Stevie Nicks has shared a powerful performance of her most recent single, “The Lighthouse”, as part of her Election Day eve appearance on Jimmy Kimmel Live.
Appearing on the program on Monday (Nov. 4), the iconic Fleetwood Mac frontwoman’s performance was prefaced by host Jimmy Kimmel referring to the track as an “anthem for women’s rights”, with Nicks’ stirring rendition being accompanied by visuals of thunder and lightning.
“I wrote this song a few months after Roe v. Wade was overturned,” wrote Nicks in a post on Instagram upon its release. “It seemed like overnight, people were saying ‘what can we, as a collective force, do about this…’ For me, it was to write a song.”
She continued, “It took a while because I was on the road. Then early one morning I was watching the news on TV and a certain newscaster said something that felt like she was talking to me~ explaining what the loss of Roe v. Wade would come to mean. I wrote the song the next morning and recorded it that night. That was September 6, 2022. I have been working on it ever since. I have often said to myself, ‘This may be the most important thing I ever do.’ To stand up for the women of the United States and their daughters and granddaughters ~ and the men that love them.”
“This is an anthem,” Nicks said.
Since its release, “The Lighthouse” has peaked at No. 2 on the Rock Digital Song Sales chart, and was also voted as Favorite New Music on Sep. 29.
On Oct. 12, Nicks made her triumphant return to Saturday Night Live, performed on the long-running NBC sketch comedy show for the first time in 41 years during the Ariana Grande-hosted episode.
Her appearance on the show featured both a performance of “The Lighthouse” and “Edge of Seventeen”, the latter of which peaked at No. 11 on the Hot 100 chart upon its release in 1982.
For years now, music fans have been attempting to track down the authorship of a forgotten new wave song which had been recorded off German radio in the mid-1980s. The search first began in 2007 when an internet user by the name of Lydia took to online forums to try and identify the song, which had been recorded to cassette by her brother Darius decades earlier.
Following some modest attention, it wasn’t until 2019 that the search began in earnest, with users on social media and sites such as YouTube focusing their efforts on identifying the track, which had been dubbed “Like the Wind” in accordance with what appeared to be its opening lyric.
Over the past five years, a number of impressive discoveries were made, including researchers determining the likely recording date of the song due to the release of other songs on the tape and the presence of a Yamaha DX7 synthesizer (which was released in 1983), and confirming the veracity of the recording by identifying a frequency present within German broadcasts of the era.
According to the user, the song was discovered during research of contemporary German music event Hörfest, which FEX had been involved in. After contacting a member of the group, the song was reportedly confirmed as belonging to FEX, with the band member claiming a re-release was in the works.
Michael Hädrich, the keyboardist, guitarist, and backing vocalist of FEX, spoke to German publication Tz, claiming that the band knew nothing of the viral search until he was contacted.
“We hadn’t noticed all this internet phenomenon at all, mainly naturally, because the title of the song was not known on the Internet and was therefore no relation,” Hädrich explained. As he continued, he noted it was only when the Reddit user requested copies of his old material that the rediscovery of the song was made.
“Only then did he point me out whether I didn’t realize that the song ‘Subways of your Mind’ is the ‘Most Mysterious Song on the Internet’.”
Currently, the song is in the process of being verified, with Hädrich claiming that he and the group have numerous materials on hand which can prove the song is theirs, including the original recording session, statements, live recordings, and witnesses who were present for the initial session.
If found to be true, the discovery marks another successful discovery in the field of what has been dubbed “lostwave”, or music whose origins are unknown.
In April, another viral lostwave search came to an end, with the song dubbed “Everybody Knows That” being identified as Christopher and Phillip Booth’s “Ulterior Motives”, which had been originally composed for a pornographic film in the 1980s.
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.pngYveto2024-11-06 04:20:412024-11-06 04:20:41The Viral Search for a Mysterious ‘80s Song May Finally Be Over
Billboard China has officially announced the inaugural Billboard Global No. 1s selection for the China region.
In a collaboration with TME Chart — part of Tencent Music Entertainment Group — Billboard China has analyzed the annual performance data from TME Chart, which encompasses the UNI Chart and Wave Chart, to curate a shortlist of 50 works and their respective performers. The nominee list has now been revealed, featuring 50 of the most prominent artists in China’s music market, along with their most representative works released this year.
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Starting on Wednesday (Nov. 6), a one-week voting period will commence, during which fans will have the chance to recommend their favorite artists. The ultimate No. 1 will be determined through fan recommendations, earning a feature in Billboard‘s official overseas honor report and gaining global visibility alongside other leading international artists.
Who will rise as the sole representative from the China region to secure this prestigious global annual honor? Vote now!
Every December, Billboard celebrates the year’s most impactful chart-topping artists in its No. 1s issue, and this year, Billboard will be showcasing the year’s top acts from key markets around the world, as well as in its inaugural Global No. 1s series. The series will present the cover stars selected by 10 of Billboard‘s global partners, telling each artist’s story through photos, video and written narrative.
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.pngYveto2024-11-06 04:01:092024-11-06 04:01:09Billboard China Partners With TME Chart to Select a Billboard Global No. 1 for China: Voting Is Now Open
The Strokes’ frontman Julian Casablancas has taken to social media to note his refusal to vote in the 2024 U.S election, and explaining his reasoning for doing so.
Taking to Instagram on Tuesday (Nov. 5), the vocalist shared an image of a sticker which read “I Protested” instead of the typical “I Voted” illustration. In the caption, Casablancas explained that his post had been prefaced by a discussion with his mother, who expressed her disagreement with his decision to abstain from the democratic process.
“My beautiful sweet amazing mom just told me ‘I agree with you but right now vote at lease to keep trump from winning. Think of your children’,” he wrote. “I understand and respect that viewpoint of marginal incremental betterment, but respectfully do not think it is the path…
“Like I told her, I am thinking of my children. The 2 parties are a joke… a horrible lie,” he continued. “The military and oil companies and banks are who we are voting for – and the media is their propaganda/entertainment wing. [And] with the way they cheated Bernie I see little point in choosing between these puppets… They want you to think it matters. That way nothing will change but it has to change.”
Casablancas’ post was met with widespread criticism in the comments, with fans on sites such as Reddit noting they were “super disappointed” in his decision. Fans on the same site were quick to point out that Casablancas’ bandmate, bassist Nikolai Fraiture, had shared his own sticker from his early voting experiences on Oct. 31.
Casablancas also caught the attention of music fans earlier in the week when he spoke to The Guardian for their ‘Honest Playlist’ feature in support of The Voidz’ new album, Like All Before You. In the discussion, Casablancas reflected on The Strokes’ discography, noting that their breakthrough single “Last Nite” (which peaked at No. 5 on the Alternative Airplay chart in 2002) is a song he can “no longer listen to”.
“‘Last Nite’ by the Strokes is pretty dead to me. I’m not sure why,” he stated. “There are some others like ‘Reptilia’, ‘Hard to Explain’, ‘Someday’, ‘Take It Or Leave it’, ‘New York City Cops’ that are comparable in terms of crowd reaction that I’m not quite as sick of. If I heard it on the radio, I’d probably turn it off.”
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Meta’s most budget friendly mixed-reality headset lives up to the hype. Last month, Meta introduced the Quest 3S headset — a smaller, lighter and more affordable version of the Meta Quest 3 with a few, internal and external upgrades.
For starters, Meta Quest 3S retails for $299 — $200 cheaper than its predecessor. It’s also lighter and more comfortable than Meta Quest 3, and updated with new features such as dynamic spatial audio and increased resolution for Passthrough (which lets you mix your reality with VR).
Meta Quest 3S allows users to stream movies and more on a cinema-sized, VR screen, plus access games such as Beat Saber, Alo Moves XR, Just Dance VR, Wordle and Metro Awakenings along with streaming apps like Prime Video, Peacock, Netflix, Amazon Music, Twitch, YouTube, Xbox Cloud Gaming (available in BETA).
Meta Quest 3S 128GB — Get Batman: Arkham Shadow and a 3-Month Trial of Meta Quest+ Included — All-in-One Headset
The holidays are around the corner, and Meta’s latest VR headset is certainly giftworthy. With Meta Quest 3S users can explore Horizon Worlds’ Music Valley where music fans get a front-row seat to VR performances from Sabrina Carpenter, BLACKPINK, Doja Cat and other recording stars.
One of my main gripes with Meta Quest 3? The headset. It’s heavy and uncomfortable, but the Quest 3S offers a slight improvement on the weight issue along with other, notable upgrades such as adjustable Frensel lenses, a spacer for users who wear glasses and a rebuilt Meta Horizon OS interface with added support for social media apps such as Facebook, Instagram and YouTube.
Quest 3S is incredibly user friendly, especially if you’re already familiar with the Meta portal. Even if you’re unfamiliar, the device will walk you through steps to set things up.
The new 3S features Travel Mode, so you can use it on an airplane (Meta plans to expand it to be used on trains and other modes of travel) and hand tracking, which allows you to use your hands instead of the controllers.
The standard Quest 3S features 128GB of storage, but you can upgrade to the 256GB device for $399.99. Meta Quest 3S is available at major retailers such as Amazon, Target, Walmart, Best Buy and Meta.com.
Get a complimentary copy of Batman: Arkham Shadow and three months of Meta Quest+ with the purchase of an all-new Meta Quest 3 and Quest 3S through April 2025.
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‘Tis the season, and Kelly Clarkson is helping ring in the holidays. The superstar is set to return for her second year as host of NBC’s annual Christmas in Rockefeller Center telecast.
She announced the exciting news during Tuesday’s (Nov. 5) episode of The Kelly Clarkson Show. “Let’s talk about this incredible time of year. The city is so magical. I love the holidays in New York,” she told the audience. “Living here during Christmas is like you’re in a movie. There’s nothing like it in the world, especially the tree lighting ceremony, which is an iconic tradition.”
She continued, “I got to host it last year, and I thought, ‘Oh, this will be fun.’ […] Then, the tree lit up, and you would’ve thought, like, I don’t know, I found out I was going to survive something. I bawled. It’s so beautiful when you’re standing there. I’m especially excited though, because for the second year in a row, I’m going to host Christmas in Rockefeller Center.”
Besides hosting, Clarkson is also set to perform some festive hits at the tree-lighting ceremony. The three-time Grammy winner will have a host of holiday tracks to choose from for her performance, including beloved holiday classics and originals from her two Christmas albums: 2013’s Wrapped in Red and 2021’s When Christmas Comes Around… Additional performers for the special will be announced at a later date.
Christmas in Rockefeller Center will air Wednesday, Dec. 4, at 8 p.m. ET on NBC and will stream on Peacock.
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There’s been an update about the upcoming Drake and PartyNextDoor collab album.
PND hopped on his Instagram Live as he wraps up the European leg of his Sorry I’m Outside Tour and revealed his project with his label boss Drake is nearing the finish line. “Guys, I have one more show on this tour,” he told his followers. “Then the album is getting finished. That’s all I gotta say.” His last show across the pond is tomorrow, Nov. 6 at O2 Academy Brixton in London.
PARTYNEXTDOOR gives an update on the Drake collab album via his IG live:
“I have one more show on this tour and then the album is getting finished”
Drake and Party announced their joint album back in August while on stage performing together in Toronto. “I know all you girls are outside,” Drake told the crowd. When it gets a little chilly, PartyNextDoor and Drake album will be waiting right there for you.” Party then said that his favorite songs at the moment were the ones he was making with Drake for their upcoming project, telling Awaiz Punjani, “The one we doing right now – all 15 we doing right now.”
Then, last month, engineer and producer OVONoel called the album “a classic,” during a recent appearance on OVO’s The Fry Yiy Show on SiriusXM. “You guys know what’s coming for you,” he said. “Party and Drake have a classic. We trying to put the finishing touches on it, so… Yeah, it’s a jam-packed month for me filled with the thing that I love to do the most, besides being the world’s greatest dad.”
There’s still no official release date, so stay tuned as we’ll be sure to give you an update.
Andrea Swift is just as big of a Kansas City Chiefs fan as her daughter is.
Taylor Swift’s mom attended the NFL game at Arrowhead Stadium with the “I Can Do It With a Broken Heart” singer and her son Austin on Monday night (Nov. 4), where she was seen cheering on Tay’s boyfriend, tight end Travis Kelce, and she was seen rocking some adorable Chiefs gear.
In photos from the game circulating X (previously known as Twitter), Andrea is seen sitting inside the VIP suite wearing a black zip-up jacket with “In my Chiefs Era” written in Kansas City’s signature red font. Of course, the slogan is both in reference to the NFL team and her daughter’s record-breaking Eras Tour.
Taylor, meanwhile, arrived to the game rocking a black tank top and cut-off black denim shorts tied with a belt. She completed the look with an oversized, racer-style Chiefs leather jacket and fold-over, knee-high black boots. See her look here.
In fan videos, she was seen waving and blowing kisses to fans after the game wrapped up. She also jokingly mouthing to the crowd that the game was “stressful” — which makes sense given that the Chiefs beat the Tampa Bay Buccaneers 30-24 in overtime.
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The Academy Award-nominated actor discussed his relationship with the “Feather” pop star during a recent episode of Spotify’s The Louis Theroux Podcast, where he was asked directly, “Are you in a relationship with Sabrina Carpenter?”
“Oh, I knew you’d do this,” Keoghan said with a laugh, before eventually explaining, “Listen, all I’m going to say is I’m incredibly blessed. Such a strong, independent lady who’s massively talented and yeah. Pretty special.”
The pair first sparked dating rumors in late 2023, a few months before making their public debut at the Vanity Fair Oscars afterparty in March. Keoghan also starred opposite Carpenter in the music video for her Billboard Hot 100-topping single “Please Please Please,” which is featured on Short n’ Sweet.
After Carpenter dropped the album on Aug. 23, fans were quick to speculate that the Work It star wrote some of the project’s songs about the Irish actor — particularly the NSFW “Bed Chem.” “I was in a sheer dress the day that we met/ We were both in a rush, we talked for a sec,” she sings on the track. “Who’s the cute boy with the white jacket and the thick accent? … Who’s the cute guy with the wide, blue eyes?”
The Saltburn star definitely didn’t curb those rumors when he posted on Instagram Stories that “Bed Chem” is his favorite track on Short n’ Sweet. “just sayin m’darlin,” he added in his post, tagging Carpenter and including a link to her album. “Tap that link lads!!”
Universal Music Group (UMG), ABKCO and Concord Music Group have filed a lawsuit against Believe and its distribution company TuneCore, accusing them of “massive ongoing infringements” of their sound recordings, including tracks by Justin Bieber, Ariana Grande, Rihanna, ABBA, Kendrick Lamar, Lady Gaga, DJ Snake, Aqua and more. The companies are seeking “at least $500,000,000” in damages.
In a complaint filed Monday evening (Nov. 4) in Manhattan federal court by Andrew Bart and Gianni Servodidio at Jenner & Block, UMG, ABKCO and Concord Music Group accuse Believe of being “overrun with fraudulent ‘artists’ and pirate record labels” and distributing copies of those fraudulent recordings to various streaming services and social media sites.
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Lawyers for the plaintiffs claim that “Believe makes little effort to hide its illegal actions” and that the allegedly infringing recordings are “often minor variants on the names of… famous recording artists and titles of their most successful works.” The complaint says the alleged fraudsters attempt to avoid detection of the allegedly infringing recordings — some of which, they claim, are “sped up” or “remixed” versions of popular songs — by using misspellings of popular artist names, including “Kendrik Laamar,” “Arriana Gramde,” “Jutin Biber” and “Llady Gaga.”
“Believe is fully aware that its business model is fueled by rampant piracy” in “pursuit of rapid growth,” the lawsuit claims, adding that the company has “turned a blind eye” to the infringing content that makes its way to social media and streaming services through its platform.
Additionally, lawyers for UMG and the other plaintiffs say that “Believe has taken advantage of the content management claiming system” on YouTube “to divert” and “delay… payment of royalties” that belong to the record labels. It is “telling,” they add, that after YouTube resolves these conflicts regarding the rightful ownership of these sound recordings, “Believe continue[s] to distribute the exact same track to other digital music service providers and to seek royalties for use of that track from those providers.”
This is not the first time bad actors have been accused of using YouTube’s content management system to claim royalties that are not rightfully theirs. In 2022, two men in Phoenix, Arizona pled guilty to claiming $23 million worth of YouTube royalties from unknowing Latin musicians like Julio Iglesias, Anuel AA, and Daddy Yankee despite having no actual ties to those artists. To facilitate claiming those royalties, the two men, operating under the company name MediaMuv, used AdRev, a rights management firm owned by Downtown.
“Believe is a company built on industrial-scale copyright infringement,” said a spokesperson for UMG in a statement. “Their illegal practices are not limited to cheating artists on major labels but artists on independent labels as well — including artists on the independent labels within the trade bodies of which Believe is itself a member. It’s no wonder that Believe has been outspoken against the streaming reform principles for which so many major and independent labels have been advocating. Why? Because such reforms would undermine and expose their system of building scale and market presence by distributing music for which they have no rights and illegally collecting royalties to enrich themselves and their co-conspirators.”
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The complaint specifically charges Believe with direct copyright infringement, contributory copyright infringement, vicarious copyright infringement, direct infringement of pre-1972 sound recordings, contributory infringement of pre-1972 sound recordings and vicarious infringement of pre-1972 sound recordings.
Representatives for Believe and TuneCore did not immediately respond to Billboard‘s requests for comment.
It’s been a busy year for TuneCore’s parent company Believe. On March 1, the French music giant, which was publicly traded on the Euronext Paris stock exchange, announced that its board of directors had approved the move to take it private and that there was an “interested party” looking to acquire it. First, however, the bidder was requesting due diligence information and financial data ahead of making a formal bid. Later that month, the name of the bidder was revealed when it was announced that Warner Music Group (WMG) had issued a formal notice to disclose its interest in acquiring Believe, which also owns publishing administrator Sentric as well as labels like Naïve, Nuclear Blast and Groove Attack.
In early April, however, WMG called off its plans to submit a formal offer. The label did not elaborate on its decision, stating only that it was made “after careful consideration.” On April 19, Believe’s board of directors announced it was supporting an offer to take the company private at 15 euros ($15.98) per share from a consortium of funds managed by TCV, EQT X and Believe chairman/CEO Denis Ladegaillerie. The board’s three independent members unanimously voted in favor of an opinion that the bid was in the interest of minority shareholders.
Fraud and copyright infringement have been hot-button issues in the music business as the industry becomes more and more democratized, offering anyone the opportunity to release music in hours — sometimes minutes — at the click of a button. In response, TuneCore, along with CD Baby, Distrokid and other competitors, set up “Music Fights Fraud,” a coalition designed to stop bad actors from hopping from service-to-service to release songs they don’t own the rights to. A number of initiatives, including Credits Due, have since launched to try to fix metadata problems in the music business that can leave artists susceptible to royalty stealing and fraud, particularly on sites like YouTube.
Still, despite these efforts, TuneCore and other DIY distributors have been accused of allowing bad actors to use their sites to upload infringing or fraudulent content. In August 2020, Round Hill Music’s publishing arm sued TuneCore for “willful and unauthorized use” of 219 of their sound recordings. And in 2022, Billboard reported that some music executives believe Create Music Group games the system on YouTube to claim royalties, with one label source claiming the company was doing so “egregiously.”
Just last month, TikTok also rang the alarm bell about fraudulent content when it backed out of licensing negotiations with Merlin, a coalition of indie labels and distributors, to allegedly curb users uploading works they don’t own the rights to on the platform. TikTok said it would instead pursue individual licensing deals with labels and distributors that it considered to be safe.
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