Latest news with #MUSIC
Yahoo
3 days ago
- Entertainment
- Yahoo
Playboi Carti Calls Out Ye For Sampling Song Without His Permission
Playboi Carti is calling out Ye West over the unauthorized use of one of his tracks, sparking fresh tension between the two artists. On Wednesday (May 21), Ye released his new single, 'Alive,' featuring NBA YoungBoy. The track quickly gained attention—not just for its high-profile collaborators, but for prominently sampling Carti's song 'CRANK,' taken from his MUSIC album, which dropped earlier this year. While fans initially believed the sample had Carti's blessing — especially given their past collaborations and rumors of reconciliation — the Atlanta rapper made it clear that wasn't the case. Taking to social media shortly after the track's release, Carti posted a clip of the 'CRANK' music video and directly tagged Ye in a sharp rebuke. 'DIS MY SONG LIL BRA @ye,' Carti wrote in the caption, signaling clear frustration and implying Ye never sought or received permission to use the sample. Ye has yet to publicly respond to the accusation. Meanwhile, the controversy has sparked debate among fans and commentators. Popular live streamer Sneako defended West, suggesting the track was his creation from the start. 'Ye made the beat, clearly,' Sneako said. 'If you listen to Carti's version, it's not good.' Adding fuel to the fire, NBA YoungBoy released a solo track titled 'Finest' shortly after 'Alive' dropped—capitalizing on the momentum and drama surrounding the release. Kanye West and Playboi Carti have shared a dynamic collaborative history, most notably on West's Donda album, where Carti appeared on the fan-favorite track 'Off the Grid.' Carti's MUSIC album, released earlier this year, marked a major commercial milestone, debuting at No. 1 on the Billboard 200 and earning widespread acclaim for its experimental sound and bold production. More from Kai Cenat Irritated By Fan Crashing AMAs Livestream To Praise Ye Ye And YoungBoy Never Broke Again Link Up For New Single "Alive" Ye Asks For God's "Forgiveness," Says He's Done With Antisemitism
Hypebeast
4 days ago
- Entertainment
- Hypebeast
Playboi Carti: Behind the "MUSIC"
When the people at Hypebeast asked me to write an essay on Playboi Carti and explained that it would run opposite a series of original photos, the notion that there would be new portraits of the nearly skeletal 29-year-old auteur draped in fabrics sure to be billowy, expertly chosen, and astronomically expensive was almost unbelievable. For someone whose influence is so ubiquitous, Carti himself is strangely scarce. Few musicians have his interest in or eye for fashion; fewer still can tweak and twist their bodies in such a way that can seem at turns vampiric or downright pellucid. And, somehow, it seems odd that we would be able to capture an image of the man at all. His white-hot masterpiece, Whole Lotta Red , is without question the defining rap record of the decade so far—the common ancestor for a half-dozen different subgenre offshoots and many more careers. The particular way he conflates ad-libs and main vocal tracks, the de- and reconstruction of language within his verses, even the irrepressible energy he projects in his frequent stage-whisper asides have become a lingua franca for otherwise divergent groups of young rappers all the way from Carti's native Atlanta to the far reaches of Scandinavia. Until now, WLR , released on Christmas of 2020, was his most recent studio LP. Even his smattering of excellent follow-up singles were mostly kept off of digital streaming platforms, leaving vultures to pick at carcasses strewn across YouTube, Soundcloud, and Instagram Live. And so the vacuum was filled by rumors: Carti is in Toronto; he's back home in Atlanta; he's at the top of one of the more serpentine roads in the Hollywood Hills; he's holed up in a cave near Paris like a bat that owns a lot of Rick Owens. Producers hint in interviews that they've been brought in to help him flesh out a new sound, or refine an old one. Release dates for a Whole Lotta Red sequel come and go, come and go. Pre-order links and whispers of tour plans vaporize almost as soon as they appear. A friend summarizes the phenomenon best, posting a picture of a still-standing World Trade Center to his Instagram story with the caption '9/11 if Carti said it was happening.' Then, at once, the wait was over. In the early-morning hours of March 14th, MUSIC (more often referred to by the title Carti had teased, I AM MUSIC ), finally materialized—30 tracks that run more than 75 minutes but do not sprawl so much as move in concentric circles, spending most of their orbit in the half-decade of hip-hop that Carti shaped, then poking, at least intermittently, into the unknown. It's at moments eerily familiar and at others truly alien. MUSIC seems, at the time of this writing, like a pulse that will jab Carti into the true main vein of pop culture: a run supporting The Weeknd on his stadium tour will surely be followed by a swath of solo headlining dates; the merch will be inescapable; the LP will dictate even the parts of summer radio programming that it does not itself comprise. And yet, instead of each new discrete moment of exposure bringing Carti more fully into view, they instead seem to make him more opaque. This is not a file of surveillance videos—imagine instead a stack of transparency sheets from an old overhead projector, slightly askew such that the borders blur and the details grow fuzzy. He's here. He isn't. Carti was born the day 2Pac died: September 13th, 1996. (That this became something of a joke on the rap internet speaks to both the reverence with which fans almost immediately treated Carti and the way real-world tragedy now effortlessly collapses into ones and zeroes.) He was raised in South Atlanta, began uploading tracks to Soundcloud in his early teens, then kicked around the fringes of Awful Records and the A$AP Mob, respectively, before and after a move to New York City. In short order, he was signed to Interscope Records just as the major labels were becoming newly flush with streaming cash. Even then, he was elusive. Fans — young, largely male, hyperfluent in the language and symbology of the internet — clamored for the release of songs that were previewed in vanishingly brief snippets and lived (until Interscope was ready to issue them) under a variety of titles and in wildly unpredictable fidelity, on YouTube and what was left of the old file-sharing networks. Across rap's history, this bureaucratic purgatory has ensnared a shocking amount of great music, held up due to clearance issues, executive apathy, or any number of other factors. Whatever the animating force might have been, for Carti, the ephemerality seemed to become part of the larger project. In the spring of 2017, his debut mixtape — the cover art for which is, aptly, the same photo produced twice over — embraced the sense that a whole style, even a radically new one, could be assembled with what seemed to be the auxiliary elements of old ones. Playboi Carti was led and characterized by 'Magnolia,' the minimal, menacing Pi'erre Bourne-produced single that had long rattled around message boards and Twitter group chats, usually titled some variation of 'Hide It In My Sock.' The song builds tremendous momentum despite, or perhaps because of, the fact that most of the vocals could be mistaken for things Carti would mumble in the booth as he was clearing his throat while preparing to rap in earnest. The self-titled release was followed just a year later by Carti's 'debut' album (a meaningless contractual distinction), Die Lit . This time Bourne handled an even greater share of the production, which helped thread together an array of songs that, without the hint of a shared sonic syntax and such careful sequencing, could otherwise be read as a string of disconnected genre experiments. Like his early collaborator, Lil Uzi Vert, Carti took to describing himself as a rockstar: stage diving on the album cover and making the mosh pits/broader chaos of his live shows not just the organizing logic for his songs, but often their very text. The two-and-a-half years between Die Lit and Whole Lotta Red were defined by a series of leaks, canonized almost immediately by his increasingly cultish fanbase. (There are metrics by which Carti's Yung Nudy collaboration — unfortunately titled 'Pissy Pamper' and never properly released — could be seen as one of the most significant songs of the late 2010s.) Carti's opacity is such that it's unclear whether these leaks caused significant delays and/or wholesale changes in aesthetic direction, or were simply excised from an otherwise static album-in-progress. In any event, the wait for WLR bred comic levels of impatience, only to be rewarded with a staggering work of sonic and emotional dynamics. Doing away with the primary-producer model, Carti roped in a cadre of newcomers, including F1lthy, widely credited as one of rage rap's forefathers. The result is something that sounds, when it isn't so heavy as to bludgeon a skull, like a buzzsaw cutting through a GameBoy Advance. That Christmas, I reviewed WLR for Pitchfork, where it was stamped with the prestigious Best New Music seal. To this day, I get messages from strangers who are livid with me for the score itself (8.3) being, in their estimation, not high enough. In Carti's absence, Whole Lotta Red has only grown more essential — a Rosetta Stone for five years of experimentation and refinement, influencing an entire industry's worth of rappers and producers. Imagine, again, that stack of projector transparencies. Now imagine them being peeled away, one by one, by artists and A&Rs who would go on to build entire songs, albums, and even careers off of a single element of that record. Naturally, the alchemy has not been recreated; where imitators have pulled strings one at a time, Carti makes marionettes milly rock. Fitting, since the puppeteer spends most of his time off stage. The drought between Whole Lotta Red and MUSIC made it seem like the prior gaps in Carti's catalog had been mere blips. This time, the signal-flare promo singles were released with more evident intention, but still held off of DSPs. Fans cataloged Carti's every move with familiar diligence, but a new nihilism had set in: the album, the tour, the next round of merch — none of it was ever coming, they joked. He's in Houston, now, or maybe London; he's in Marrakech; he's in the studio with Pi'erre again; he's trying new designer drugs with Kanye; he's bulking up for Milan's fashion week; he's slimming down for New York's. What was clear, however, was that he was rapping with as much force and intuition as ever, his vocal elasticity, uncanny sense of rhythm, and slyly outré imagery in perfect ensemble. See 'Different Day,' which is delivered like a breathless, middle of-the-night account of a terrible dream; see 'H00DBYAIR,' which, mercifully, made the final cut and imagines that the creative explosion of circa-2014 Atlanta rap took place, instead, in hell. MUSIC is not the paradigm-warping force that Whole Lotta Red was, either for Carti or for rap writ large. It ingests and spits out far more varied and interesting sounds than just the rage and rage-adjacent rap that exists in WLR 's wake, but the sound palette, tempos, and guiding sensibilities are similar enough that you'd expect it to be received as an extension rather than reinvention. And while it justifies its length and seldom drags, the LP as a whole lacks the inevitable, irreducible quality of its best songs, letting MUSIC drift, at times, dangerously close to .zip file territory. Fortunately, even when caught flat-footed, Carti is able to collect himself and exert almost unbelievable amounts of gravity. The relative retread 'OLYMPIAN' is salvaged immediately by 'OPM BABI,' a delirious inversion of soul-sample song mechanics. That the A list features (Future, The Weeknd, Travis Scott, Kendrick Lamar) are almost superfluous only underscores Carti's marquee status. If not uniformly engrossing, MUSIC is at least frequently hypnotic. Sometimes it even makes that bent toward hypnosis literal: On 'Cocaine Nose,' what sounds like the chirp from a W. Bush-era Nextel phone echoes under the chorus, like a sonar looking for Instagram models. That's far from the only relic of the past that Carti repurposes here. DJ Swamp Izzo, a fixture on the mixtape circuit that helped break many of those same 2014-vintage Atlanta artists, hosts MUSIC , his bark littering tracks and injecting them with his frantic, towel-me-off urgency. But contrary to what he says at the beginning of 'Munyun,' you do not have to be living 'under a rock' to be unfamiliar with him — you might simply be under 30. This plays differently than when, for his 2021 album Call Me If You Get Lost , Tyler, the Creator enlisted DJ Drama to host and cast the LP as a mixtape from his Gangsta Grillz series. Where Tyler was mining nostalgia, Carti seems more interested in collapsing time altogether. In this process of collapsing time, he also dubiously revives the soft fuzz of early 2010s popular EDM. MUSIC is often as delirious as Whole Lotta Red , but it is seldom as heavy. Carti could never be accused of complacency, but there are stretches of MUSIC where he never quite reaches a point of catharsis or release. While there's 'Cocaine Nose,' as well as explicit reference to molly, it's ketamine — the original title of a song that appears here as 'K Pop' — that is probably the most apt drug analog, known for its soft and dissociative effects. On 'Fine Shit,' the chorus's final line ('Don't say you'll die for me, lil' bitch, just die') sounds less like a dare or provocation and more like permission to embrace a long-awaited conclusion. And still, MUSIC is too idiosyncratic to stay forgettable. The stabs of choral vocals that punctuate 'Crush.' The flitting between vocal registers on 'Rather Lie.' The way he contorts his vocals around Kendrick's ad-libs on 'Mojo Jojo' to make it sound like the LA legend is simply another one of his alter-egos. All of these flourishes make the album, immediately and obviously, unlike dispatches from any of his peers or his children. When he quips, also on 'Mojo Jojo,' that he has 'a house… everywhere,' the hitch in his delivery alone conveys more personality than many allegedly career-defining singles. Speaking of defining a career: Despite those ties to the past, and despite its title, MUSIC makes little attempt to encompass Carti's entire time in the public eye. Not that it should — his appeal has always been tied up in the sense that he was rap's creative vanguard, always moving forward, sketching out blueprint specs for those who would follow him. Having achieved that sort of clairvoyance on his last record, it's natural that fans would look to Carti's new one for what rap might sound like as we inch toward 2030. Instead, he seems more interested in scrambling the source code for what currently populates our feeds, making the smooth, infinite scroll slightly more jagged. Toward that end, even the cadences that sound borrowed from Carti's contemporaries are given new lilts, a different bounce; this is not a new language, but a reminder of the still-untapped potential of one we've already learned. After all, MUSIC is ultimately an exercise in synthesis. Creative Direction / Styling by Rose Marie Johansen. Consultant: Katja Horvat. Production: DIVISION. EP: Alice Wills. Stylist Assistant: Donya Hodge. Lighting Director: Darren Karl-Smith. Post-Production House: Hand of God. Production Service: North of Now Films. Special Thanks: Erin Larsen and Jules de Chateleux
The Herald Scotland
24-04-2025
- Entertainment
- The Herald Scotland
From 'Good Kid' to Chanel? Kendrick Lamar's complicated legacy
Lamar's feud with Drake drew clear battle lines: Drake was painted as a purveyor of façade and immorality while Lamar stood as the righteous force destined to take him down. But now, everything Lamar does is under a microscope. The immense goodwill he's earned has fostered the illusion of him being some flawless saviour. And many fans feel entitled to dictate his next move, as if they alone know what his career should ultimately mean. These fans made their voices heard when Lamar was announced as a brand ambassador for luxury fashion house Chanel. Confusion followed. Is this the same Lamar who spoke for the voiceless, stood up for the marginalised, and confronted systemic inequality in Black America? Now, here he is, promoting high-end fashion that most of his fans could never afford. It's as if Lamar exists separately from the genre he dominates – as if a rapper collaborating with a luxury brand is inherently noteworthy. But for Lamar, it is noteworthy, precisely because it doesn't go unnoticed by his supporters. In fact, it clashes with the enlightened persona his fans have constructed over the years. To them, it feels like either ignorance or betrayal. But even when Lamar collaborates with his rapping peers, it becomes a moral and ethical dilemma. In 2022, Lamar released his critically acclaimed double album Mr. Morale & The Big Steppers. Nestled in the second disc is the track Silent Hill, featuring Florida rapper Kodak Black – a controversial choice for the moment. Kodak, a hardened street rapper with a raw, emotional delivery, and a firm talent in invoking pathos, brought something Lamar couldn't replicate. Yet his inclusion didn't fit the pristine narrative surrounding Lamar. Kodak had been charged with sexual assault, child neglect, and served time for gun and drug offences – only freed after an unexpected pardon from Donald Trump. Kendrick Lamar was announced as Chanel's new brand ambassador – prompting confusion and derision from his purist supporters (Image: Getty) Then came another controversial move for Lamar's fans. Playboi Carti dropped his long-awaited album MUSIC after a gruelling five-year wait and Lamar appeared on three tracks. The collaboration seemed odd, given how polar opposite the two artists are in the rap world. Here was a Pulitzer Prize winner, the same artist who sampled Maya Angelou and other black radical intellectuals, now ad-libbing over raging trap beats about lavish, wealthy lifestyles. To some, it came across as hypocrisy. But it's possibly just the exhale of an artist after years of suffocating under the weight of his own mythology. Lamar's presence on Carti's album wasn't just a stylistic and thematic diversion – it was another crack in the pedestal. Playboi Carti represents everything Lamar's purist fans disdain: a hedonistic rapper whose appeal lies in vibes and aura rather than lyrical depth, an artist who thrives on aesthetics rather than conscious messaging. For Lamar, a collaborator long associated with meticulous intentionality, jumping into Carti's universe felt like a provocation or a stretch of hands to not be willingly boxed in. This is the curse of the pedestal. The higher you're lifted, the narrower the space you're allowed to occupy. Every deviation becomes a betrayal; every experiment, a misstep. Fans who praised Lamar for his complexity now feel the right to question any surface level moves that bubble up from below. The same critics who hail him as rap's moral compass are more than happy to scrutinise his associations, as if an artist's worth should be measured by the purity of his collaborators rather than the depth and intention of his art. But maybe that's the point. Perhaps Lamar isn't slipping, perhaps he's shaking off the weight of expectation. After being rap's thinking man for so long, maybe he's no longer interested in playing the role assigned to him. The Chanel deal, the Kodak Black feature, the Carti features – they're not accidents. They're statements. If the pedestal demands perfection, maybe Lamar would rather stand on the ground, flaws and all. The tragedy isn't that Lamar is falling off the pedestal; it's that we ever put him there. Pedestals freeze their subjects in perpetual stasis, hindering the artistic liberty to evolve beyond an audience's grasp. The irony? The same fans who claim to love authenticity often reject it when it doesn't align with their fantasy. Now, his greatest challenge isn't staying on top, it's convincing the world to let him step down.
Yahoo
14-04-2025
- Entertainment
- Yahoo
Katy Perry Blasts Off Into Space on Blue Origin Rocket With All-Female Crew: ‘This Is All For the Benefit of Earth'
Katy Perry blasted off into space on Monday morning (April 14) with an all-female crew on a Blue Origin rocket. The flawless lift-off from the Jeff Bezos-owned company's West Texas facility on a perfect blue sky day found the space tourists hurtling through the atmosphere at nearly mach 3. In the lead-up to the flight, CBS aired footage of the women sitting in the windows of an SUV and waving to the gathered crowds as the were driven up to the launch pad. Nearly three minutes into the flight, the crew module separated from the booster, sending the rounded cone into near space approximately 62 miles above Earth in the area called the 'Kármán line,' an imaginary boundary that's viewed as the dividing lien between Earth's atmosphere and outer space. More from Billboard Luis R. Conriquez Decries Concert Violence, Says 'I'll Make Significant Changes to My Lyrics' Fans Choose Cynthia Erivo's 'Worst of Me' as This Week's Favorite New Music Playboi Carti's 'MUSIC' Moves Back to No. 1 on Billboard 200 for Third Week The all-female flight had Perry joined by Jeff Bezos' fiancée Lauren Sanchez, as well as CBS Mornings co-anchor Gayle King, aerospace engineer Aisha Bowe, civil rights activist and Nobel Peace Prize nominee Amanda Nguyen and producer and entrepreneur Kerianne Flynn. CBS News cameras captured the moment when the capsule separated from the booster, with King's longtime best friend, Oprah Winfrey, bursting into tears of joy at King's accomplishment. The crew experienced about three to four minutes of weightlessness before the fliers strapped back in for their descent back to Earth. CBS aired broken audio of the crew marveling at the sight of Earth from space, as well as footage of the booster returning to Earth for a soft, perfectly upright landing. At the eight and half minute mark the capsule's parachutes deployed and viewers could hear screams of joy from within the nose cone as they made a soft touchdown in the desert. Within minutes, Blue Origin staffers raced to the capsule in trucks filled with the fliers' friend and family to celebrate the trip. Bezos opened the hatch on the capsule and greeted Sanchez with a big hug and kiss as she emerged, with Perry emerging and appearing to thrust a tiny daisy into the air in an apparent tribute to daughter Daisy Dove before dropping to her knees to kiss the ground. Speaking to 11 Alive afterwards, King said she was 'still floating' from the experience. 'I still can't accept that word [astronaut]. I can't even believe what I saw. When someone calls this a rocket ride… this was not a ride. What happened to us was not a ride. This was a bona fide frickin' flight.' The news anchor also noted that her flight instructor said King was her most successful student ever because she'd never had one who was so afraid of flying. 'I'm so proud of me right now!' King also noted that Perry sang a bit of the Louis Armstrong classic 'What a Wonderful World' as the fliers strapped back into their seats for the return to Earth. 'We'd been asking her to sing the whole time and she wouldn't,' King said. 'Everybody said, 'sing 'Roar,' sing 'Firework,' but she said 'it's not about me. I wanted to talk about the world.'' 'I feel super connected to love,' a beaming Perry said after touching down. 'So connected to love. I think this experience has show me you never know how much love is inside you, how much love you have to give, and how loved you are until the day you launch.' The singer teared up upon hearing how proud her daughter Daisy was watching Perry launch into the atmosphere, holding up the live daisy she carried with her. 'Daisies are common flowers, but they grow through any condition,' she explained. 'They crow through cement, they grow through cracks, they grow through walls. They are resilient. They are powerful, they are strong, they are everywhere. Flowers are to me God's smile, but they are also a reminder of our beautiful Earth and… the beautiful magic that is everywhere. All around us, and even in a simple daisy. So to really appreciate it and remember it and take care of it and protect it.' Describing the launch and return, Perry said it was most definitely 'the highest high. It is surrender to the unknown, trust. This whole journey is not about just going to space. It's the training, the team, it's the whole thing. I couldn't recommend this experience more.' Asked to rate it, Perry gave it a '10 out of 10.' Perry said she sang 'What a Wonderful World' — which she has covered in the past — in favor of one of her songs in honor of the 'collective energy in there, it's about us, it's about making space for future women and taking up space and belonging. And it's about this wonderful world that we see right out there and appreciating it. This is all for the benefit of Earth.' In a career filled with with countless sold-out shows and millions of singles and albums sold, Perry said her brief flight into space was second only to being a mom. 'And that's why it was hard for me to go,' she said. 'Because that's all of my love right there. And I have to surrender and trust that the universe is going to take care of me and protect me and also my family, my daughter.' The best part? Perry said she will 100% be writing a song about her flight in the future and she also said she revealed the setlist for her upcoming Lifetimes tour while in orbit. Asked to describe the trip afterward, Sanchez said she couldn't find the words. 'I looked out the window and we got to see the moon… the full moon… Earth looked so quiet. It was just quiet.' Asked if it was what she'd expected, Sanchez said 'no… better. I don't think you can describe it.' In an interview with the crew after their final training on Sunday, CBS sat down with the women and asked them to describe how they were feeling in one word. Perry chose 'worthiness,' while Gayle King went with 'blessed,' as well as 'surrender.' She explained, 'this is such an unlikely place for me to be and so in my mind I've said okay, I feel well-prepared for this moment after the training we've had for the last couple of days. But it still hasn't eased the fear that I have.' Asked what surprised her about the training — which she's been doing in between rehearsals for her upcoming world tour — Perry joked 'so many seatbelts!' Perry, 40, was also asked if she planned to sing in space and she said she had an idea that would not be 'about me or for me. It will be for the beautiful Earth that we get to see. Because I think the perspective that we're all gonna walk away from is like, 'oh my gosh, we have to protect our mother. Fiercely.' Speaking to the AP last week, Perry explained her reason for taking the trip. 'I am talking to myself every day and going, 'You're brave, you're bold, you are doing this for the next generation to inspire so many different people but especially young girls to go, 'I'll go to space in the future.' No limitations,'' said the singer. 'I'm really excited about the engineering of it all. I'm excited to learn more about STEM and just the math about what it takes to accomplish this type of thing.' Check out footage of the launch below. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Yahoo
14-04-2025
- Entertainment
- Yahoo
Katy Perry Shares First Look Inside Capsule Ahead of Space Launch
Katy Perry is almost ready for launch — and she's giving fans a peek inside the capsule before liftoff. The pop star is set to board Blue Origin's NS-31 mission on Monday morning (April 14), joining a groundbreaking, all-female crew for the company's 11th human spaceflight. More from Billboard Luis R. Conriquez Decries Concert Violence, Says 'I'll Make Significant Changes to My Lyrics' Fans Choose Cynthia Erivo's 'Worst of Me' as This Week's Favorite New Music Playboi Carti's 'MUSIC' Moves Back to No. 1 on Billboard 200 for Third Week Ahead of launch, Perry shared a behind-the-scenes look from inside the capsule, posting a video to Instagram where she appears in full flight gear with her fellow passengers. 'I think I'm gonna sing,' she says in the clip. 'I've got to sing in space!' As the camera pans to show the six-woman team seated together, Perry adds, 'These are all of my astronaut girly friends,' flashing a grin as the capsule runs through final simulations. Joining Perry on the mission are journalist Lauren Sánchez, aerospace engineer Aisha Bowe, civil rights activist and Nobel Peace Prize nominee Amanda Nguyen, producer and entrepreneur Kerianne Flynn, and CBS Mornings anchor Gayle King. The crew is scheduled to launch at 7 a.m. CT from Blue Origin's West Texas facility, where they've spent the past several days completing astronaut training. This will mark the first all-women crewed mission to space since Valentina Tereshkova's historic solo flight in 1963. Earlier this week, Perry described the emotional resonance she felt while preparing for the mission, explaining that she experienced what she believed were signs from the universe that confirmed she was on the right path. 'When I was invited to come on this voyage, I looked up the capsule. On the very front of it is the outline in the shape of a feather and when I saw that it was like a total confirmation because my mom has always called me Feather,' she said. 'Then they reveal the capsule name… The capsule's name is Tortoise. A wave, just the most energetic wave, just shot through my body. My mom calls me two nicknames. Feather and Tortoise. What are the chances that I'm going to space on a rocket in a capsule with my symbol, the feather, called Tortoise?' 'There are no coincidences,' she added. 'And I'm just so grateful for these confirmations and so grateful that I feel like something bigger than me is steering the ship.' Perry has embraced the symbolism and style of the mission, joking in a separate post, 'There will be lash extensions flying in the capsule… Mine are glued on. They're good.' She added, 'Space is going to finally be glam.' Lauren Sánchez echoed the sentiment, saying, 'We're going to put the 'a**' in astronaut.' For Perry, the mission also serves as a message to young women. 'I'm motivated more than ever to be an example for my daughter that women should take up space — literally and figuratively,' she wrote on Instagram. After the short journey into space — which will include four minutes of weightlessness before returning to Earth — Perry will begin her Lifetimes Tour in support of her upcoming album 143, launching April 23 in Mexico City. The flight will be broadcast live on CBS with coverage beginning at 7 a.m. ET with a special edition of CBS Mornings, followed by the 'Gayle Goes to Space' special at 9 a.m. ET. Paramount+ will also stream the entire Blue Origin launch and flight. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
