The Magnificent Others with Billy Corgan

Billy Corgan sits down with Anthony Michael Hall (Sixteen Candles, The Breakfast Club, Weird Science) for a funny, honest conversation about fame, failure and five decades in Hollywood.
Hall traces his start to a music-filled home and childhood auditions that began as an after-school hobby. He talks about growing up on movie sets, living near the Ferris Bueller’s Day Off house and staying determined through a 15-year stretch when work was scarce. He also looks back on two John Hughes films he passed on and an unexpected call from Stanley Kubrick about Full Metal Jacket.
From The Breakfast Club and Weird Science to Tim Burton, a rough SNL season, a surprise Lorne Michaels story and a moon-landing rabbit hole, the conversation wanders through ’80s nostalgia, the odd realities of show business and quieter reflections on fathers.
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"He didn’t fire us. He freed us.”
Billy Corgan welcomes legendary songwriter and producer Jimmy Jam to The Magnificent Others. Jimmy explains how he and Terry Lewis broke Prince’s rule against producing artists outside The Time and how getting fired opened the door to one of music’s most successful partnerships.
Jimmy shares how he got his first professional gig at 12, filling in for a drummer in his father’s band—and how his mother made sure he was paid like a pro. He recalls meeting Terry as a teenager and bringing their different musical tastes together. With Janet Jackson, Jam and Lewis built Control around her experiences and attitude, helping her become an active voice in her music. Jimmy also explains how their “funky bottom, pretty top” sound evolved, why young artists need skills beyond singing and social media, and why AI should come with clear labeling, permission and compensation for creators.
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What happens when a rock legend stops being just “the drummer from The Police” and spends decades chasing every other creative obsession?
Stewart Copeland and Billy Corgan skip the greatest hits and tumble down the Rumble Fish rabbit hole with Francis Coppola. They revisit the “hell on earth” final Police sessions and unpack why band therapy involved incense and a lot of gazing into each other’s eyes.
Also on the menu: a prison-themed song with a very John Waters title, a horse incident (Stewart insists the record be corrected), an opera that got shredded by critics, a night in a Zaire jail, and a German superfan with questionable priorities. Then it gets thoughtful: the strange weight of the rock-star “avatar,” what AI means for the musical middle class, and what happened when Stewart’s son built a digital version of him.
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Blink-182 drummer Travis Barker joins Billy for a conversation that swings from skate culture to the lasting effects of surviving a plane crash. Barker talks about how growing up listening to everything from Dr. Dre to Metallica shaped his anything-goes approach to drumming and producing.
He recalls playing Black Sabbath’s farewell show for Ozzy Osbourne—and the family moment that made the trip impossible to miss. Then the conversation gets candid about survivor’s guilt, losing friends, finding his way back to flying, and how telling his story in a documentary helped him move forward.
Along the way, Billy and Travis veer into the Ramones, Vans, matcha, and the cheerful chaos of a seven-kid household.
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Chelsea Wolfe joins Billy Corgan for a revealing conversation about witchcraft, Gnosticism, and why she was once “susceptible to cults.”
She traces the roots of her unmistakable sound—from childhood night terrors and shadow figures during sleep paralysis to the private inner world where her music first took shape. Chelsea explains how outside influences kept her feeling small and creatively trapped, and what it took to reclaim her artistic identity.
Billy revisits why the platinum-selling Adore was still considered a commercial disappointment, the Rick Rubin-produced song he removed from the album, and the price of choosing honesty over expectations.
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