This week, Billboard’sNew Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music, including fresh picks by Milo J, a second collaboration by Grupo Firme and Grupo Frontera, and a new collaborative effort by Ela Taubert and Jay Wheeler, to name a few.
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Argentine artist and rapper Milo J stunned with the first cut of his upcoming album, La Vida Era Más Corta, called “Bajo de la Piel.” The song that progressively laces tango with folk music, and is powered by Milo’s powerful deep vocals, is about the invisible marks left over time, inherited memories, and the search for identity.
Moreover, Colombian band Monsieur Periné invented a whole new word for its new song, “Aguaráchate.” Coined by lead vocalist, Catalina García, the upbeat and feel-good song blends a Colombian guaracha beat with bombastic instruments like the trombone, tuba and accordion. “I invented this word as a way to make music my game again, the game I want to play to laugh, one without rigid rules, where joy is the only rule,” García said in a press statement.
Other new releases this week include music from Sech, Pedro Fernández, and Juan Gabriel, who dropped his album Eterno posthumously. In last week’s poll, Lenier and Costa Azule’s “Maquillaje” won with more than 90% of the vote. Which release this week do you think is best? Give these new releases a spin and vote for your favorite new Latin music release below:
Editor’s Note: The results of the weekly New Music Latin poll will be posted if the poll generates more than 1,000 votes. This poll closes at 7:30 a.m. ET on Monday, Sept. 8.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-09-05 21:55:342025-09-05 21:55:34Milo J, Grupo Firme, Sech & More: Who Had the Best New Latin Music Release This Week?
Key Glock takes Billboard behind the scenes of creating the music video for his new song “She Ready.” He shares why he chose ‘Love Island USA’ star JaNa Craig to be in the video, what vibe he was going for in the clip and more!
Have you watched the “She Ready” music video? Let us know in the comments!
Tasha Smith:
Hello. So you’re Glock. Are you coming to see my baby?
Key Glock:
Yeah. She ready?
Tasha Smith:
Yeah. She ready.
Key Glock:
Yo, yo, yo. What’s up Billboard, this Key Glock and this is and me giving you all access. What’s it like working with Hidji? I ain’t gonna lie it was easy. It was smooth. It was one of the easiest videos I ever shot. It was like, I already knew Hidji. I didn’t even look at him, like, no director or nothing like that, like, the homeboy, you know? So I just wanted to, kind of like bring that early 2000s vibe back, you know, with the video vixens or whatever, what they like to call it. It definitely remind me of, you know, turnt up auntie from the neighborhood turnt up, you know, good vibe though, just outspoken. Amazing made it perfectly. That’s a good question. You want to know, you want to know, you want to know. I did that because it’s so many. It’s so many, like beautiful chocolate women in the world. I just want to shed light on them a little more. That’s all. There’s a slight bit of Queen and Slim, not too much. Just no picture references. At first, I was thinking 70s, 80s vibe, but I was like, Man, I’m a 90s baby. I might as well go 90s, 2000s.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-09-05 21:53:072025-09-05 21:53:07Watch Key Glock Create ‘She Ready’ Music Video With ‘Love Island’ Star JaNa Craig | All Access | Billboard News
Artificial intelligence firm Anthropic will pay $1.5 billion to settle a lawsuit filed by authors who accused the company of illegally using their books to train its AI models, a “landmark” agreement that could influence numerous other pending cases over the new technology.
In court filings on Friday (Sept. 5), attorneys for both sides disclosed the terms of an agreement first announced last week. They said the payout, if approved by a federal judge, would be the largest ever from a copyright lawsuit: “This result is nothing short of remarkable.”
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The settlement came as major music companies litigate their own infringement suits against AI firms, including one against Anthropic. Such cases, filed by media companies and artists across the creative spectrum, raise make-or-break issues for the booming industry.
AI models like Anthropic’s Claude are “trained” by ingesting millions of earlier works, teaching the machine to spit out new ones. Amid the meteoric rise of the new technology, dozens of lawsuits have been filed in federal court over that process, arguing that AI companies are violating copyrights on a massive scale.
In the current case, filed as a class action by three book authors, a judge ruled this summer that Anthropic merely using existing works to train an AI model was legal under copyright’s “fair use” defense — an important victory for AI companies. But he also found that Claude had been trained with more than seven million pirated books downloaded illegally, and that using those books amounted to infringement.
That ruling, which could have resulted in more than $1 trillion in damages, quickly pushed Anthropic to settle. Under the terms disclosed Friday, Anthorpic will pay $1.5 billion to the authors of more than 500,000 books. It also requires the company to delete the books it acquired illegally and only releases it from past liability.
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While the settlement is far less than the maximum that could have been awarded at trial, attorneys for the authors stressed in Friday’s filings that it avoids the risk that Anthropic could have prevailed on its defenses or later overturned the case on appeal.
“Given the very real risk that plaintiffs and the class recover nothing — or a far lower amount — this landmark $1.5 billion+ settlement is a resounding victory for the Class,” the class lawyers wrote.
The lawyers who litigated the case will get a cut of the deal. In Friday’s filings, they did not say how much they would request, but said it could reach as high as 25 percent — meaning $375 million.
One practical impact of the settlement is that the authors will not file an appeal challenging the judge’s ruling this summer that declared AI training a “fair use” — a major victory for Anthropic and other AI companies that will no doubt cite that ruling in their future filings.
“In June, the District Court issued a landmark ruling on AI development and copyright law, finding that Anthropic’s approach to training AI models constitutes fair use,” Aparna Sridhar, Anthropic’s deputy general counsel, said in a statement Friday. “Today’s settlement, if approved, will resolve the plaintiffs’ remaining legacy claims. We remain committed to developing safe AI systems that help people and organizations extend their capabilities, advance scientific discovery, and solve complex problems.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-09-05 21:09:012025-09-05 21:09:01Anthropic to Pay $1.5 Billion in Landmark AI Copyright Settlement With Book Authors
Mark Volman, a founding member of the ’60s pop-rock group The Turtles, has died at age 78.
In a statement shared on Facebook, Volman’s lawyer Evan Cohen shared a statement confirming that the singer had died. “I am sorry to report that my long-time friend and client, Mark Volman of The Turtles and Flo & Eddie (and a couple of years in the Mothers of Invention), has died at the age of 78,” he wrote. “Mark and bandmate Howard Kaylan stepped up and set an example for decades, standing up for the rights of musicians in various legal actions, which had a great impact on the progression of the law in several different areas (including sampling, and the eventual protection of 60s recordings under the Music Modernization Act).”
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In 2020, Volman confirmed in an interview with Peoplethat he had been diagnosed with Lewy body dementia, and opened up about how he was living with the disease. “I got hit by the knowledge that this was going to create a whole new part of my life,” he said at the time. “And I said, ‘OK, whatever’s going to happen will happen, but I’ll go as far as I can.’”
Alongside fellow band founder Howard Kaylan, Volman helped lead The Turtles through a prosperous career in the late 1960s, where the band released a number of hits. Over the course of the band’s career, they notched 17 career entries on the Billboard Hot 100 and earned five top 10 hits.
“Happy Together,” widely considered to be the band’s signature song, was their sole No. 1 hit on the chart, spending three weeks at the summit in 1967. The band famously earned their first chart entry with a rock cover of Bob Dylan’s “It Ain’t Me Babe,” which also went on to be their first top 10 hit after it peaked at No. 8 on the chart in 1965.
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The post-COVID boom in demand for music has been a financial boon for the industry. Some, however, have benefited more than others.
Stock returns over the last three years (the period ended Aug. 29) show that a trio of music streaming companies, some K-pop agencies and a few live music companies have taken a majority of the spoils. Spotify, Tencent Music Entertainment (TME) and NetEase Cloud Music have given investors an average return on investment of 408% over that period. Meanwhile, South Korea’s SM Entertainment’s 105.3% gain — coming entirely in the last 12 months — makes it the only other company to exceed a 100% return. In addition, as fans clamored for live music and sidelined artists resumed touring, concert promoters Live Nation and CTS Eventim gained 85.8% and 50.5%, respectively.
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Three years ago, Spotify was in a rut. Its stock price, which had exploded in 2020 and 2021 from pandemic-era subscriber growth and enthusiasm about its growing podcast business, had lost about two-thirds of its value in the previous 12 months. Investors who piled into white-hot streaming stocks during COVID-19 lockdowns wanted profitability, not just growth. Music streaming, which had been criticized for decades as financially untenable, would have to do better.
Spotify reacted accordingly. It laid off approximately a quarter of its workforce from 2023 to 2024 and started to treat its prices, which had remained essentially unchanged since the company’s launch in the late ‘00s, as a strategic tool rather than a sacred cow. The combination of lower expenses and higher prices quickly boosted the company’s financials. From 2023 to 2024, gross profit margin jumped from 25.6% to 30.1% and the company’s 446 million euro ($483 million) operating loss turned into a 1.37 billion euro ($1.48 billion) operating profit.
Today, the Stockholm-based company has proven that the long-maligned music streaming business model can work. An investor who put $1,000 in Spotify stock on Sept. 2, 2022, would have had approximately $6,350 three years later — an eye-watering 553.5% return that makes Spotify the top-performing music stock over the last three years. The company’s market capitalization has grown by $118 billion to nearly $140 billion — an increase worth more than the No. 2, No. 3 and No. 4 music companies’ combined market capitalizations.
Two Chinese streaming companies have also had notable gains: TME is up 384.8% and NetEase Cloud Music has increased 287.0%. Like Spotify, both companies were also in a funk in 2022. After hitting an all-time high of $28.84 in January 2021, TME fell to a low of $3.14 in October 2022. Cloud Music had a lighter fall, dipping from 205.80 HKD ($26.48) after its December 2021 IPO to 59.20 HKD ($7.56) by April 2022.
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The Chinese companies faced unique problems before recovering mightily. In 2020, the Chinese government, seeking to improve competition and regain control over fast-growing markets, started cracking down on tech companies with the cancellation of Ant Group’s IPO and an investigation into e-commerce giant Alibaba. In 2021, TME was forced to give up exclusive licensing agreements with record labels, and in 2023, TME and Cloud Music were compelled to eliminate live streaming features that could be used for gambling. Investors didn’t stay away forever, though. The Chinese government’s interventions have subsided, and both TME and Cloud Music have posted strong revenue and subscriber growth in recent years.
While all multi-sector companies — those that combine recorded music, publishing and other artist-centered businesses — have made gains in the last three years, South Korea’s K-pop companies have fared exceptionally well. In addition to SM Entertainment’s 108% three-year gain, YG Entertainment gained 74% and HYBE gained 70%. JYP Entertainment managed a 19% improvement.
K-pop companies handily beat the two standalone major music companies. Universal Music Group and Warner Music Group gained 25.8% and 24.5%, respectively. Reservoir Media, the smallest of the multi-sector companies, gained 19.2%.
The other public music companies’ stocks had losses over the last three years. The separation between gains and losses says a lot about which types of companies are reaping the rewards in today’s digital and concert-driven music business. The larger music streamers fared better than the smaller ones. Radio companies fared worse than the streamers. The more established live events companies outperformed the upstarts.
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Sphere Entertainment Co. is down 14.4%, although it recovered well after a sharp drop in 2022. (MSG Entertainment doesn’t have a three-year return because it was spun off from Sphere Entertainment in 2023; MSGE shares have gained 31.2% over the last two years.) While Sphere Entertainment has fared poorly for a live music company, its dependence on the upstart Sphere venue in Las Vegas makes it a more speculative, long-term play than MSGE, Live Nation and CTS Eventim.
The smaller music streaming companies fared far worse than the three large streamers that took the top three in the rankings. LiveOne lost 45.0%, Deezer fell 69.4% and Anghami plummeted 88.2%.
The Nasdaq composite, an index of the tech-heavy stock exchange, rose 81.8% over the three-year period. The S&P 500, an index of the 500 leading public companies traded in the U.S., rose 64.6%.
Foreign indexes had smaller gains: the U.K.’s FTSE 100 grew 26.2%. South Korea’s KOSPI composite index rose 32.2%. China’s Shanghai Composite Index rose 21.1%.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-09-05 21:01:402025-09-05 21:01:40Which Music Companies Had the Best Stock Returns in the Last Three Years?
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This year is the 30th anniversary of Jerry Garcia’s death in 1995, as well as the 60th anniversary of when he co-founded the Grateful Dead in 1965. Now, journalist Jim Newton has a new biography about the music icon.
On sale for $24.16 (regularly $32) on Amazon, Here Beside the Rising Tide: Jerry Garcia, the Grateful Dead, and an American Awakening chronicles the early days of the Grateful Dead in Palo Alto, California. It takes a look at how Jerry Garcia influenced the counterculture of the ’60s, while bringing those ideals and music to new generations of fans.
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If you’re not a subscriber, you can sign up for a 30-day free trial. Audible starts at $14.95 per month and grants you access to one best seller or new release title per month, a library of thousands of podcasts, audiobooks, and originals, exclusive discounts and more. Once signed up, you’ll receive one credit for any audiobook on Audible, including Here Beside the Rising Tide.
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We are just a few days out from the release of Demon Slayer: Kimetsu no Yaiba – Infinity Castle in theaters in the United States.
If you didn’t know, the 2025 film is set to be released in American theaters starting Sept. 12. The film is an animated dark fantasy action film based on the “Infinity Castle” arc of the 2016–20 manga series Demon Slayer: Kimetsu no Yaiba by Koyoharu Gotouge. This is the first part of a two-part film. While there isn’t an official release date for the second part, fans speculate that it will be released in 2027.
If you aren’t aware by now, Demon Slayeris a franchise that started as a manga and then became an anime. Movies were later made to depict certain arcs from the books that were, more often than not, omitted from the anime. If all of this is piquing your interest and you want to get in on all the Demon Slayer goodness, why not begin by reading the manga? Multiple volumes are available to shop right now on Amazon.
Demon Slayer: Kimetsu no Yaiba Complete Box Set: Includes volumes 1-23
The series follows teenager Tanjiro Kamado as he navigates a world overrun by demons after his entire family is slaughtered by them, except for his younger sister Nezuko. The problem? Nezuko was transformed into a demon. Tanjiro must now find a way to turn his sister back into a human while training to become a Demon Slayer.
We’ve found box sets starting at $45.99 that contain multiple volumes of the manga, allowing readers a basic understanding of the world of Demon Slayer before diving into the new movie. Amazon features short and sweet box sets containing five volumes, or larger ones containing up to 23, if you’re a particularly voracious reader. If reading isn’t your thing, you can also stream the anime right now via a subscription to Amazon Prime Video, Crunchyroll and Apple TV+. There are currently four seasons available.
Demon Slayer: Kimetsu no Yaiba – Infinity Castle isn’t the first movie from the Demon Slayer franchise; back in 2020, Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train rocked the world of anime fans. The film was a major hit, amassing nearly $500 million worldwide surpassing the likes of Sonic the Hedgehog and Tenet.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-09-05 20:50:452025-09-05 20:50:45Here’s How to Get the ‘Demon Slayer’ Manga Ahead of 2025 Film’s Release in the United States
Fanny Lu recently marked her return to music with Una Vida Bien Vivida, an album full of joyful and positive vibes featuring big collaborators like Bacilos, Carlos Baute, Olga Tañón and Yuri. It’s her first studio album since 2011’s Felicidad y Perpetua, but the Colombian artist points out that she never really left.
“I’ve always stayed in music with singles,” Fanny Lu tells Billboard Español during a visit to New York. “I went through an emotionally and personally difficult time in my life, and God gave me the opportunity to spend seven years on La Voz, experiencing music from the other side,” she says, referring to her divorce from the father of her two children and her work as a coach on La Voz Colombia and La Voz Kids (Spanish language adaptations of The Voice) between 2012-2013 and 2014-2019, respectively.
Produced by José Gaviria and independently released in May, Una Vida Bien Vivida (which means “A life well lived”) is Fanny Lu’s fourth studio album. Before becoming a musician, she studied (and graduated in) industrial engineering and worked as an actress and TV host. With her charisma and a unique tropipop style, she soon won over a legion of fans. Her debut album, Lágrimas Cálidas (2006), landed on the Billboard charts, reaching No. 13 on Top Tropical Albums, while its single “No Te Pido Flores” hit No. 1 on the Tropical Airplay chart. More hits followed with Dos (2008) and Felicidad y Perpetua.
And yes, between that last album and Una Vida Bien Vivida, she did release numerous singles, from “Mujeres” and “Lo Que Dios Quiera” to “Fuerte,” “El Traidor” and “Lágrimas de Amor.” “But I kept saying, ‘I need an album.’ Because the album-making process is so different and so generous — it allows you to rediscover and reinvent yourself in the process,” she says enthusiastically. As the 20th anniversary of her musical debut approached, she felt it was the perfect time to give herself “the gift I had dreamed of for so many years,” and she did it from a place of gratitude and personal and professional fulfillment.
Below, Fanny Lu answers 20 questions about music, female empowerment, motherhood, tears, good advice, love (she’s since remarried) and cooking.
1. Welcome to Billboard and welcome back to music. What took so long?
I went through an emotionally and personally difficult time in my life, and God gave me the opportunity to spend seven years on La Voz, experiencing music from the other side — from the perspective of someone who shines a light on others, who shares generously what they’ve learned, who admires, appreciates and supports others. And it was beautiful, working with both adults and kids on La Voz Colombia and La Voz Kids. It taught me so much and allowed me to enjoy music in a different way during that complicated time in my life.
2. How did you decide to come back?
During that time, I released several songs as singles, but I kept saying: “I need an album.” Because the album-making process is so different and so generous — it allows you to rediscover and reinvent yourself. I said: “I deserve to give myself this dream of a full album, to tell a complete story like when you write a book with different chapters.” And that’s what I did — a catharsis in the studio over several months, allowing myself to listen to myself.
3. Were you scared? Excited? Both?
Yes, a little bit of everything. But above all, I’m in a moment in my life where I feel deeply grateful — for my dreams, for the blessing of being able to sing to so many people for so long, for feeling blessed in my personal life as a mom, as a wife, as a daughter, as an artist. In that space, fears and doubts fade away because you face life with peace and faith. It’s been a beautiful process, and I’m savoring every second of it.
4. And you returned empowered with Una Vida Bien Vivida and “La Mujer Que Soy” (The Woman I Am). How do these titles define the moment you’re in?
As self-love. I tell my 20-year-old daughter: “I would give my life to teach you what I know now.” I feel like everything is a process in life, and we all come to these realizations at different times. At my age, you think: “How didn’t I learn this earlier? How did I have so many doubts, so much fear?” But it’s all part of the journey. Realizing that self-love gives you everything you’ve ever dreamed of — confidence, faith in yourself, power over your decisions, discipline, valuing your time and your life, living inwardly instead of outwardly — that sums up this album. A life well-lived isn’t a perfect life; it’s not just smiles and fulfilled dreams. It’s a life of falls, tears, effort and sweat. It’s a life of confusion that eventually leads to light and clarity.
5. How does the Fanny Lu of 2011, when you released Felicidad y Perpetua, differ from the Fanny Lu of 2025?
I feel there’s a deeper recognition of myself — my worth, my effort, and my growth. There’s a celebration of my being, my style, my voice, and the way we make music. There’s a confidence in knowing that my lane is my lane, and I value it. Today, I’m not looking for anything else but to be myself.
6. Having a unique and recognizable sound is essential for an artist. How did you find yours?
I spent many years understanding myself musically and gave myself the freedom to experiment so I could truly discover myself in the studio. I’ve been very stubborn about staying true to who I am. I’ve insisted that every song I sing must feel personal, something I can defend and identify with. It’s been a beautiful stubbornness to always be myself so that when people hear my songs, they say: “That’s Fanny Lu.”
7. How would you define your style or genre?
I don’t know. It’s a tropical, Colombian genre — fun, colorful, and very fused and free. It can go from merengue to vallenato, to pop, to corridos. It’s a genre full of light and vibrant brushstrokes, influenced by all the music that’s accompanied me throughout my life.
8. Who are your biggest influences?
I’ve had so many, both in English-language and tropical music, and Colombian music too. For example, Celia Cruz — so iconic, with her powerful voice, unique style, joy, positivity and messages full of light. Yuri has also been an influence since I was little, and it’s been a gift from God to celebrate my 20 years with her [on “Otra Partida”]. I used to dance to her songs all the time. There are so many others: Juan Luis Guerra, Juan Gabriel…
9. Besides Yuri, the album includes collaborations with great artists like Olga Tañón, Bacilos and more. How did you choose your collaborators for this return to music?
It was very spontaneous, as if each song spoke to me. But the beautiful thing was also surrounding myself with people who have been part of my professional journey as an artist. I’ve had the blessing of working with people I’ve admired so much, people I dreamed of collaborating with when I was starting out in music and would think, “Oh, when will I get there?” But also with fellow artists who have walked a similar path, like Bacilos.
10. If you could collaborate with anyone, from any nationality, alive or dead, who would it be?
Juan Luis Guerra. I would love to because he’s such an icon, and I’ve grown up with his music and his influences. I love his heart.
11. What’s the best advice you’ve been given in the music industry?
Perhaps the best advice I’ve been given, in music and in life, is: “Feel like a sun.” My mother gave me that advice. “When you step on that stage, feel like the sun is shining from your chest, that you radiate, that you illuminate, that you bring happiness.”
12. Your son Teo (Mateo Madriñán) has also ventured into music. What advice have you given him?
To always fight to be himself, to always defend his artistic personality, his musical style, what he wants, and what he believes in. And honestly, it’s been hard to give him that advice because now he’ll tell me: “Mom, you told me…” [Laughs.]
13. How did motherhood change your artistic sensitivity?
My music was born alongside my children, really. When I was having my kids, that’s when this dream of mine also began. I made it a family project, because my ex-husband, very generously, fell in love with my voice and my dream, and it became his dream too. So, it was a family effort. I’ve always been very sensitive.
14. You graduated as an industrial engineer from the University of Los Andes. Did you ever think you’d truly dedicate yourself to engineering?
I actually did for a long time, but in creative and entertainment-related areas, because I had a production company called Activa. I used to answer the phone saying, “Activa!” and people would joke, “You mean Hyperactiva, right?” because I was working in radio, working as a TV presenter, then acting, but at the same time, I was producing, directing, and doing executive production for videos. So, as the manager of that company and the executive producer of my projects, all the organization, structure, and executive capacity came from engineering.
15. What do you enjoy doing in your free time?
I love traveling, cooking, spending time with family.
16. What’s your specialty in the kitchen?
Well, I have a chef right at home: my husband is an amazing cook. I’ve tried cooking, but then I think, “Why should I cook if he’s so good at it?” But being in the kitchen with him is therapeutic. When you share through food, it’s like giving love, and I’ve learned to really enjoy cooking.
17. Next year marks the 20th anniversary of your debut album, Lágrimas Cálidas (Warm Tears), which landed you on the Billboard charts. What do you remember about that time?
I don’t know why tears always accompany me, even when I’m deeply in love, filled with love for my kids, or so grateful for my mom. When we released Lágrimas Cálidas, I felt this urge to cry from joy but also from fear, because I was stepping into a world I didn’t know. And since “No Te Pido Flores” became so big so quickly, I felt like God was saying: “We’re saving this space for you, here’s your spot, enjoy it.” So, I felt this huge responsibility — for what people expected from me, for what my team expected, and for what I expected from myself. It was happiness, but also this immense responsibility and fear of facing my dream, which was coming true in the best possible way — the most responsible and magical.
18. In no more than five words, summarize what these 20 years in music have been like for you.
A life well-lived.
19. You’re currently part of Spotify’s EQUAL campaign, which promotes gender equality in music. What’s the most important change you’ve seen in the industry in this regard?
Women shining, women empowered. And when I talk about power, for me, the concept of empowerment has changed a lot — it’s about having power over yourself, your decisions, what you do. But beyond that, I’ve seen a beautiful sense of collaboration among women, a generosity that didn’t exist before. That generosity expands women’s participation in the industry, and that’s such a wonderful thing.
20. If you could sing only one song for the rest of your life — your own or someone else’s — which would it be?
“La Mujer Que Soy.” It defines this moment and the greatest discovery of my life: the power of self-love.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-09-05 20:31:352025-09-05 20:31:3520 Questions with Fanny Lu Upon Her Return to Music with New ‘Una Vida Bien Vivida’: ‘The Gift I Dreamed of for So Many Years’
We’re just a few weeks away from the (official) start to autumn, so there’s no better time to update your seasonal playlists with some new tunes from your favorite queer artists. Billboard Prideis proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ+ artists.
From Lady Gaga’s spooky new single to Brandi Carlile’s long-awaited new solo release, check out just a few of our favorite releases from this week below:
Lady Gaga, “The Dead Dance”
Just when you thought the Mayhem was winding to a close, Lady Gaga gave it another jolt of life with her newest single “The Dead Dance.” Written for the second season of Wednesday, the track sees Gaga firmly in her dark disco-pop bag, creating eerie and earworm-y melodies alongside her main Mayhem collaborators Andrew Watt and Cirkut. Complete the package with a genuinely creepy music video directed by Tim Burton himself, and you’ve got a song that will keep you dancing until you’re dead, as Gaga would say.
Lola Young, “SPIDERS”
With only two weeks left until she drops her much-anticipated new album I’m Only F–king Myself, Lola Young would like to make one final plea for someone who will take care of her. On her heartwrenching new mid-tempo single “Spiders,” the rising singer-songwriter pens a letter to her lover, asking them to “kill all the spiders” iin her room for her, and to generally promise to make things that little bit easier in her chaotic life. It’s simple, sweet and a worthy reminder of Young’s resounding talent.
Brandi Carlile, “Returning to Myself”
After spending the last few years focusing on her work with legendary starts like Tanya Tucker, Joni Mitchell and Elton John, Brandi Carlile is all alone again — and it’s freaking her out. On her first solo song in years “Returning to Myself,” Carlile reckons with the inevitable reality of being stuck with yourself. The gentle acoustic harmonies seamlessly match Carlile’s tone as she starts coming to terms with finding comfort without unhealthy codependence.
The Last Dinner Party, “The Scythe”
You know how people say that you go into a state of “mourning” after a breakup? Well, the Last Dinner Party are taking that metaphor to it’s literal conclusion on “The Scythe,” a moving new single that sees the band confronting heartbreak as though it were death itself. But “The Scythe” is no funeral dirge — by the time the phenomenal chorus kicks in, this song comparing the end of a relationship with the Grim Reaper will have you banging your head in perfect rhythm with its excellent beat.
G Flip, Dream Ride
There’s a lot of roughness in reality these days, so why not take some time to escape to another time entirely? That’s what G Flip accomplishes with their excellent new album Dream Ride, as she weaves together a fantasia of ’80s pop-rock melodies over the course of 10 deliciously fun songs. Whether they’re raging against a friend’s ex (“Cut His D–k Off”), throwing up a middle finger to queer-shaming fundamentalists (“Bed on Fire”) or just creating the best possible vibe for their lover (“Lush”), the Australian multi-instrumentalist makes every second count on this phenomenal new project.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-09-05 20:19:372025-09-05 20:19:37Queer Jams of the Week: New Music From Lady Gaga, Brandi Carlile, Lola Young & More
Priscilla Presley’s former business partners have added outlandish new claims about the late Elvis Presley to their lawsuit, including allegations that she was responsible for “pushing him to his death.”
In an updated version of a lawsuit that has already claimed Priscilla “pulled the plug” on her own daughter, Lisa Marie Presley, lawyers for Brigitte Kruse and Kevin Fialko called Priscilla a “calculated sociopath” who has “exploited the Presley name.”
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In the most eyebrow-raising claim, the amended lawsuit accuses Priscilla of “extorting millions of dollars from Elvis” during and after their 1972 divorce, including by placing a lien on Graceland — a campaign of “pressure” that Kruse and Fialko claim contributed to the legendary rocker’s 1977 death.
“Priscilla’s first victim was Elvis,” reads the updated complaint, filed Wednesday (Sept. 3) and obtained by Billboard. “Priscilla exerted undue pressure on Elvis, pushing him to his death.”
In a response statement to Billboard on Friday, Priscilla’s attorney, Marty Singer, said the new allegations about Elvis were “absurd and despicable, but unfortunately, are not surprising.”
“Priscilla did not have anything to do with the assassination of JFK, she did not cover up Area 51, she did not fake the moon landing, and she is not secretly keeping Bigfoot locked in a cabin in Canada,” Singer said. “Take off the aluminum foil hat and face reality.”
The new allegations mark the latest escalation in a two-year legal battle for Priscilla and her ex-partners that has grown increasingly acrimonious as it has dragged on.
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Kruse first sued in October 2023, claiming Priscilla had abruptly cut off ties after the advisor worked “tirelessly” to help the nearly-insolvent star “dig herself out of impending financial ruin.” Priscilla fired back in 2024, accusing Kruse, Fialko and two other advisors of elder abuse, claiming they fraudulently took over her life and then stole her money.
Then last month, Kruse and Fialko went nuclear. In a countersuit, they claimed Presley “ignored” warning signs just before Lisa Marie suffered cardiac arrest in January 2023 and then removed her from life support against her wishes. They claimed she did it so fast that Lisa Marie’s daughter, Riley Keough, was unable to get to the hospital before her mother died.
Presley’s lawyers sharply denied those allegations at the time, calling them a “disgusting publicity stunt” and “malicious character assassination.”
The new amended lawsuit this week also included an alleged email from Keough to Presley, purportedly sent amid the legal battle that erupted between the two in the wake of Lisa Marie’s death. In it, Keough said it was “really hurtful” that her grandmother had taken her to court, and sharply criticized her actions surrounding the estate.
“I must also share with you that I found being called about the will, less than 24 hours after my mother passed and getting emails from lawyers before my mother was even buried incredibly heartbreaking,” Keough allegedly wrote in the email. “It was very upsetting that I was forced to find a lawyer to represent me and my sisters and my mother’s wishes within days of her passing.”
Reps for Keough did not immediately return a request for comment on Friday (Sept. 5). In his statement, Singer characterized the new allegations as an effort to distract from Presley’s original accusations against Kruse and others.
“This lawsuit concerns Ms. Presley’s claims against Ms. Kruse (and her co-conspirators) in which she alleges that Ms. Kruse engaged in a relentless and calculated campaign of elder abuse and fraud in order to take control of Ms. Presley’s finances for her own benefit,” he said. “Ms. Presley looks forward to holding Ms. Kruse and her co-conspirators liable for their wrongful acts.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-09-05 19:41:162025-09-05 19:41:16Priscilla Presley Lawsuit Update Accuses Her Of Pushing Elvis to His Death: ‘Calculated Sociopath’
