Latest news with #SiR
Los Angeles Times
18-07-2025
- Entertainment
- Los Angeles Times
SiR on his upcoming Hollywood Bowl show, his mother's passing and making a classic record
In a TikTok video captured by a fan at one of SiR's sold-out L.A. shows last August, the Inglewood-born singer-songwriter breaks down into tears after his wife appears onstage behind him. 'Y'all give it up for my beautiful wife, Kelly Ann,' he says on the mic after collecting himself. When he leans to give her a kiss, the crowd erupts into a sea of 'aws' and cheers. It was a tender moment between the couple during the final stretch of his Life Is Good tour in support of 'Heavy' — his most vulnerable project yet, which took five years to make and tackles his years-long battle with drug addiction, depression, infidelity and the process of getting sober. Behind the scenes, though, SiR was grappling with a different hardship: The death of his mother, Jackie Gouché, a talented performer who sang with Michael Jackson and Stevie Wonder, and helped build SiR's confidence as an artist. His team was 'ready for me to just drop everything and come home,' says SiR over Zoom. 'But I prayed about it. I talked to my family, and we made the decision for me to finish the tour out, in honor of her.' So by the time he got to the Hollywood Palladium, where he performed back-to-back shows, he says, 'I think I was drained and I needed my support, and my wife just so happened to be there, which was just perfect for me. I'll never forget that night.' Since that emotional performance, SiR, born Sir Darryl Farris, released an extended version of 'Heavy,' subtitled 'The Light,' in April, which features six new tracks, some of which are new, such as 'Sin Again' and 'No Good,' and others that didn't make the cut on the original project. The Grammy-nominated singer, who is signed to L.A. powerhouse label Top Dawg Entertainment alongside R&B darling SZA, is set to make his headlining debut at the Hollywood Bowl on July 20 for the KCRW Festival. The upcoming show will feature an opening set from singer-songwriter Leon Thomas, of whom SiR is a 'huge fan,' along with two surprise appearances from, he says, the 'best guests I could get.' Ahead of the upcoming show, we caught up with the 'John Redcorn' singer to discuss how he's keeping his late mother's memory alive through his music, how becoming a father of two daughters has affected him both personally and artistically and his goal to make a classic record that everyone knows. This interview has been lightly edited for length and clarity. You recently wrapped up your Step Into the Light tour a few weeks ago. How was it being onstage with your older brother, Davion, who sang background vocals, and your uncle Andrew, who is a gospel bass legend? It was so fulfilling. I've worked with them before on so many different levels. My uncle plays on all my songs, and Davion and I write songs together, but to have them on the road with me was just a different outer-body experience. I think my favorite part of all of that was the time we spent [together] before and after the shows, like having dinners with my uncle and finding out things about my parents that I didn't know. Finding out stories about my grandfather that I'd never heard. Now, our bond is that much stronger. It's really nice to have him on the road. My uncle Andrew is awesome. I got sick of my brother. [laughs] You were also on tour last year in support of 'Heavy,' which is your most vulnerable project yet. How was it performing these songs this time around as opposed to last year? Did any songs hit differently? We changed the set list just a tad because we had new music that we wanted to promote. The newer songs felt great. I was really specific about which ones I added because I wanted them to be songs that I enjoyed singing. The songs that I have in the set list that are staples still hit the same, and the audience still responds the same way. But it was surprising to see people singing the new music. I was fully prepared to go there and have to explain myself through these songs, but people were already vibing and singing along, which was great. My audience is great. I love my fans so much. What songs did you add from the 'Heavy Deluxe: The Light' project? We added 'No Good,' 'Sin Again,' 'Out of My Hands' and then, of course, 'Step Into the Light,' which we added to the end of the set. But we also have songs like 'John Redcorn' in there, which is a staple. If I don't sing 'John Redcorn,' people will come for my neck. Last August, a fan posted a video of you crying during one of your shows at the Hollywood Palladium after you saw your wife, and the comment section was filled with sweet and supportive messages. Do you mind sharing what headspace you were in that night and why you felt so emotional in that moment? That was the end of the tour, so I knew I was done, and in the middle of that tour, I actually lost my mom. At the time, I was on the phone with [TDE Chief Executive Anthony 'Top' Tiffith], and he asked me if I wanted to continue. They were ready for me to just drop everything and come home. But I prayed about it, I talked to my family, and we made the decision for me to finish the tour out, in honor of her. My energy was just so low. I've never felt like that and had to go perform, and we had like eight more shows left. So by the time I got to the Palladium, I was drained. There's a song that I sing called 'Tryin' My Hardest,' and I wrote that when I wasn't sober and I was just trying to work myself through recovery. It was an ode to my mother and my wife, just telling them that I wasn't giving up every time I relapsed. I [think] it was that song that she came out to. Half the time, tears were flowing down my face. So I think I was drained and I needed my support, and my wife just so happened to be there, which was just perfect for me. I'll never forget that night. We sold out the Palladium twice. You had a really close relationship with your mother, Jackie Gouche, who was a phenomenal artist in her own right. Have you written any songs in dedication to her since her passing? I have a song that goes: (Starts singing lyrics) Her name is Danielle, born in December but never felt the cold Chocolate skin and a heart that's made of goldA certain resemblance to someone that I know As bitter, as sweet As easy as it was to sweep me off my feet I never imagined that you may never meet I wish you could be here to watch my baby grow She's gonna to do well Her name is Danielle. It's just a song about my daughter that I wrote for her, and hopefully, I put it on the next project. Ooh. But we'll see. My mother was such a big reason why I started really writing songs and wanting to be SiR. I was a different kind of guy growing up. I was very timid. I wasn't sure about my musical abilities or gifts, and anytime I sent her songs, she would just light up and tell me how beautiful it was and give me advice, which was very important. After a while, I just kept impressing her and kept blowing her away in her own words. She was a huge part of my confidence. You've been vocal and vulnerable about your experience of dealing with addiction and all of the lifestyle changes you've made since becoming sober. Can you talk about what you've learned about yourself throughout this time? I've learned that I have an addictive personality, no matter what the drug is, and I've created some good habits. The gym is now the biggest addiction that I have. I definitely had to just learn who I was looking at in the mirror, because when you're inebriated, intoxicated all the time, you don't really know what's going on or who you are, and it's a tough place to be. It's a tough hole to dig yourself out of, but once you get out of that, you've got to navigate not falling back into the hole. It took about a year before I even got close to being sober. I'd have, like, sober weeks, and relapse after relapse and things like that. But at this point, I'm proud of where I am as a father, as a husband, and I'm trying to make sure that I just keep nourishing my artistry, because as much as I'm glad that that album came out, it took me five years to put that album out, and that shouldn't happen. I always like to think of myself as a hyper-creative, and I should be able to have an album out every year. I'm a studio rat, so we should be able to find it. But my sobriety had to be at the forefront of everything, and I'm navigating being SiR sober. This is all new, and it's definitely fun, but I definitely had to really work to get here. Since releasing 'Heavy,' you had another daughter, whom you talked about earlier, so now you're a father of two. Can you talk about how fatherhood has affected you personally and creatively? Fatherhood is like, ooh man, it's a process. It taught me a lot about myself. I'm selfish. I'm impatient. I'm getting old. [laughs] My body doesn't move and respond the same. When you have a 3-year-old who's running as fast as she can and you're trying to keep up with her, it's tough. But it also just taught me a lot about how well I was raised. My parents were sweet. They were so nice and so kind and so gentle with us, and very protective, but in the best ways. If I'm half as good of a parent to my kids as my mother was to me, I think they're going to be fine. On Sunday, you are going to headline the Hollywood Bowl for the first time. How are you feeling about the show and what are you most excited about? I can't lie, I was excited about Leon Thomas' set, but I realize now that I'm not going to be able to watch it, because I'm going to be doing my vocal warmups and getting ready for own thing. So now I'm just excited to see that sea of people. In L.A., I've done some really good shows, but it's a 17,000-cap venue, and I think we're doing good on ticket sales. This is the largest SiR audience that I've ever seen, so I'm excited to see the fans and hear them sing along. Have you met Leon Thomas before? We haven't met, but I'm a huge fan. I don't know if a lot of people [know], but Leon Thomas was a songwriter before he started putting music out on his own. Of course, everyone knows him from his acting days, but he was a part of a writing group that is based in L.A. and has been writing songs for other artists, so to see him come to the forefront of his own artistry is a beautiful thing. I think I'm on the waiting list for a Leon Thomas session. Collaborating is big right now with me, especially since things have changed and I don't work as much as I used to on my own. I want to bounce ideas off of good artists, and I want to have great musicians in the room so we can make sure that everything is where it's supposed to be in the song. We talked about it. I texted him [last] week just to thank him for being a part of this, and I wanted to congratulate him on all of his success. He's a good guy, and I'm definitely a huge fan. Why is collaboration so important for you now? What's changed? I want better songs. I've been around a long time. I got a lot of music out, but I have this thing in my head where I just want a classic. I feel like I have some really good records, but I want a song that everybody knows. As a songwriter, I think the most beautiful music comes from collaboration because you have people there to give you guidance in your own thought process. Even if I'm leading the way, I have somebody in my ear that's navigating into this place we're trying to get to. But I definitely just want to write better songs, and I'm not afraid to ask for help. I've had to learn that the hard way. I spent a lot of time over the years just kind of closed off in my box, which was great because it created my world, my sound. But now that I have established my sound, I should always be open to people helping me create in my world, especially if they know what my world is. Have you started thinking about your next project yet? I am definitely thinking about my next project. It does not have a name. We don't have a date, but I am as busy as I can be right now, just with new songwriting and trying to stay ahead of it, because if I make you guys wait another five years for another project, I don't think I'ma survive. I might have to go get me a day job. So I'm definitely working, but I'm not gonna rush. I'm not gonna force anything. I'm not just gonna put out anything. We need, you know, at least 40 to 45 minutes of just greatness, and I'm gonna do everything I can to deliver for the fans, because they deserve it more than anything.
Winnipeg Free Press
09-07-2025
- Entertainment
- Winnipeg Free Press
How do you climate-proof promenade-style theatre?
The only pollutant Waiting for Godot's Pozzo, played by Tom Keenan, is scripted to inhale is whatever substance he's used to pack his pipe. But as historic wildfires ravaged northern Manitoba this spring and summer, the outdoor company Shakespeare in the Ruins — whose productions are always shaped by the tendencies of the weather — had its repertory season of Waiting for Godot and Macbeth forged by the smoky climate. Scheduled to open June 5, the play director Emma Welham calls 'Mackers' did little to contradict its cursed reputation: hours before the promenade production at the Trappist monastery ruins was to begin, the company cancelled the Scottish play owing to provincewide air-quality advisories. Leif Norman photo Lindsay Nance (left) as Lady Macbeth and Darren Martens as Macbeth in the Scottish play After a two-day hiatus, Macbeth, which shared three actors with Godot, received clearance to go on. Then came a lightning storm that washed out two more performances. Of the 40 performances the company had scheduled this season, which wrapped up Sunday, 14 were either cancelled or heavily modified owing to injury or health concerns, with actors' conditions, especially lost voices, exacerbated by the heavy smoke in the air. On back-to-back days, the directors of both shows were thrust into the action as replacements, with Welham subbing for Keenan's three roles in Macbeth and Rodrigo Beilfuss taking the actor's place as the brutal charlatan Pozzo. For a stretch, the planned promenade of Macbeth became stationary to accommodate Darren Martens, who powered through his final five performances as Macbeth while nursing an inflamed lumbar disc. Beilfuss says in a given year between one and four performances are cancelled or postponed owing to rain and other weather phenomena. But this season, which still managed, to the artistic director's delight, to set company attendance records, re-enforced the twinned destinies of great outdoor theatre and the great outdoors, period. 'Human beings have kind of divorced ourselves from nature and that's not natural or normal. We are animals that need to be in contact with nature and because we aren't, that's why things are collapsing,' says Beilfuss, the AD since 2019. 'The great gift to me as the leader of SiR is that we bring people back into nature. It's a really peaceful place to be and I hope we can keep doing theatre out there, you know?' Beilfuss is by no means signalling an abandonment of the ruins, where the company's ever-shifting brand of classical summer theatre has lived since 1994. But he says the organization can't pretend climate-change events are anomalies. So in advance of next season, Beilfuss says he's exploring revised environmental contingencies to address climate effects on production locale. Programming one production at the ruins and another at an indoor space in the city? Producing only one play as opposed to the standard two? Those are options Beilfuss is floating. (Rainbow Stage, which has performed since 1954 in Kildonan Park, produced its first off-site indoor musical, Afterlight, in 2023.) 'I have all of these models I could run, but the truth is, people really want the shows at the ruins because it has become a summer event. They want to come out to be at the park and they want to promenade because it's only us that do that,' Beilfuss says. 'In the long-term, it would be lovely to build a semi-permanent structure on site that's sealed so that in case of weather, we can just move into it.' But the artistic director readily admits there's nothing that can top nimbly produced theatre that responds to the possibilities of shifting winds. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. That was made especially clear during the Canada Day performance of Godot when right before intermission, Didi (Arne MacPherson) and Gogo (Cory Wojcik) consider parting company. 'Didi says, 'Well, shall we go again?' Huge thunderclap. And then Gogo says, 'Yes, let's go.' It was just so beautifully synced,'' says Beilfuss. 'It's those moments you cannot have in any (indoor) theatre on the planet. I'll remember for the rest of my life when (Gogo) says to look at the little cloud, which is in the script, and everybody in the audience looks up.' With outdoor theatre, to paraphrase Pozzo, one absorbs the air in spite of one's precautions. Ben WaldmanReporter Ben Waldman is a National Newspaper Award-nominated reporter on the Arts & Life desk at the Free Press. Born and raised in Winnipeg, Ben completed three internships with the Free Press while earning his degree at Ryerson University's (now Toronto Metropolitan University's) School of Journalism before joining the newsroom full-time in 2019. Read more about Ben. Every piece of reporting Ben produces is reviewed by an editing team before it is posted online or published in print — part of the Free Press's tradition, since 1872, of producing reliable independent journalism. Read more about Free Press's history and mandate, and learn how our newsroom operates. Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.
Winnipeg Free Press
14-06-2025
- Entertainment
- Winnipeg Free Press
Local cast delivers bleak, brilliant Beckett classic
A recurring line that runs like a leitmotiv through Samuel Beckett's absurdist masterpiece Waiting for Godot is: 'What do we do now?' Well, in this case, not much of anything, other than ponder existential questions regarding happiness, love, loneliness and God, not to mention the frailties of the hopelessly mortal, fallible human condition itself. Shakespeare in the Ruins launched its second show of its summer season Friday night, with a rare local live production of Waiting for Godot, performed al fresco among the ruins at Trappist Monastery Provincial Heritage Park. CHRISTINE LESLIE PHOTO Vladimir (Arne MacPherson, left) and Estragon (Cory Wojcik) bicker and commiserate while waiting for Godot. The intimate 150-minute show (including intermission), ably directed by SIR artistic director Rodrigo Beilfuss, is performed in repertory with the company's ongoing mainstage show, Macbeth. Godot has puzzled and perplexed audiences ever since its 1953 première with its simple story about two seemingly homeless men waiting endlessly for the mysterious title character. Beckett's enigmatic narrative teems with non-sequiturs and mundane observations, in turn punctuated by snappy wordplay and the occasional, heartbreaking zinger that pierces the tragicomedy's lighter moments like a rapier. It's also not exactly a plot-driven drama, relying instead on strongly forged characters and their fleshed-out relationships as they form and then fall apart. Local thespians Arne MacPherson as Vladimir (Didi) and Cory Wojcik as his long-suffering pal Estragon (Gogo) prove a well-matched team, dressed in costume designer Anika Binding's ragtag suits and bowler hats, as they spar and bicker, bare their souls and ultimately cling to each other. Set/props designer Lovissa Wiens creates a barren landscape, including a deliciously industrial 'tree' wrapped in chicken wire and brambles, with cast-off shoes and junkyard garbage bags — even a broken TV set — strewn about the edges of the monastery, creating a desolate playground of decay. MacPherson — a founding member of SiR who dazzled as the title character during last year's production of Iago Speaks — compels as the duo's 'thinker,' although his matter-of-fact, often more rapid-fire vocal style, especially during his repeated references to Godot, invariably dilutes the absurdity of his portrayal. While it all boils down to personal taste, Godot — a mysterious, Oz-like figure — should be addressed with more solemnity and even reverence to create greater subtext, as well as a more pronounced schism between stark reality and dreamy imagination, the gap between what is and what can be in a world of bleakness. Despite this artistic choice, however, one of his final, blink-and-you-miss it lines, 'Tell (Godot) that you saw me, and that you saw me,' packs an existential punch of self-identity and validation; it's one of the play's most resonant themes — if not the very point of it all. For his part, Wojcik crafts a stumbling, carrot-loving tramp with the heart of a poet who gnaws on chicken bones and frets about such physical needs as sleep and comfortable boots. His razor-sharp timing and agile inflection help him toss off such salient lines as 'We are all born mad; some remain so,' as well as ruing 'Nothing to be done,' a key sentiment. Tom Keenan (King Duncan, witch and porter in Macbeth) crafts a powder-keg Pozzo, ready to blow, ferociously cracking his riding whip when he burst onto the stage with his battered, tethered slave, Lucky (Liam Dutiaume, marking his professional debut) midway through Act I. His compelling, volatile portrayal immediately pumps the show with larger-than-life theatricality, his declaration, 'I am Pozzo,' thundering across the ruins as he stands atop a large Tyndall stone block. CHRISTINE LESLIE PHOTO Cory Wojcik as the bootless Estragon A special bravo to Dutiaume for a brilliant, less-is-more rendering of his ironically named, white-wigged zombie, his sunken eyes transfixed as he dutifully obeys Pozzo's barked commands. The actor, also appearing as Malcolm and Witch in Macbeth, nails Lucky's big speech (following his shuffling dance), proving to Vladimir and Estragon his ability to 'think' by delivering a staccato word salad of nonsensical imagery, pithy bon mots and guttural utterances. Beilfuss's thoughtful blocking (which at times is overly static, as when Pozzo is seated on his stool for far too long) adds texture to his overall delivery, seeing Lucky climb onto the stone block to spew out words directly to the audience. Sundays Kevin Rollason's Sunday newsletter honouring and remembering lives well-lived in Manitoba. His pacing might have been quicker — a tall order, to be sure — to convey Lucky's rising desperation, although kudos are owed to the actor for fearlessly attacking Beckett's knotty text. The show highlights the first joint professional stage appearance by Wojcik and his actor son Mackenzie (Witch in Macbeth). The latter makes every moment count as the goat-herder 'Boy,' delivering messages from Godot, his spot-on conviction and guileless innocence proving the apple doesn't fall far from the tree. The play itself ends not with a bang, but a whimper. There is no resolution; Godot never arrives. While some pundits surmise that Beckett's play is about inertia, with a chaser of pre-supposed meaningless of life, Estragon's potent Act II question to Vladimir — 'Do you think God sees me?' — refutes the perennial argument that Godot is fundamentally a secular play. In the end, this cryptic conundrum will never be answered, and will continue, as it has for the last 73 years, to elicit a prism of interpretation by all those who see it. But that's probably just how its stable of all-too-human, flawed characters, as they grit their teeth and grapple with 'life,' would have liked it.
Yahoo
09-06-2025
- Entertainment
- Yahoo
SiR Claims Drake, Kendrick Lamar Beef Resulted In Toronto Concert Cancellation
SiR is pointing fingers at Drake, claiming the rap superstar may have had a direct hand in the cancellation of a scheduled concert in Toronto last year. During a recent live show in Canada, the Top Dawg Entertainment singer opened up to fans about the behind-the-scenes drama that led to the nixed tour date, which would've occurred in July 2024. 'So the venue in Toronto, which was partially owned by Drake, cancelled the show completely,' SiR revealed to the crowd in a now-viral clip. 'Then when we tried to switch venues, the next venue was like, 'Nah we ain't f**cking with it, I ain't taking no motherf**cking chance.'' The Inglewood native went on to explain that he 'kinda got caught' in the crossfire of the ongoing feud between Kendrick Lamar and Drake, citing 'complications' that were 'too close to home for a lot of people.' The cancellation came in the wake of Lamar's explosive diss track 'Not Like Us,' which took direct aim at Drake and has since become central in the latter's ongoing lawsuit against Universal Music Group. Initially, SiR took a diplomatic stance, apologizing to his Toronto fans and attributing the cancellation to the venue. 'So sorry to my Toronto fans. The show has been cancelled. We're working on rescheduling for a later date,' he wrote on social media. 'For those wondering, we sold that show out. It was cancelled by the venue. Not sure why. My apologies again to those that came just to see me.' SiR isn't the only TDE member affected. In 2024, ScHoolboy Q hinted that his own Toronto stop was similarly blocked, writing on X (formerly Twitter), 'THey just cancelled my sHow in TORONTO,' followed by a laughing emoji. 'CANADIAN POLICE DONT WANT NOBODY FROM TDE PERFORMING.' See footage of SiR addressing his cancelled Toronto concert below. More from Drake And PARTYNEXTDOOR Announce Summer 2025 Overseas Tour "$ome $pecial $hows 4 U" Pusha T Addresses Drake's UMG Lawsuit Over Kendrick Lamar's "Not Like Us" DJ Akademiks Clowns Ab-Soul For Being Legally Blind In Response To Diss Track
Yahoo
06-06-2025
- Entertainment
- Yahoo
Queens of the Stone Age Couldn't ‘Over-Rehearse' for Paris Catacombs Concert Film: ‘You Go Down There & All the Plans Are Off'
Queens of the Stone Age frontman Josh Homme has some sage advice for anyone who finds themselves in a difficult situation. 'If you're going through hell,' Homme says, 'keep going.' More from Billboard Queens of the Stone Age Announce 'Alive in the Catacombs' Concert Film, Album Billboard & Global Venture Partners Launch Billboard Africa Here's What Fans Think of SiR Claiming Drake Had His 2024 Toronto Show Canceled Easy for him to say: He's one of the few lucky souls who has left the Paris Catacombs, the subject of his band's new film and the final home to more than 6 million deceased Parisians following an 18th-century effort to fix Paris' overcrowded, dilapidated cemetery system. Homme has long been fascinated by the underground burial site, visited by more than a half-million people each year, and chose the dark and foreboding underground capsule as the central motif for Queens of the Stone Age's new project Alive in the Catacombs, a concert and concept film directed by Thomas Rames and produced by La Blogothèque. 'This place is like trying to run on a sheet of ice,' Hommes explains in the accompanying documentary Alive in Paris and Before, shot by the band's longtime visual collaborator Andreas Neumann. 'You have no idea how much time has passed up there, up above, and no time has passed below. It's the same time, all the time, every time.' It's easy to get lost in the maze-like film as it wanders through the subterranean tunnels and ossuaries buried deep beneath the City of Light. The film captures Homme at a low point in 2024, having to cancel a major European leg of the band's tour due to a cancer diagnosis from which he has since recovered. Performing in the Catacombs had been a lifelong dream of Homme's, and he pushes though the pain to delivery a carefully arranged performance of music from the band's back catalog, 'stripped down bare, without taking away what made each one wonderful,' band member Dean Fertita explains in the documentary. The band recruited violinist Christelle Lassort and viola player Arabella Bozig to repurpose tracks like 'Paper Machete,' 'Kalopsia' and 'Villains of Circumstance'; while each song was performed acoustically, Homme was adamant the project not simply feel like 'Queens of the Stone Age Unplugged.' 'When you go into the Catacombs, there are 6 million people in there, and I think about, 'What would you want to hear if you were one of those people?'' Homme said Wednesday night (June 4) during a Q&A in Los Angeles following a screening of the film. 'I'd want to hear about family and acceptance and things I care about. A lot of the songs we picked are about the moment you realize there's difficulty and the moment you realize you're past it, so a lot of the songs we picked were about letting the people down there know it's all right and that we care about them.' Homme said the challenges of the performance was that unlike a traditional concert where the band plays to the audience, 'We're in the belly of this thing. The ceiling is dripping and it's an organic thing that's really dominating.' The Paris Catacombs were built during a time of great upheaval in French society, as revolution completely reshaped civic life and laid siege to the political fabric of the French monarchy. There are no coffins or headstones in the Catacombs, with the bones of the princes and kings mixed with peasants and non-nobility. The band shot the entire film in one day, Homme said, securing permission from the historical group that oversees the Paris Catacombs to shoot on a day the space was closed to the public. 'We didn't over-rehearse; we just rehearsed twice,' Homme said. 'It's not supposed to be perfect. You try to make a plan, but you go down there and all the plans are off.' Fans can preorder the film in advance on Queens of the Stone Age's website; fans who order the video before Saturday will also receive the mini-documentary film. Watch the trailer 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
