Justin Bieber apologises to wife Hailey for 'mean' message after her magazine cover
Singer Justin Bieber recently apologised to his wife Hailey Bieber after her appearance on the latest issue of a magazine cover. The actor, in a now edited Instagram post, wrote how he was reminded of the time when the couple got into a fight and the singer told her 'that she would never be on the cover of Vogue.'Justin Bieber acknowledged that what he said was 'so mean.'advertisementHailey appeared on the cover of the latest issue of Vogue magazine. The 'Sorry' singer shared the cover on Instagram along with a caption that read, 'Yo, this reminds me of a huge fight I had with the model. I told Hails she'd never be on the cover of Vogue. Yikes, I know, harsh. I guess I felt disrespected and wanted to get even. Think as we mature we realize that we're not helping anything by getting even, we're honestly just prolonging what we really want which is intimacy and connection.'
At the end of his post, he asked his wife for forgiveness because he he wrote he was 'mistaken.' '"So baby u already know but forgive me for saying u wouldn't get a Vogue cover cuz clearly I was sadly mistaken,' he added.
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After Bieber was criticized for his caption, the singer edited with a simple shrugging emoji.One of the users slammed the singer and wrote, 'Very weird behaviour. Imagine your man secretly hating you (sic),' while another wrote, 'At this point even his therapist needs a therapist (sic). A third user chimed in and wrote, 'What an odd comment to make about your wife and mother of your child. No respect there at all (sic).'
Hailey Bieber's Vogue feature marks her first solo appearance on the magazine's coveted cover. She previously graced it in 2019 with her husband Justin Bieber, when the couple gave a rare joint interview about their relationship.The couple got married in the same year and welcomed their son, Jack Blues Bieber, in 2024.Trending Reel
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News18
24 minutes ago
- News18
RUUH And JOH On Composing For The Royals: 'We Wrote The Music Before...'
Last Updated: RUUH and JOH talk to News18 Showsha about composing The Royals soundtrack before filming, reimagining RD Burman, and their creative process. When music becomes mood, and sound becomes story, you're likely listening to RUUH and JOH. The dynamic composer duo—rising fast through the ranks of India's musical avant-garde—have just delivered what they call their 'most ambitious soundtrack yet" with The Royals, a sonic tapestry rich in retro glam, cinematic grandeur, and unapologetic emotion. In an industry often ruled by formulas, their instinctive approach to songwriting—rooted in honesty, experimentation, and sheer passion—feels refreshingly radical. Known for weaving pop sensibilities with textured orchestration, RUUH and JOH aren't just riding the wave of OTT music's golden age—they're shaping it. From the dark, intoxicating charm of Aadayein Teri to the euphoric high of Ecstasy, their latest project pulses with emotional range and technical polish. And in a bold move, they've even reimagined the RD Burman classic Tu Tu Hai Wahi, infusing it with modern finesse while preserving its nostalgic soul—a balancing act that few could pull off with such elegance. But the story behind the music is just as compelling. Composed before the show was even shot, their tracks served as the emotional scaffolding for The Royals' most pivotal scenes. Featuring powerhouse vocalists like Jubin Nautiyal, Jonita Gandhi, Neeti Mohan, and Sukriti Kakkar, the soundtrack is not only a celebration of genre-bending creativity but a testament to collaboration and trust—one that allowed two relatively new voices to dream big and deliver bigger. In this exclusive conversation with News18 Showsha, RUUH and JOH take us inside their candle-lit studio sessions, the sonic references behind their regal soundscape, and how love, legacy, and late-night jam sessions shaped the music of The Royals. View this post on Instagram A post shared by Jo (@johmusicx) Here are the excerpts: How did the narrative of 'The Royals" influence your sonic choices for each track? Did you compose with the characters in mind? We wrote the music. We were given a script to write and that's actually how we understood the mood of the sounds and the sonics of everything. For Dil Diwana, it's a very grand ballroom sort of sound. That's what we try to work around. When it comes to Adaiyen Teri, it starts a bit dark. If you see the show, it's a little tense at that moment. We did the exact same thing again. Even with Ecstasy and our rendition of Tu Tu Hai Wahi, it's a very lively and upbeat vibe. That's actually how we decided what the sonics of the music should sound like. It's by the script. We wrote all of this music before it was shot. Fortunately for us, they shot to our music, which was great. We did not compose any tracks for the characters in mind. It was just for the scene. You've called this your most ambitious soundtrack yet. What was the most challenging moment during the making—and what was the most magical? The first challenging thing is that we were actually working on Call Me Bae simultaneously while we worked on The Royals. When you're working on a project of this magnitude, these are some of the biggest OTT shows over the past year. To be able to deliver quality is a very challenging part. I think it's a good practice and somehow we managed to have bangers on Call Me Bae and to have it on The Royals. Another challenging part is when we always want to push the envelope. When we wrote these songs, we knew that we wanted to go bigger with our sound. We knew that we wanted to have these legendary vocalists on this album. For two artists that are maybe very new to this industry, to have names of that magnitude is difficult to get. We didn't know where to start. I guess it was just a dream. The magical part is when it actually became a reality for us to have some of the most iconic voices on our soundtrack. Each track has a different emotional temperature—how did you calibrate the shift from the intoxicating 'Aadayein Teri" to the melancholic 'Ecstasy"? It was mainly on the scene. We were given the script to write the music to. And that's actually how we composed the music. We had some help from the team for The Royals. They gave us some ideas on how the sets are going to look. We also did go to one of the set visits while they were shooting that was very grand and that's actually when we realised that we need to amp up our music more to match what they came up with, which is absolutely beautiful. From Adaiyein Teri to Ecstasy. Ecstasy was a terrace party kind of vibe. So, it was more energetic. Adaiyein Teri actually was a little darker, it had a choreographed sequence which was absolutely beautiful done by Nora and Ishan. The switch for us was actually done in a week because we wrote everything in about two weeks. Also, there's a marriage between the music director, showrunners of the show and the directors of the series. When you have a great team that puts everything together like we did with Pritish Nandy Communications. They're verybsupportive. They let us do our thing, which is the reason why the music sounds so different from anything else that you've heard of is because of that immense trust that we received from an incredible team. That kind of helps bring the music and the film together, that perfect synergy. The ballroom vibe and disco grooves are such a refreshing shift—how did you strike that balance between retro glam and modern polish? This comes from a combination of disco legacy from the 80s and contemporary sounds that we have been working on for over a decade. It's in our DNA and it's tough to explain, but I guess that's what art is. It just comes to you. You've remade RD Burman's iconic 'Tu Tu Hai Wahi"—what was your emotional approach to reimagining a classic without diluting its nostalgia? Tu Tu Hai Wahi is like a very iconic song. And normally it's very difficult to touch iconic songs because they're already at a very different level. However, our approach to doing this song is that we just wanted to introduce this song to a new generation of listeners, or maybe a younger generation that haven't heard this song before and package it in a way where it is accessible to them. This was our take on the song. We're very proud of what we managed to put together with Jubin Nautiyal and Jonita Gandhi. It's got nostalgia and then it's got also a very expensive sound attached to it, which is what we normally do with all our music. Were there any specific sonic references you both shared while building the mood for 'The Royals"? Any old-school Bollywood or global disco influences? When we write music, I don't think we're thinking about getting influenced by an artist or a song or anything as such. We're just trying to do what's best according to our ears. We definitely did take Fattu Tu Hai Wahi. We listened to what the track actually sound like. And a lot of the disco form. The 80's really influenced us. We try to mix our genres from disco of old school and some new sonics from the West. It's just a really beautiful amalgamation for us. If I had to give you stuff that we were inspired by songs like I'm abDisco Dancer or Zindagi Meri Dance. When I said earlier that for this particular soundtrack, it is a combination of our disco legacy from the 80s, which is a lot of music that our dad sang, coupled with our contemporary sound. If we had to give you that, it is like an ode to the disco music of the 80s in Bollywood with a contemporary twist. You brought in powerhouse voices like Jubin Nautiyal, Jonita Gandhi, Sukriti Kakkar and Neeti Mohan—how do you tailor your compositions to fit such distinct vocal textures? All the demos were sung by us. We actually just wrote good music. What was interesting is that when you have these iconic voices and you think that they're known for a certain sound but then when they sang our songs, they sounded completely different. That was the beauty for us and for all our amazing collaborators that they sounded so different on these songs. We were speaking with Neeti Mohan and she was like a couple of people called us and they said that our voice sounds so different on this song. That for us is a win when we have all these incredible artists at the top of their game. Then they have a voice that they can reinvent with our music. That is a huge win for us. When you work on romantic tracks, how do you keep reinventing love through sound, rather than repeating a formula? Reinventing love through sound. To be honest, at least from our perspective, we draw a lot from our own personal life. Let's just say it's the Taylor Swift model of writing music. But we think that is also the most honest way of writing music. That's how you get a very honest melody when it means something to you. We don't think formulas really could work here. They work up to a certain point and then your music and sound becomes generic. When you're writing from a very personal place in your heart, that's how you create magic. We would say that for us personally, every song and every melody that I've written is like a piece of my life in that song. You've moved from indie hits to massive soundtracks. How do you stay grounded creatively as your music gets bigger in scale? JOH – I think it's a dream to be able to do music as your job because then you're never working a single day. Creatively it's not a task. It is never a task because it's something that we're fuelled by. We enjoy music. We enjoy listening to music, making music, and singing in general. I think for us, it's not as difficult as I think people perceive it because this is literally our whole lives. Creatively, you get inspired by sounds from the world and sounds from the past. You're just trying to make the best song according to you. Reuel – I feel like my whole life, I have worked towards this moment and I've envisioned this moment for years and years to be at this place. I know that it is just the start. Together, we're going to do way bigger things. When you prep for success in anything, one of the major parts of your preparation is also to stay grounded because once you lose the plot, it will affect your art. Along with me prepping for this moment of doing these very big songs and big projects, one thing that's very important is to continue to stay grounded. Not only just for yourself but also for your music. The prep work has helped and we continue to move forward with our music. What do your studio sessions usually look like—moodboards, instruments, playlists, candlelight? Paint us a picture. It's us in a room with a piano, a couple of guitars, a Joe Malone candle lit and a lot of fun. Our approach to music is not like whenever we have somebody in the studio, I think we will spend maybe 2-3 hours just talking to them, having a good time, eating and just doing stuff that has nothing related to the project. In the last hours when we actually create the magic, we get that sound. A relationship is very important between anyone that you work with, which is the reason why every artist that we've collaborated with, they're all really close friends of ours. We share a lot more than just the music. I think when you hear the songs, you'll feel that. It is a very personal experience. The most important thing about creating music is just having fun first and then the music will just come to you. Is there a dream collaborator—artist or filmmaker—you both would love to work with in the future? JOH – I come from an electronic background, so I'm going to talk about an artist called Skrillex. I'd love to have him. RUUH – My dream collaborator would be Hans Zimmer and Christopher Nolan. If I could get on that bill, I'm made because they're a huge inspiration to my music. So yeah, that would definitely be it. First Published:
News18
25 minutes ago
- News18
Mali On Crafting Cinematic Pop: 'Dr. Dust Had To Feel Both Comfortable And Unsettling
Last Updated: Mali talks to News18 Showsha about her latest single Dr. Dust, her creative process, cultic visuals, and staying honest in today's music industry. Mali, the evocative moniker of singer-songwriter Maalavika Manoj, is not just an artist—she's a storyteller who makes sense of chaos through melody. With a discography that spans tender introspection and bold experimentation, she's steadily become one of the most magnetic voices in India's independent music scene. Her latest single Dr. Dust is both a sonic departure and a philosophical reckoning—a hypnotic piece that wraps themes of control and vulnerability inside synth-heavy grooves and cinematic visuals. Born in Chennai and raised on a diet of AR Rahman, Ilayaraja, and Joni Mitchell, Mali's music today is a shimmering blend of retro nostalgia and contemporary texture. Whether she's unpacking personal journeys or offering quiet critiques of societal structures, her songwriting pulses with poetic melancholy and fierce self-awareness. She's not afraid to be vulnerable—because, in her world, truth is the core of every song. In this candid conversation with News18 Showsha, Mali opens up about the cultic inspirations behind Dr. Dust, the emotional and artistic duality that defines her sound, and what it means to be a woman creating art in the digital age. From early roles as a background artist to performing at Wembley Arena, from working with legends like A.R. Rahman to crafting Tamil synthpop, Mali charts a path that is fearless, fluid, and deeply rooted in feeling. View this post on Instagram A post shared by Mali (@maalavikamanoj) Here are the excerpts: 'Dr. Dust" feels both personal and socially reflective. What inspired this track, and what does the 'dust' symbolize for you? Dr. Dust to me represents all forms of subversive control. It was inspired by controlling power dynamics that go unnoticed in everyday life but are potentially extremely dangerous. There's a hypnotic groove and a cinematic quality to the music video. How involved were you in shaping the visual narrative, and what message were you hoping to convey? Very involved. I became obsessed with the world of cults and how so many of them were just bizarre in their belief systems but still found loyal followers. I shared this fascination with Hitaali Dharamshi, the director of the video and we both conceptualized a story based on a fictional cult. In the belief system of this cult, a leader had to be ritually sacrificed before a new successor could rise to her position, and that circle of life carries on. The track evokes a kind of dreamy disillusionment. Was there a specific moment or event that triggered its creation? It was meant to sound like a confusing feeling – at once both comfortable and unsettling. Rohan Rajadhyaksha, the producer of the track and I spent a lot of time fine-tuning the arrangement to get it to this place and we may have come up with a few different versions of the song before arriving at this one. You've often been praised for your evocative lyricism. What comes first for you—melody or words? Or is it more intuitive? It's always a tough question. For me, they both come together at the same time. The melody informs the turns the lyrics take, and the other way around. Which non-musical art forms—literature, films, or even visual art—influence your songwriting the most? I would say visual art and films. Your writing has a sense of poetic melancholy. Do you journal often, or is songwriting your primary mode of expression? Songwriting is my primary form of journaling. If you were to string all my songs in chronological order it could in some way spell out the journey of my life through various trains of thought. Your music blends classic pop nostalgia with modern sonic textures. How do you navigate those eras in your songwriting? It comes pretty naturally since I listen to various kinds of music without discriminating or putting them in boxes. You've collaborated with icons like A.R. Rahman and represented India on global stages. How have those experiences shaped your creative voice? It's always nice watching other artists at work and observing how they approach certain things. I believe it's the most enriching to experience all types of musical pursuits, as you never know what it might lead to. You've said before that being vulnerable in your music is a strength. How do you stay rootedand authentic in an industry that's constantly evolving? I only write or release what I feel strongly about and for a song to make it to the production stage, it has to be something that resonates with me on multiple levels. From Spotify's RADAR artist to performing for Apple CEO Tim Cook, how do you manage the balance between artistic expression and commercial visibility? I believe that if you do something with consistency and honesty, people will eventually take notice, so I don't necessarily think artistic expression and commercial visibility are mutually exclusive. Do you think Indian indie music today allows more space for introspective, genre-bending artists like yourself? I think so. It's happening more and more every day and it's good to see a market of listeners that are willing to be more experimental in the musical discovery aspect as well. You've been a strong voice in India's independent music space. What changes would you like to see in how the industry supports indie artists? I think the biggest issue plaguing indie artists is the lack of independent venues for bands to perform. Most of our venues are essentially bars, nightclubs and restaurants that favour artists who serve more lively performances and fuel more alcohol sales. We need non-nightlife venues that can foster the growth of younger musicians and bands and also open their doors to audiences who don't necessarily want to make a night out of attending a gig. What kind of stories are you most drawn to telling next—more personal, more experimental, or perhaps both? Both. But let's see. You've spoken about being inspired by artists like Joni Mitchell. Are there any contemporary songwriters today you feel a kinship with musically? Madison Cunningham is an excellent songwriter, composer, and guitar player. When you look back at your earlier music like 'Caution to the Wind," how do you feel your sound has matured since then? I always like changing things up and trying new approaches with my music, so my sound is constantly evolving between releases. What was it like performing at Wembley Arena and Le Zénith? How did those stages impact your presence as a performer? They gave me something to aspire to. Have your Tamil roots ever found their way into your songwriting or sonic palettes, consciously or subconsciously? Yes, I have a song called Anniku Raathiri, which was composed by myself and written by Madhan Karky. I grew up on a lot of Tamil music by AR Rahman and Ilayaraja and wanted to pay homage to the music culture I was raised in by attempting to introduce something that hasn't been done before – Tamil synthpop. As a woman navigating both the music industry and the digital age, what are some lessons you've learned that younger artists might benefit from? To stay consistent and find a way to have a balanced relationship with social media, streaming numbers, fan relationships and the self. I'm dabbling with the idea of working on a new album. I'm currently in the process of writing some new songs and planning the next steps. First Published: May 30, 2025, 19:41 IST
India Today
29 minutes ago
- India Today
Video of Zomato delivery man's MotoGP-style bike ride divides internet
A video of a Zomato delivery agent performing high-speed, MotoGP-style maneuvers on a winding hill road has divided the short clip, which was first posted on the Instagram account ' has now gone viral on X after a user shared it with the caption: 'Born to be a rider, forced to be a delivery boy.'In the video, the delivery man can be seen leaning aggressively into sharp turns and weaving through narrow lanes with the precision and flair of a professional motorcycle to be a Rider, Forced to be a delivery boy!! Aastha (@aas_sthaa) May 26, 2025advertisement While the risky bike stunt received applause from some viewers for its technical skill, several social media users expressed concern over the potential consequences.'He will end up in the hospital with broken bones,' several users the road appears relatively deserted, critics opined that such reckless riding poses serious risks - not only to the rider but to others as argue that such behaviour not only violates traffic norms but also sets a dangerous example for others in the gig Reel
