're gonna wanna put you on right away.' So I wandered off here, Felix (Pappalardi) was here -- Corky (Laing) wasn't with us then -- and finally, we got to go on, just as it was getting dark."

John Fogerty recalled Creedence's performance at Woodstock as being one of their least memorable and attributes that to a few outside factors -- one of which was having to follow their Bay Area friends, the Grateful Dead: "I didn't think we stole the show. The idea when you go to play something big like that, there's kind of a gentle competition going on, and you try to do your very best, hopefully, y'know, be memorable. But our performance at Woodstock was kind of overshadowed by things beyond our control -- mainly having followed the Grateful Dead, and the Grateful Dead had put a half-a-million people asleep (laughs). We were pretty put-upon to wake them all up again."

Graham Nash has never been one to romanticize the Woodstock festival. We caught up with him back in 2009, on the eve of the event's 40th anniversary. Nash was asked if he had any specific memories of CSNY's time at Woodstock: "It's 40 years ago, y'know, and it's lots of 'em. Rain, mud, companionship, great music, technology that sucked, lots of people, lost of energy. It was a good time. I thought we were pretty good. I listened to 'em recently when Eddie Kramer. . . is doing some 40th year reissue and was mixing us live and we were pretty good, I think."

The Woodstock movie and soundtrack was a MASSIVE success, making immediate icons out of its performers and their music. But the film only showed a very small percentage of the artists who appeared over the festival's three days. Even the acts that made the cut found most of their screen time shaved down to under about five minutes. During a chat with Charlie Rose, Neil Young admitted he was one of the few artists who wanted absolutely nothing to do with the Woodstock film as the festival was going on: "The thing that wasn't so beautiful to me was the filming. I thought these guys with their cameras all over the stage, were, like, in the way of the music and the people -- and they were a distraction. We're playing, and they're right here, y'know? With a camera going like this. . . So, I told them, y'know, 'Don't come near me (laughter), I have a very heavy guitar, if you come near me, I'm going to hit you with it. Just stay off my part of the stage and don't let me ever see you.' And I got really upset with them, right away. And I weighed, like, 110 lbs. at the time (laughter), so I was not much of a threat, but I was intense."

The late-Michael Lang recalled how the Woodstock organizers cajoled the Who into playing the festival: "John Morris did that, and the way that they did that was he and Frank Barsalona -- who was the Who's agent -- invited Pete to Frank's house for dinner, got him drunk, (laughs) and then wouldn't let him go until he agreed to play. I forget the show, they were doing something in the area the week before and wanted to go home. It was the end of the tour. And they weren't hippies, this vision was not their vision, but Frank was convinced that it was important to their career, and he and John managed to talk him into it."

The Who's late-bassist John Entwistle, told us that he remembered arriving at Woodstock on Saturday, August 16th to discover that the show was running twelve hours late and that the Who wouldn't be on until the wee hours of August 17th. So rather than hang around in the cramped backstage area, Entwistle set off to look around the site and wound up having an adventure similar to those experienced by many of the concert-goers: "I walked around the whole of the audience and walked back through the center. I met a couple of friends from New York, and I had a bottle of bourbon, and they had some Coca-Cola, and so between us we mixed a few bourbon and Cokes. Unfortunately, the ice had been stolen from backstage and had acid in it. . . so I spent a little while taking a trip. (Laughs) I figured I had enough time, so I drank the rest of the bourbon and passed out."

Pete Townshend says that the finale to the Who's set wasn't as organic an experience as the rest of the Woodstock Festival seemed to be: "That was a bit contrived, 'cause actually it was me that looked at my watch and realized that if we kept 'Listening to you, I get the music' going long enough, the sun would come up. Y'know, I grew up in a showbiz family, and I know that stuff -- and I knew it would be a wonderful moment. And we had been waiting a long time to perform, but we did play 'Listening to you, I get the music' something like 40 times, round and round and round and round -- and finally it peeped up. So it wasn't exactly a poetic moment for me, but it was just another kind of moment of cynical English triumph."

Townshend has been able to look back on the experience with the clarity that hindsight provides, and he explains what he felt then, and what he's learned since: "What I felt was, 'I'm not American. I'm not part of this.' I had a rotten time. I wanted to go home. I didn't want to be there in the first place. Y'know, what history has told me is that this is my country as an artist."

He still regards the Who's 1969 Woodstock set as a watershed event in the Who's live career: "It was about the most important single concert that we ever did. It was more important than Monterey, much more important than our first show in New York, much more important than anything that followed."

Shortly before his 2013 death, Ten Years After singer-guitarist Alvin Lee recalled that although Woodstock played a tremendous part in his legacy -- it really was just another one of the outdoor festivals the group did that year, and that it only stands out to people because of the movie: "I did the Texas Pop Festival and the Atlanta Peace Festival, which were equally good if not better festivals than Woodstock. But, without the movie and without it being declared a national disaster, y'know, it didn't quite catch the media's attention, like at Woodstock. That whole period of '69, all those festivals were great -- Woodstock's just the one that got remembered 'cause of a movie was made of it."

Michael Lang was asked at what moment he realized that he was helping to create cultural history: "I guess by Saturday, when everybody had arrived -- or anybody who was gonna get there arrived. We knew that this was a historic moment in any case. Whether it resonated or not, nobody thought of that, but we knew that this was extraordinary."

To check out the full lineup of the 1969 festival, log on to: https://www.woodstock.com/lineup/

Kid Cudi says it would take a miracle for he and Kanye West to be friends again. He told Esquire, "I've watched so many people throughout the years that are close to him be burned by him doing some f**ked-up sh*t. And then they turn around and forgive him. And there's no repercussions. You're back cool with this man. He does it over and over."

He continued, "I'm not one of your kids. I'm not Kim. It don't matter if I'm friends with Pete or not friends with Pete. None of this sh*t had anything to do with me. If you can't be a grown man and deal with the fact that you lost your woman? That's not my f**king problem. You need to own up to your sh*t like every man in this life has. I've lost women, too. And I've had to own up to it. I don't need that in my life. I don't need it."

He continued, "With all due respect, I'm not Drake, who's about to take a picture with him next week and be friends again, and their beef is squashed. That's not me. What I say, I mean. I will be done with you. It's gonna take a motherf**king miracle for me and that man to be friends again. I don't see it happening. He gon' have to become a monk."

KID CUDI SUFFERED A STROKE

Meanwhile, Cudi also revealed that he suffered a stroke two weeks in rehab back in 2016. He said that his speech and movement were slowed down for a time as a result. He explained, "Everything was f*cked."

Kid Cudi's new visual album and animated series, Entergalactic, streams on Netflix on September 30th.

TMZ reports that despite earlier stories, Machine Gun Kelly and Megan Fox are still together. They were spotted in public having lunch in Brentwood, California on Tuesday (8-16).

Sources close to the couple say they're doing just fine -- no big issues. They obviously can't be together 24/7 because both of them work and have kids, but they're solid.

Suspicions began when Megan started posting pics online without MGK. And their last upload together was way back in June. She also didn't show up to his hometown show in Cleveland over the weekend, and that fueled the breakup rumors.

At the concert, MGK told the audience that he just talked to Megan before he got on stage, calling her his wife.

And in what seems to becoming a habit of his, earlier in the show, he got so amped up that he smashed a wine glass on his face, creating a bloody mess.

TL;DR:

• TMZ reports that despite earlier stories, Machine Gun Kelly and Megan Fox are still together.
• They were spotted in public having lunch in Brentwood, California on Tuesday (8-16).
• Suspicions began when Megan started posting pics online without MGK. And their last upload together was way back in June.

Mark Hoppus says he's open to all possibilities concerning a Blink-182 reunion.

His battle with cancer brought him back in touch with former Blink singer-guitarist Tom DeLonge, who split with the trio in 2015.

During his illness, the two of them along with member, Travis Barker, got together for the first time in five years. That was just before he started his regimen of chemotherapy.

Hoppus told Billboard, their relationship is good, "It's actually better than it used to be. There were no lingering grudges. It felt very - back to what it should be: three friends sitting in a room."

Hoppus continues to write new music and is open to the next phase of Blink and is very hopeful for the future. He said, "I'm just d*** glad to be here."

Hoppus has been cancer free for almost a year.

TL;DR:

It was 49 years ago this week (August 18th to August 25th, 1973) that Paul McCartney & Wings' theme to the James Bond movie Live And Let Die peaked at Number Two on the charts. The song, which followed the recent Number One success of the band's "My Love," was kept from the top spot on the Billboard Hot 100 first by Diana Ross' "Touch Me In The Morning," and then by the Stories' "Brother Louie." "Live And Let Die" went on to top both the rival Cash Box and Record World singles charts.

McCartney came about writing "Live And Let Die" through former Beatles producer George Martin, who was the film's musical director and pitched the project to him. McCartney spent a day reading the Ian Fleming novel, and then went about composing the song with help from his wife Linda, who contributed the reggae-tinged middle portion.

Wings co-founder and original drummer Denny Seiwell played on the original version of "Live And Let Die" and recalled the events leading up to McCartney recording the Oscar-nominated theme to the 007 thriller: "Everybody thought it was cool that we were doing something for James Bond, y'know? 'Cause I remember what Paul told us -- he said a couple weeks before we did the actual recording, he said they wanted him to write the theme to the next James Bond movie, and they sent him the book to read. And we were up at the house one day and he had just read the book the night before, and he sat down at the piano and said, 'James Bond. . . James Bond . . . da-da-dum!,' and he started screwing around at the piano. Within 10 minutes, he had that song written. It was awesome, really. Just to watch him get in there and write the song was really something I'll remember the rest of my life."

Seiwell recalled the speed in which "Live And Let Die" was recorded: "'Live And Let Die' was pretty amazing, because we did that track in and out of the studio, with a live 40-piece orchestra, overdubs, mix in three hours at Air London at George Martin's studio. So that was pretty impressive."

Over the years "Live And Let Die" has become a McCartney concert favorite, with its explosions and pyrotechnics that seem to grow with each tour. The song has been featured on such live McCartney albums as Wings Over America, Tripping The Live Fantastic, Paul Is Live, Back In The U.S. and most recently on Good Evening New York City.

It was 44 years ago today (August 18th, 1978) that the Who released their eighth album, and final studio set with Keith Moon, Who Are You. The album, which had been recorded between October 1977 and April of '78, showcased the Who at a crossroads with the band entering the studio after a long year off the road while pursuing solo projects. 1977 saw the release of Roger Daltrey's third solo album, One Of The Boys, as well as Pete Townshend's second solo outing -- Rough Mix -- a collaboration with Ronnie Lane of the Faces.

The sessions, which featured the band once again recreating Townshend's professional home demos, were at a severe disadvantage due to Keith Moon's declining state from years of drug and alcohol abuse. His inability to reach his previous dizzying heights resulted in their being no drum track for the tune "Music Must Change" because Moon was simply unable to execute the song's 6/8 time signature. During vocals sessions with producer Glyn Johns -- who had been behind the board of such Who classics as 1971's Who's Next and 1975's The Who By Numbers -- Daltrey punched Johns, who quit the project and was replaced by his assistant -- and Townshend's then-brother-in-law -- Jon Astley, who was left to complete the album with the band.

Who Are You features some of John Entwistle's most beloved Who tracks, including the slightly risque "Trick Of The Light," the sci-fi based "905," and the Daltrey-sung "Had Enough."

Rather than directly responding to the punk movement, which had taken England by storm in 1977 -- as the Rolling Stones did that same year's Some Girls collection -- Townshend delved further into his prog rock leanings on such tracks as "New Song," "Sister Disco," and the Gilbert & Sullivan-esque, "Guitar And Pen." The band employed keyboardist Ron Argent of Zombies and Argent fame to add keyboards to select tracks -- including the distinctive piano part on "Who Are You."

Pete Townshend admitted to us that his heart and soul can always be found in his home demos as opposed to the Who's proper studio recordings of his songs: "I put more energy and more passion and more intensity in the recordings that I made at home of the songs that I was writing than I would put into the recording studio sessions with the band -- which seemed to me to be mainly, kind of boozy evenings with the lads talking about, y'know, what they've done the year before, y'know? And there's a line in Quadrophenia -- 'You remember that hotel where the doors we smashed.' It was all about that kind of thing. And we would sit in the studio and the actual recording would interrupt the reminiscences."

The blockbuster success of the Grease soundtrack prevented the Who from scoring its first U.S. chart-topper, with Who Are You going on to peak at Number Two on the Billboard 200 charts -- a full four spots better than the album did in the band's homeland.

Keith Moon's death on September 7th, 1978 left the band in limbo for the time being, with the album cover becoming a classic featuring Moon perched on a chair featuring the immortal line: "Not to be taken away."

It was 66-years-ago today (August 18th, 1956) that Elvis Presley began his 11-week chart-topping run with his Double A-sided single "Don't Be Cruel" / "Hound Dog." The songs were recorded in Manhattan the previous July 2nd and although officially credited to RCA staffer Steve Sholes, both tracks were in fact produced by Elvis himself. The songs was the first of many to feature the Jordanaires on backing vocals.

Backing "The King" was his original guitarist, Scotty Moore, bassist Bill Black, and drummer DJ Fontana -- known lovingly as the Blue Moon Boys. The group formed the core of Elvis's original sound on his early sides for Sun and RCA Records.

During his ill-fated first appearance in Las Vegas in April 1956, Elvis got the idea to record "Hound Dog" -- a 1953 R&B chart topper for Big "Mama" Thornton -- after watching his opening act Freddie Bell & The Bellboys perform a comedic version of the song. "Don't Be Cruel" was written by Otis Blackwell, who went on to write "Return To Sender" and "All Shook Up" for Elvis, as well as "Fever" for Peggy Lee, and "Great Balls Of Fire" for Jerry Lee Lewis.

On the released version of the track Elvis can be heard tapping out a beat on the back of his acoustic guitar. Unlike "Hound Dog," which took 31 takes to perfect, "Don't Be Cruel" took only 20 minutes to record.

In the days when the charts were based solely on sales, "Don't Be Cruel" and "Hound Dog," which was released as a double A-sided single, became the only 45 to have both sides reach Number One in the U.S. charts.

This single eventually topped the charts for a record-breaking 11 weeks -- until it was knocked out of the top spot by Presley's follow-up and theme to his first movie, Love Me Tender.

Both "Don't Be Cruel" and "Hound Dog" were inducted into the Grammy Hall of Fame in 2002.

On February 27th, 1970 during a rare press conference in Houston, Texas, Elvis looked back at his early days onstage and admitted that he couldn't see what the fuss was all about: "Man, I was tame compared to what they do now -- 'you kiddin'? (Laughter) I didn't do anything except jiggle, y'know?"

Graham Nash says that for him and his entire generation Elvis Presley was the defining "before and after" point: "Well, yeah, listening to early, early Presley stuff, before he went in the army, he was king of music. After he went into the army -- not too much. Obviously we were listening to those records, and those early Sun records are tremendous records. Great energy."

It was 20 years ago today (August 17th, 2002) that Bruce Springsteen's post-9/11 requiem, The Rising, hit Number One on the Billboard 200 albums charts for the first of its two-week run. The set, which reunited Springsteen with the E Street Band for the first time on a full studio set since 1984's Born In The U.S.A., came on the heels of both the band's sold-out 1999/2000 reunion tour and the horrific 9/11 attacks.

The Rising, which was released on July 20th, 2002, marked Springsteen's first new album in seven years, was inspired by a fan who in the days after 9/11 pulled up next to Springsteen in his car, rolled down his window and stated simply: "We need you now." The album broke from both Springsteen's usual production team, tapping instead Pearl Jam producer Brendan O'Brien, who enticed Springsteen and the band to record at Atlanta's Southern Tracks Recording Studio rather than Springsteen's own home studio or in Manhattan, as were his usual base of operations.

Two decades on, The Rising remains the last new Springsteen album to feature songs that were considered instant classics and important enough to earn a regular space in Springsteen's shows. Although "The Boss" has had numerous best-selling albums over the years, none have contained as many songs as The Rising that -- to this day -- sit comfortably next to his classic '70s and '80s works.

Highlights on the set include "The Rising," "You're Missing," "Waiting On A Sunny Day," "Into The Fire," "Mary's Place," "Empty Sky," "Lonesome Day," "Countin' On A Miracle," and "My City Of Ruins."

In 2002, The Rising snagged a total of three Grammy awards: Best Rock Album; Best Rock Song and Best Male Rock Vocal Performance for "The Rising."

Ate the time of The Rising's release, Bruce Springsteen appeared on ABC's Nightline and spoke about how he experienced 9/11: "I was at breakfast. I was at the kitchen table having some breakfast. I was by myself and someone came in and said a plane hit the World Trade Centers (sic). So, I went into the living room and turned the television on right before the second plane hit and then the rest of the day you were just sittin' there with whoever came over and whoever was there -- and just watching, y'know? And towards the end of the day, y'know, there's a bridge where you can see the World Trade Centers (sic) from -- we're only actually 10 or 15 miles from downtown New York here. It was very close by water. And you cross this little bridge and they always sat. . . they sat dead in the middle of it. So, towards the end of the day, we got in the car and, y'know, drove over it and they were gone, y'know? And it made it somehow realer than the TV images."

Upon hitting the road in 2002, E Street Band guitarist Steven Van Zandt told us that concentrating so heavily on the album was part of an attempt to establish the reunited group as a vital, working entity after its then-recent reunion tour: "The people who are coming to the show obviously are coming to hear the new album. It's really, really nice to see that -- and a bit of a gamble that we took that paid off, saying, like, 'Look, we're still a working band. We are not content in any way.' And we really made that clear, as clear as we could, on the reunion tour -- we are not gonna just coast, or whatever, on the past. And now we, we lived up to our word. We lived up to the promise that we sort of implied by putting out a new record and making it an absolutely central part of the new show."

The early legs of The Rising tour were heavily based around the new album and presented a much shorter show than fans were used to: "You get to the content of the new album and you have a whole 'nother thing going on, where there's a certain depth. . . Y'know, it may be going a little deeper than anything we've ever done. We always include a rather wide spectrum of emotions during a show, but I think in some cases this show hits some of the deeper places, y'know? They're crying, they're laughing. It, it covers a whole range."

Patti Scialfa told us that in the wake of 9/11, The Rising tour proved for many to be a way out of the darkness in a confusing time: "The Rising tour had a very specific resonance to it. It was just very beautiful and was at the time where I felt for me personally, in 'The Rising' after we played it as a band. . . It was very healing to us also, 'cause it was at a time where you felt so confused about your country. That was a very healing tour."

Bruce Springsteen & The E Street Band's tour behind The Rising ran from August 7th, 2002 to October 4th, 2003, playing total of 120 shows across three legs hitting North America, Europe, and Down Under.

Joe Jonas has no shame about staying young with a bit of injectable assistance.

He told Allure in an interview published Tuesday (August 16th) that he wants to break down the stigma associated with men wanting to maintain their appearance with cosmetic procedures.

The DNCE frontman says he started using injectables "when I noticed I was starting to see more frown lines" and added that the results gave him the "confidence boost that I was looking for."

Olivia Rodrigo will induct Alanis Morrissette into the Canadian Songwriters Hall of Fame.

The ceremony, which takes place at Toronto's Massey Hall on September 24th, celebrates Canada's most prolific musical talent.

Along with the induction, musicians Alessia Cara, JP Saxe, and Ruby Waters will perform covers of Morissette's hits.

In the press release, Rodrigo shared her admiration for the "You Oughta Know" singer, saying, "I remember hearing Alanis for the first time when I was about 13. I was in the car with my parents when Jagged Little Pill came on. I heard ‘Perfect,' I was like, ‘Oh, my God...You can write songs like that?"

In commemoration of 45th anniversary of their first concert, INXS is rolling out a spate of new projects. Set for release on October 28th is the band's previously unissued collection Live At The US Festival, 1983, which features the band's complete set from May 28th, 1983 in San Bernardino, California. Also set for release that same day is a 40th-anniversary edition of 1982's Shabooh Shoobah, which is available as a digital deluxe box set and limited-edition clear vinyl. Both are available to preorder at the INXS site: https://shop.inxs.com/

On August 26th, INXS will release producer Giles Martin's Dolby Atmos mix of their 20-song 2011 hits compilation The Very Best. Lead guitarist Tim Farriss said in a statement, "What Giles has done is to not only recreate the original mixes but now you're blown away because you hear all this stuff that you just didn't hear before."

A while back, Tim Farriss told us that the bonds between the members of INXS were set from the beginning: "It was kind of a commitment -- everyone left their girlfriends, and their jobs, and whatever, and we all headed off to Perth for a year to write a lot of songs and live as musicians. And I think that we formed a lot of common bonds back then that are still relevant today."

Farris recalled how the band's late-frontman Michael Hutchence could captivate one's attention effortlessly: "Michael was that kind of guy, he could wear anything, and you go -- 'Oh, that looks sensational.' (Laughs) And the guy could make a rag look good. And he just has that panache, and style. He was like that a bit onstage, as well. It was very, just, natural."

The tracklisting to INXS: Recorded Live At The US Festival 1983 is:

"Soul Mistake"
"Here Comes"
"Jan's Song"
"Spy Of Love"
"To Look At You"
"The One Thing"
"Old World New World"
"Black And White"
"Don't Change"

Meghan Trainor released an acoustic version of her newest single "Bad For Me" featuring Teddy Swims on Tuesday (Aug. 16th).

A video for the stripped back track shows the pair performing the song together live in a recording studio.

Trainor's anxiously awaited fourth full-length album, Takin' It Back will drop October 21st.

Goldmine magazine contributor Martin Popoff has listed the 'Top 20 Songs' by the Who with 1982's "Eminence Front" topping the list. Coming in second was the band's 1981 MTV breakthrough hit "You Better You Bet," 1978's "Who Are You" rests at Number Three, with 1982's "It's Hard" coming in at Number Four," and the '81 Face Dances favorite "Daily Records" rounding out the Top Five.

Surprisingly, coming in at Number Six is the 2006 Endless Wire track, "Mike Post Theme." Pete Townshend explained to us why he chose to write a love letter of sorts to the famed TV theme composer: "There are some TV themes that really, y'know, they sort of touch my heart in a way and I tried to pick the one I love the most and think it was the theme to Hill Street Blues. So, this song is really about Hill Street Blues -- for me, anyway."

Sitting at Number 19 is Roger Daltrey's Quadrophenia tour-de-force "The Dirty Jobs." We asked Daltrey to shed light on the ultimate ode to the working class man: "It was written for me, I knew exactly where it sat. It was sung with extreme compassion -- but also with incredible anger (laughs) -- a strange mix. I tried to leave it with a kind of sense of lonely hopefulness. Whether or not I achieved that, I don't know."

The newest song on the list is 2019's WHO opener -- "All This Music Must Fade," which came in at Number 13. During Pete Townshend's recent appearance on NPR, he shed light on the meaning behind the tune: "Since the '60s it's become more and more basic, more and more simple. Music is often what's borrowed, what is often stolen, what is often echoed, what is often repeated -- particularly in our business. So, it's kind of absurd for somebody to pop out of the woodwork and accuse, let's say, somebody like Ed Sheeran -- whose music is not exactly (Arnold) Schoenberg -- of ripping off some earlier song. It just happens. We only have this limited language to deal with."

'THE TOP 20 SONGS BY THE WHO' - according to Goldmine

1. "Eminence Front" - 1982
2. "You Better You Bet" - 1981
3. "Who Are You" - 1978
4. "It's Hard" - 1982
5. "Daily Records" - 1981
6. "Mike Post Theme" - 2006
7. "Imagine A Man" - 1975
8. "However Much I Booze" - 1975
9. "I've Known No War" - 1982
10. "It's Not Enough" - 2006
11. "Baba O'Riley" - 1971
12. "Won't Get Fooled Again" - 1971
13. "All This Music Must Fade" - 2019
14. "Fragments" - 2006
15. "Blue Red And Grey" - 1975
16. "Bargain" - 1971
17. "Happy Jack" - 1966
18. "The Kids Are Alright" - 1966
19. "The Dirty Jobs" - 1973
20. "So Sad About Us" - 1967

BLACKPINK dropped the latest teaser for "Pink Venom" Tuesday (Aug. 16th). The 24-second trailer, featuring hooded figures illuminated by pink light, precedes the Friday (August 19th) release of Born Pink's lead single and a #PinkVenomChallenge on YouTube Shorts.

Gene Simmons makes no bones about the fact that the Kiss' stage show changed everything that came after it. The band is currently on its extended "End Of The Road" farewell tour and chatted with Classic Rock. Simmons explained, "We wanted to put the band together that we wanted to see on stage. One that had no rules, and a visual element like no one else, and where you could combine Fourth Of July into the show. Why? Because this thing called rock has no rules. So when you go to a wrestling match and you see fireworks shows, or you see Sir Paul McCartney --and I adore the ground he walks on, remember -- and you see fireworks and pyro, where do you think he got that from, the Carpenters?"

When pressed as to what emotions he'll feel stepping off the stage after the tour's absolute final gig, Paul Stanley admitted, "What won't I feel? It's monumental. It's overwhelming. It will be incredibly emotional, trying to absorb the enormity of what we've done, and I'm quite certain, besides the laughter, there's going to be enough tears to go around."

Gene Simmons told us that a Kiss concert provides everything that good entertainment should: "It's uplifting, there's nothing negative -- we don't do political commentary. There are enough problems in the world without guys that wear more makeup and higher heels than your mom waxing poetic and prolific on all sorts of issues. They shouldn't. We make you forget about the traffic jam, and the fight you had with your girlfriend, and, like all the other things, just 'magic time' -- 'electric church.'"

Kiss performs on August 20th in Melbourne, Australia at Rod Laver Arena.

The band's next U.S. show is set for September 21st at West Palm Beach's IThink Financial Amphitheare.

Kanye West was dragged for displaying his new Yeezy Gap collection in trash bags. According to Complex, an eyewitness tweeted a photo, along with the caption, "This is how they are selling Yeezy GAP."

The eyewitness continued,"The sales associate said Ye got mad when he saw they had his clothes on hangers" because "this is how he wanted it."

The eyewitness added, "They won't help you find your size. you just have to just dig through everything."

Another Twitter user wrote, "It's everything that is wrong with billionaires/ They no longer see the plight of people, they don't see humans that are suffering, they see opportunities to be ‘edgy' and profit from it…it's disgusting."

While another tweeted,"This gotta be a social experiment."

It was 62 years ago tonight (August 17th, 1960) that the Beatles began their first stint in Hamburg, Germany's Indra Club. At that time the group consisted of John Lennon, Paul McCartney and George Harrison -- all on guitars -- along with Lennon's art college buddy Stuart Sutcliffe on bass and drummer Pete Best, who had joined the group only five days earlier.

During their initial 48-date booking, each band member received less than four dollars a day, and was contracted to play four-and-a-half hours every weekday night -- between 8:00 p.m. and 2:00 a.m., and for six hours a night on Saturday and Sundays. Their Saturday shift ran between 7:00 p.m. to 3:00 a.m., with Sunday's set starting at 5:00 p.m. and ending at 1:30 a.m. The band lived in squalor, rent-free, in the back of the Bambi-Filmkusttheater, a movie theater owned by the Indra's proprietor and the Beatles' employer, Bruno Koschmider.

It was while performing in Hamburg that the group, who were barely professional upon arrival, grew into a tight rock n' roll ensemble by sometimes playing as much as eight hours a night.

Pete Best recalled the scene of the Beatles' opening night in Hamburg on August 17th, 1960 at the legendary Indra Club: "We got some crowd in -- but compared to the crowd that we built it up to before it closed, that happened very quickly. But on that opening night, I'd turn around and say it was a quiet night. But once word was out. . . once they'd actually seen us, people kept flocking in."

George Harrison, who was only 17-years-old when the band first played in Germany, recalled in The Beatles Anthology that, "Hamburg was really our apprenticeship. We had to learn millions of songs, because we'd be on for hours -- we'd make stuff up. Saturday would start at three or four in the afternoon and go until five or six in the morning. We'd have breakfast when we finished."

In many ways Harrison felt that it was all downhill for the Beatles as a band following their early Hamburg days: "In the Beatles, I think the sad bit came when we got famous. Because before that, we played all them clubs, little clubs all over the place and in -- particularly in Germany, we played months and months in these nightclubs. We played eight hours a night. Then it was good, cause you were just. . . everybody was just dancing and drinking, the band was up there just drinking and playing and, y'know, there was no big emphasis on how groovy you were."

Paul McCartney added that sex played a tremendous part of the band's Hamburg era, explaining, "Hamburg was quite an eye-opener. We went as kids. . . We were just Liverpool guys who, as far as we were concerned, could not get arrested back home. . . and suddenly you'd have a girlfriend who was a stripper. If you had hardly ever had sex in your life before, this was fairly formidable. Here was somebody who obviously knew something about it, and you didn't. So we got a fairly swift baptism of fire in the sex scene. There was a lot of it about and we were off the leash."

McCartney recalled the band's pre-Hamburg career as being pretty dire and humiliating at times: "Music? Nah, we couldn't even win talent contests. We certainly weren't great talent. But eventually, we sort of got it together and decided we wouldn't do talent contests anymore. We used to keep getting beaten by this woman who played the spoons -- this old lady. 'Cause everyone was out of it 'round about half-eleven and kept voting (imitates a drunk) 'Ah, she's great!' And we'd come on -- 'Oh God, how you gonna follow that?'"

In 1970 John Lennon revealed to Rolling Stone that Hamburg was also the Beatles' first taste of drugs, as they learned to depend on the amphetamine preludin to combat their alcohol intake and keep up their strength for their marathon sets, remembering: "I've been on pills since . . . I became I musician. The only way to survive in Hamburg to play eight hours a night was to take pills. The waiters gave you them. . . The pills and the drink."

After their initial residency was over at the Indra, the group began playing at Koschmider's bigger Kaiserkeller Club, which is where they became close with fellow Liverpool drummer Ringo Starr, who was then alternating nightly sets with the Beatles' main competition, Rory Storm & The Hurricanes.

Eventually, after continually sitting in with fellow British performer Tony Sheridan at a rival club called the Top Ten, word got back to the Koschmider, who according to legend, had the underage Harrison deported. McCartney and Best were also deported a week later for allegedly setting fire to their meager living quarters. Lennon returned home to Liverpool shortly thereafter, with Sutcliffe staying behind with photographer girlfriend Astrid Kirchherr (pronounced KERR-shirr).

Shortly before her 2015 death, Lennon's first wife, Cynthia Lennon, went to art school with Lennon and Sutcliffe, told us that their personalities balanced each other out perfectly: "What John gave Stu was the ability to laugh at himself and have humor, because he was such a serious student. And what Stuart gave John was a kind of. . . he was inspirational. I mean, John had no faith in his abilities to do anything serious -- or complete anything. And Stuart was constantly supporting him."

She says that even while still in her teens, she was able to recognize Sutcliffe's brilliance and originality: "Stuart was special. He was in art college with us. He was the most brilliant student. He was awesome, the stuff that he did. And he was a gentle, gentle young man."

After their ill-fated first Hamburg stint, the band regrouped in Liverpool with McCartney eventually taking over bass duties from Sutcliffe. The Beatles returned to Germany to headline Hamburg's Top Ten Club on April 1st, 1961. On June 22nd, 1961 they backed Tony Sheridan in what was their first professional recording session.

Pete Best told us that the Beatles' greatest nights were during their original stand in Hamburg during the fall of 1960. He revealed that the group's original bassist, Sutcliffe, while hardly a virtuoso, wasn't the incompetent player history has portrayed him as: "I've always turned around and I'll always defend his corner, because what you have is a situation where someone has said many years ago -- the same as I've been stigmatized over the years -- someone turned around and said 'Stu wasn't a good bass player' and it's lived with him ever since. He's no longer here to defend his corner so I will. There were better bass players and there were worse bass players, OK? But what Stu gave on stage was that he played with 200 percent and he played with his heart and he played with his feelings."

Although no movies of the Beatles' time in Hamburg exists, a number of photographers, including Astrid Kirchherr, documented their extended stays in Germany over the two years the band performed there. Sadly, this past May 12th, Astrid Kirchherr died of cancer only days before her 82nd birthday.

During his 2012 keynote address at Austin's South By Southwest music festival, Bruce Springsteen spoke about the importance of seeing the photos of the Beatles during their Hamburg era for the first time: "And then in some fanzine, I came across a picture of the Beatles in Hamburg, and they had on the leather jackets and the slicked-back pompadours, and they had acne'd faces, and I said, 'Hey, wait a minute, those are. . . those are the guys I grew up with' -- y'know, Liverpool wharf rats. So, minus their Nehru jackets and haircuts, (I thought) 'These guys -- they're kids -- they're a lot cooler than me, but they're still kids. There must be a way to get there from here.'"

While researching his globally acclaimed book -- All These Years Vol. 1: Tune In -- Beatles historian Mark Lewisohn uncovered an incredible fact about the band's Hamburg debut on August 17th, 1960, which underlined the Beatles being the mark between the past and future of Europe and eventually the world: "There's that nice fact in the book of the Beatles striking up in Hamburg, which is, y'know, white guys from England with an Irish-Scottish background -- and in Pete (Best's) case, Indian, as well, playing black American music from Africa, originally, to Germans -- to the survivors of the second Word War on the 20th anniversary of the day -- or the night, even -- that the Germans began bombing Liverpool. And they were all war babies. So, y'know, they're making peace, if you like, by bringing together all these things. They certainly had no concept of that and they were not trying to do anything like that, but that, when you step back and try to look at the picture is exactly what was going on."

During John Lennon's 1970 Rolling Stone interview, he set the record straight once and for all about the Beatles' abilities as a live act: "We were four guys, that. . . I met Paul (McCartney) and said, ‘Y'wanna join me band? And then George (Harrison) joined, and then Ringo (Starr) joined. We were just a band that made it very, very big -- that's all. Our best work was never recorded, y'know? We were performers -- in spite off what Mick (Jagger) says about us -- in Liverpool, Hamburg, and around the dance halls, y'know? And what we generated was fantastic, when we played straight rock. And there was nobody to touch us in Britain, y'know? But as soon as we made it, we made it -- the edges were knocked off. Y'know, Brian (Epstein) put us in suits and all that and we made it very, very big — but we sold out. The Beatles' music died then -- as musicians. That's why we never improved (laughs), y'know? As musicians, we killed ourselves then, to make it. We always missed the club days, ‘cause that's when we were playing music."

Panic! At The Disco dropped the new song "Don't Let The Light Go Out" Tuesday (August 16th).

The black and white video, directed by Brendan Walter, shows singer Brendon Urie singing as he drives with the specter of a woman in the back seat.

The new track is the latest single from the forthcoming album, Viva Las Vengeance, out Friday (August 19th).

Today (August 16th) marks the 45th anniversary of the death of Elvis Presley. Elvis died of a heart attack on August 16th, 1977 at his Graceland mansion in Memphis, Tennessee. He was 42-years-old.

The day after Elvis' passing, then-President Jimmy Carter said in an official statement:

Elvis Presley's death deprives our country of a part of itself. He was unique and irreplaceable. More than twenty years ago he burst upon the scene with an impact that was unprecedented and will probably never be equaled.

His music and his personality, fusing the styles of White country and Black rhythm and blues, permanently changed the face of American popular culture. His following was immense and he was a symbol to people the world over, of the vitality, rebelliousness and good humor of his country.

Fans are currently participating in ongoing "Elvis Week" celebrations in and around "The King's "Graceland mansion.

Elvis would have turned 87 back on January 8th, and unbelievably, 2020 marked the first year that Elvis Presley has been gone longer than he was alive.

Tragically, on July 13th, 2020 Elvis and Priscilla Presley's only grandson, Lisa Maria Presley's child, Benjamin Keough. Keough shot himself with a shotgun at his home in Calabasas, California. He was 27-years-old.

The new biopic, Elvis, opened on June 24th to ecstatic reviews. The film was directed by Baz Luhrmann with Austin Butler portraying Elvis and Tom Hanks as the legendary Col. Tom Parker. To date, Elvis has so far earned over $261.5 million at the box office globally.

Released last November 12th was the four-disc set, Elvis: Back In Nashville, featuring a whopping 82 original recordings capturing "The King" and his musicians live-in-the-studio laying down basic tracks. The collection chronicles Elvis Presley's final Nashville sessions.

In April 2018, the eagerly awaited HBO documentary Elvis Presley: The Searcher premiered on April 14th on HBO, including never-before-seen photos and footage from private collections worldwide. The doc was directed by Bruce Springsteen's longtime filmmaker, Thom Zimny and produced by Springsteen's manager Jon Landau, Priscilla Presley, and original "Memphis Mafia" member Jerry Schilling, who now serves as the president of the Beach Boys' Brother Records' Inc.

In 2010, Elvis's personal physician Dr. George Nichopoulos -- infamously known worldwide as "Dr. Nick" -- published his memoirs about his decade over-prescribing drugs to Elvis in the memoir, The King And Dr. Nick. In 1980, Nichopoulos, who died in 2016 -- and over the years has been rated no better than a dope dealer by Elvis' family, friends, and legion of fans -- was indicted on 14 counts of over-prescribing drugs to Elvis and Jerry Lee Lewis, as well as 12 other patients. According to court records, in 1977 -- the year Elvis died at age 42 -- Nichopoulos had prescribed over 10,000 doses of amphetamines, barbiturates, narcotics, tranquilizers, sleeping pills, laxatives, and hormones for Elvis.

In an interview with The Daily Mail, Nichopoulos revealed that Elvis was suffering from, "arthritis, gout, a fatty liver, an enlarged heart, migraines, constipation, and a colon swollen to twice its normal size." Elvis was also reportedly battling glaucoma -- pressure on the eyeball -- as well as hepatitis, an enlarged liver, and Cushing's Syndrome -- a hormonal disease that causes bloating -- which was most likely was attributed to the herculean doses of hard dope he took on a daily basis.

"Dr. Nick" went to great lengths over the years to dodge the blame of "The King's" death by stressing that the majority of Elvis' drugs were gotten from sources other than him -- especially the drugs that were found in his system post-mortem: "My recollection is that there were four drugs found that I had prescribed out of the 12, 13, or 14 that were found in his body. And the others came from who knows where; they may have been from other doctors or other friends."

Dr. George Nichopoulos' prescriptions for Elvis Presley during the final 32 months of his life:

1975 -- Amphetamines: 1,296; Sedatives: 1,891; Narcotics: 910

1976 -- Amphetamines: 2,372; Sedatives: 2,680; Narcotics: 1,059

1977 (through August 16th) -- Amphetamines: 1,790; Sedatives: 4,996; Narcotics: 2,019

Robert Plant recalled the night he and Led Zeppelin met Elvis back in 1974: "We talked with Presley for about three hours, it just went on and on and on. And we were talking about the root -- where did it come from, and it came from him. And he still got it. He still was into that Delta (music) thing -- y'know, 'Good Rockin' Tonight, y'know, all that stuff that got him going in the first place. But he also knew -- and he had a great sense of humor -- and he knew that he was locked in this self-parody."

Paul McCartney explained that although Elvis' health problems were no secret by 1977, his death was still heartbreaking for his original fans: "It was. . . it was still a bit of a shock with Elvis -- 'Oh my God -- there's an era ended,' that sort of thing -- 'Oh, we'll never see him again, y'know, fat or thin.'"

Just prior to his own untimely death in 1980, John Lennon gave his typically cynical take on the death of his original hero and greatest inspiration: "When Elvis died, people were harassing me in Tokyo for a comment. Well, I'll give it now: He died when he went in the army (laughs). That's when they killed him, that's when they castrated him, so the rest of it was just a living death."

Pete Townshend says that the enormity of pressures surrounding Elvis are what ultimately led to his death at such a young age: "That's a terrible tragedy when you think what a decent kind of guy he seemed to be when you read the stuff. Y'know he came to pieces at the end. And it's easy to blame Vegas, but it wasn't about Vegas, it was just about the load."

Keith Richards credits Elvis for making rock a truly colorless art form: "The beautiful thing about Elvis was that, wow, he's just sort of turned everybody into everybody it doesn't matter now -- 'Is the guy black or white' anymore. . . Y'know, and maybe even you can do it!"

Daughter Lisa Marie Presley was asked if since becoming a recording artist in her own right, her bond with her father has gotten stronger: "I think so, in that, I mean, I've always had the most, y'know, he's been, like, untouchable in my eyes in terms of idolized for what he did. But I think me going through -- on a much less scale -- what he had to go through, I think I have more, I'm more locked into him on that realm."

Close friend Tony Orlando recalled pleading with Elvis to not let his fame cut him off from the world: "I remember saying to Elvis one day, y'know, I said, 'You are missing out on life, man. Because I just saw Muhammad Ali in front of the Stage Delicatessen; he was outside doin' magic tricks for kids and signing autographs for kids and he's enjoying his fame.' I said, 'Elvis, you never get out. You're stuck in this gold record cell. C'mon, at least I get out!'

Elton John caught Elvis Presley in concert at Washington, D.C.'s Capital Centre just over a year before his death and after meeting the man, he walked away traumatized by the state his hero was in: "‘Meet' would probably be an extravagant word. I shook hands with him backstage at a concert in Washington. My mother was there and it was very sad. And I thought, y'know, maybe even during the performance. . . I thought there might be (laughs). . . It was so, really tragic. I mean, really. . . so heavy -- there was no eyes there. And yet he still had the most incredible charisma and magic, even though he was like a zombie before. But to meet him -- even to see him was a great honor."

FAST FORWARD

Coming on December 2nd is the seven-disc Elvis On Tour box set. In commemoration of the 50th anniversary of Elvis Presley's legendary tour the movie was culled from, the Elvis On Tour CD / Blu-ray box set is comprised of the audio from four of the shows -- and two rehearsals -- that were part of "The King's" 1972 North American tour.

The original concert film opened on November 1st, 1972 and went on to win the award for Best Documentary Film at the 30th Golden Globe Awards.

The new set features a total of 145 tracks, including 91 tracks that have been previously unreleased, as well as the award-winning concert film on Blu-ray.

Cancelling her Las Vegas residency was the "worst moment" in Adele's career.

The singer told Elle, "It was the worst moment in my career, by far. By far. I was so excited about those shows. It was devastating."

The "Easy On Me" artist added, "There was just no soul in it. The stage setup wasn't right. It was very disconnected from me and my band, and it lacked intimacy."

She recently announced that the residency has been rescheduled for November.