Lainey Wilson will perform at the halftime show of the Dallas Cowboys’ Thanksgiving Day game against the New York Giants on Nov. 28 at AT&T Stadium in Arlington, Texas.
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The game, which will air on Fox, will also serve as the official kick-off of the Salvation Army’s 134th Red Kettle Campaign. A Cowboy tradition for 28 years, the halftime show highlights the start of the Red Kettle holiday season, and since the launch of the Red Kettle Kickoff, the Salvation Army has raised more than $3 billion.
Lainey Wilson
Wilson, who will be joined by an unnamed special guest, is expected to perform songs from her new album Whirlwind, which debuted at No. 8 on the Billboard 200 in August, as well as some seasonal favorites.
“It’s an honor to follow in the footsteps of legendary performers like my friend Dolly Parton, The Jonas Brothers, and Reba, of course, to kick off The Salvation Army’s iconic Red Kettle Campaign,” Wilson said in a statement. “Join me at the Red Kettle this Christmas season because we truly can do more good when we come together to serve those in need in our communities.”
In a video posted to her and the Cowboys’ social media sites, Wilson pretended to train to be an honorary Dallas Cowboys cheerleader. Wearing Dallas Cowboys blue bellbottoms, she practiced a routine with the cheerleaders, breathlessly asking if she was the first person to attempt that in bell bottoms.
“Performers like Lainey Wilson represent the next generation of role models for so many,” added Charlotte Jones, chief brand officer and co-owner of the Dallas Cowboys and former national advisory board chairperson for The Salvation Army. “We are so thankful to have her energy and enthusiasm on our national stage this year to highlight the Red Kettle Kickoff and the importance of giving back to those who need it most.”
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.pngYveto2024-10-15 01:19:292024-10-15 01:19:29Lainey Wilson Suiting Up for Dallas Cowboys Halftime Show on Thanksgiving
From the football field to the baseball diamond! Taylor Swift and Travis Kelce went to Yankees Stadium on Monday night (Oct. 14) to watch the first American League Championship Series game between the New York Yankees and the Cleveland Guardians.
In photos circulating social media, the duo decided to match on their date night, both rocking black caps and black coats to the event. While it’s not immediately clear who they’re rooting for, it could be a house divided, as Kelce is from Cleveland Heights, Ohio, and Swift is a longtime New York City resident. The couple, who have been dating since last summer, were seen in a suite enjoying beers and chatting with each other.
“Welcome to New York, Taylor Swift and Travis Kelce!” an MLB post on Twitter read, fittingly referencing Swift’s 1989 album opener.
Swift and Kelce are, obviously, no strangers to a sports game. During the football season, the “Fortnight” singer is often spotted cheering on her tight end boyfriend and the Kansas City Chiefs at Arrowhead Stadium.
However, they’ve also attended other sporting events, including the U.S. Open at Arthur Ashe Stadium in Queens in September, alongside Kelce’s Chiefs teammate Patrick Mahomes and his wife, Brittany. At one point, Swift and Kelce were filmed in the middle of an animated sing-along to “I Believe in a Thing Called Love” by The Darkness playing over the stadium’s loudspeaker.
Swift also made her way to Yankees Stadium back in 2022, but not for a game. She was presented with an honorary doctorate at NYU’s Spring 2022 graduation ceremony, where she gave an inspiring commencement speech for the graduating class.
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.pngYveto2024-10-15 01:07:302024-10-15 01:07:30Taylor Swift & Travis Kelce Rock Black Baseball Caps to Game 1 Between the New York Yankees & Cleveland Guardians
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In a recent interview on the Today show, Silva’s inspiring journey was highlighted, showcasing her roots and beginnings. Raised in a working-class Latino family in Los Angeles, she worked hard to achieve her success. To support herself while studying at fashion school, she worked at beauty counters in department stores before transitioning to a career as a makeup artist, where she had the opportunity to work with notable stars like Kerry Washington, Taraji P. Henson and Regina King.
On April 18, Silva posted on her Instagram account, sharing her backstory. “I was a makeup artist that did film and television for many, many years. And I was one of the first, if not the first, to create a tool for high-definition and that’s where this little baby was invented on the set of Girlfriends on the Paramount lot here in Hollywood, California.” For those unfamiliar with Girlfriends, it was a 2000s sitcom that aired for eight seasons, focusing on a variety of family and friendship dynamics.
Silva continued: “I was tasked with trying to make sure that the girls from Girlfriends looked really natural and beautiful while they were wearing makeup all day in high-definition when you would see every pore on their skin. And that’s where this little beauty was born.”
On Sept. 27, Silva was honored with the 2024 Entrepreneurial Award at the Kennedy Center’s Hispanic Heritage Awards. “The simple fact of having Latina aunts, mothers, cousins, there is no way of escaping beauty because in our community and in our heritage, beauty is such an important part of who we are and how we express ourselves,” she shared in an interview with PBS.
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.pngYveto2024-10-15 00:20:382024-10-15 00:20:38The Story Behind Your Favorite Pink Beautyblender: A Latina-Owned Brand Leading the Way
Utattemita is Japan’s online culture of uploading vocal covers of Vocaloid tracks or pop songs to video sharing sites, and the singers who post such covers are generally referred to as utaite. From Nov. 22, the country’s largest video platform, Nico Nico Douga, will be hosting Utattemita Collection (commonly referred to as Uta-Colle), a four-day event inviting utaite singers to submit such covers. Uta-Colle is the utattemita version of The VOCALOID Collection (aka Voca-Colle) submission project that began in 2020.
At the Uta-Colle event held this spring, utaite Underbar (officially stylized as __) submitted an a cappella cover of “Igaku” by Sasuke Haraguchi. He reproduced all the notes using only his own voice without using any musical accompaniment, and ranked No. 5 among the top 100 submissions to the event. Underbar is a veteran utaite with 1.05 million subscribers on his YouTube channel, celebrating the 15th anniversary since his debut this year.
Sasuke Haraguchi began composing music at the age of five and made his major label debut in 2018 as track maker SASUKE when he was 15 years old. He submitted his representative track “Hito Mania” to the Voca-Colle Summer 2023 event, and this hit song went on to achieve 18 consecutive weeks at No. 1 on Billboard Japan’s Nico Nico Vocaloid Songs Top 20 list.
The two artists sat down together to chat about today’s utattemita culture ahead of the upcoming Uta-Colle Autumn 2024 event, sharing their views from the standpoints of utaite and track maker.
Underbar, you covered “Igaku” a cappella for the previous Uta-Colle event. Why did you choose that style to cover it?
Underbar: When listening to the way the sounds are put together (on the track), I got the impression that it was unusual and quite different from other Vocaloid producers (Vocalo-p). I really like the way it uses sound effects as accents and male voices, and thought, “I want to try doing this with my own voice.” I thought it would be interesting to be able to express a composition of unusual sounds with my mouth instead of using a normal guitar or bass. He’d officially released the stem data, so I also used that as a reference.
Haraguchi: I thought the stem data would be used for remixes or something, so I never imagined it would be used for utattemita (a vocal cover). [Laughs]
I’ve heard that when you create tracks using Vocaloid, you try to be aware of things that make people want to cover them. Could you elaborate on that?
Haraguchi: There are a few, but one is to keep the tracks short. People seem to think I do this to make them TikTok or (YouTube) Shorts-friendly, but that’s not the case. It’s to make recording vocals easier when covering them. I sometimes record temporary vocals for commercial productions so I know how singers feel, and I’m glad when (the tracks) are short. Some songs have the same lyrics in the chorus, so you could copy and paste if worse comes to worst.
Underbar: I really like your videos, as well as your music, of course. I think it’s amazing how you make such stylish videos at a low cost. Nowadays, it’s like a race to see how much money you can spend to come up with a good video, the utattemita community included.
Haraguchi: Yeah, there are music videos that make you go, “Is this an opening sequence for an anime series?”
Underbar: Right? So it’s amazing how you create that stylish collage feel using live-action footage. I’m like, “Wow, I never would have thought of that!”
Sasuke, could you share what creative aspect about Underbar that you respect?
Haraguchi: You were already well known when I was in elementary school, and I respect the fact that you’ve been consistent all this time. Rather than taking years to establish the way you do things, you had it all worked out from the start. That’s awesome, and at the same time, you’re expanding the scope of what you do.
Underbar: I’ve always liked festivities. This might be something common among people of my generation who post videos on Nico Nico Douga, but the main thing is that I wasn’t doing it for the money. This is the big difference between now and then. Now, many people start posting with the aim of earning ad revenue or becoming a major-label or professional artist, but back then there was no such thing as ad revenue, and just because you became famous didn’t mean you could be signed to a major label or appear on TV and stuff. At the base of why I got started was, “It’s popular and seems like fun.” That still hasn’t changed for me, and when I see a new fad that seems like fun, I get the urge to join in.
When did you start watching utattemita videos, Sasuke?
Haraguchi: Around 2015 or 2016, maybe?
You were probably already composing by that time. Did utattemita videos influence your own production?
Haraguchi: I did hope singers would cover my works like that someday. But I wasn’t making that kind of music at the time. If you want to make a song that people will want to cover without using Vocaloid software, it either has to go pretty viral or be tied to an anime series. I wasn’t doing either.
Underbar: When choosing a song to cover, it’s certainly easier to choose a Vocaloid track. Songs that use Vocaloid are open to a wide range of interpretation, so everyone can be “correct.” With the ones that have human vocals, both the cover artists and listeners tend to think that the original version is correct, so the singers will cover them in a way that’s closer to the original. I tend to prefer utaite singers putting their own spin on their covers.
Haraguchi: I know what you mean. Maybe because my songs are a little unusual, some people sing them in a way that’s similar to the original Vocaloid version, but I don’t think that’s necessary. I want people to just do whatever they want and mess with it.
Have you noticed any changes in the feedback you receive, or any differences in your fanbase since you started releasing Vocaloid tracks?
Haraguchi: Yes, very much so. With the music I’d been doing up until then, I never really had the chance to hear directly from listeners, so I didn’t really know how many people were listening to it. The culture in the Vocaloid community is that if you think something is good, you make sure to say so, whether you’re the listener or the creator. The comment section on video platforms are like that, and communication on X (formerly Twitter) is, too. I feel like I’ve suddenly been thrown into such a place and it worries me in an opposite way. Sometimes when I’m at home alone, I tell myself, “Don’t get carried away, you have to work hard.”
How do you feel about events such as Voca-Colle and Uta-Colle that Nico Nico Douga has primarily been organizing since 2020?
Haraguchi: There was a period when Vocaloid culture had cooled down, so I’m glad many people are making (tracks) and watching (the videos) again now. But I also think that it’d be scary if the mood became like, “We have to work hard at it.” I want to use the opportunity to expose myself to a lot of other people’s works to feel things like, “This trick is interesting” and “I want to do this too,” no matter how they’re ranked.
How about you, Underbar?
Underbar: I think projects like Uta-colle are great. The reason is that utaite have never really had a clear goal to aim for. Now it’s possible to be signed to a major label, but even if that happens, if you don’t make it big then it’s over. And a song you covered could become a hit, but that doesn’t necessarily mean you will become famous, because the original version is the main focus. After all, utattemita is derivative. So even if you suddenly decide to write your own lyrics and music, people might be like, “No, that’s not what I want to hear.” The hard thing about being an utaite is that just because you’re good at singing doesn’t mean you’ll make it big. I’d like to see a trend where utaite can dream and be like, “If I keep doing what I do on Nico Nico Douga, I can get this far,” and Nico Nico Douga actively promotes the winner of the Uta-Colle.
—This interview by Yuuka Higaki first appeared on Billboard Japan
Fred again.. doesn’t do many interviews, but he seemed genuinely delighted while opening up to Nardwuar in a conversation published Monday (Oct. 14). “One of my absolute heroes so I’m just honored to have been in a room with him,” Fred wrote upon sharing the 45 minute chat.
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The pair cover a lot of territory during their talk, discussing everything from a night Fred had in New Orleans after an Ed Sheeran show and his thoughts on Sheeran’s live shows generally, to Fred’s current roommate (Henry Counsell of Joy Anonymous) to getting his first copy of of Logic when he was 11 years old.
Fred tells Nardwuar that he’d previously been using a complicated analog method to create multiple tracks, and that his world opened up when his guitar teacher gave him the software that would allow him to layer as many tracks as he wanted. “That was kind of the beginning of the greatest love affair of my life,” Fred says.
Speaking on his long history of working with his friend and mentor Brian Eno, he also talks about how Eno turned him on to U.K. electronic legends Underworld, who he recently went to see at London’s Alexandra Palace with Skrillex. “Sonny walked in and was like ‘This is the rarest crowd dynamic I’ve seen in years,’” Fred recalls of the show. “Phoneless, present, in it, it was all feeling loose in the best possible way.”
Fred also expounds on about how he prefers working in cafes rather than in studios. “There was a coffee shop in central [London],” he says a cafe he liked in particular. “They’d bring out the extension cord, and I got too comfy to the point where I was plugging in interfaces and a mic… It’s nicer to be in the world as opposed to in some closed off, no natural light room.
“I think the reason why I like writing in places that aren’t studios and out in the world is because you get this constant collage of humanity,” he continues, “this thing just walking by, it’s always moving and changing… I think it just keeps your brain alive and moving versus gradually getting stiller and stiller in the vacuum of a dark room.”
He also talks about the personal conversation he had with the Mayor of Perth, Australia, in order to convince city officials to let his team turn decibel levels up by two or three degrees during a recent show there. “‘Two or three?’” Fred recalls the mayor saying, “‘You can push it to 15!’ Shout out the people of Perth.”
The flannel-clad Canadian interview icon then inquires about Fred’s frequent collaborator Four Tet, asking specifically about Four Tet’s early band, Fridge. “I think he’s got this very exploratory, childlike mindset, which makes everything he does have this kind of through line to me,” Fred says. “I think he could do 20 different bands and it would all have the same sort of Kieren-ness to me.”
At the end of the interview, Fred presents Nardwuar with a hand drawn card illustrating major points of Nardwuar’s career and life and a little calendar with a circle around “September 29,” which Fred calls “Nardwuar day.”
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.pngYveto2024-10-15 00:00:302024-10-15 00:00:30Fred again.. Chats With Nardwuar About Production, Four Tet, Brian Eno & More
PPL has been appointed to collect neighboring rights for John Lennon and Yoko Ono.
Announced Tuesday (Oct. 15), the deal will see the U.K.-based collective management organization (CMO) collect broadcast and public performance royalties globally on sound recordings where Lennon or Ono are listed as performers in markets where such rights exist.
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“PPL has shown they are the leaders in advocating for neighboring rights globally,” said the Lennon estate in a statement. “We have the utmost respect for the team and look forward to working with them.”
Lennon released 11 solo albums as a performer, including 1970’s John Lennon/Plastic Ono Band alongside Ono.
As a performer, songwriter or co-writer, Lennon landed 25 No. 1 singles on the Billboard Hot 100 both as a member of The Beatles and as a solo artist. He also landed three No. 1 albums as a solo artist on the Billboard 200.
In 2023, The Beatles released their “final” song, “Now and Then,” which was completed with the aid of machine-learning-assisted audio restoration. The song landed at No. 7 on the Hot 100 and at No. 1 on the U.K.’s Official Singles Charts.
During her career, Ono has secured 13 No. 1 singles on Billboard‘s Dance Club Songs chart and released 14 solo albums.
PPL, which is celebrating its 90th anniversary in 2024, has 111 agreements in place with other CMOs for royalty collection, according to a press release.
Peter Leathem, CEO of PPL, said in a statement: “It is an honor to be appointed by the John Lennon Estate for neighboring rights collections. Our team works hard to ensure no stone is left unturned in the collection of neighboring rights royalties around the world. It is a privilege to advocate for and collect public performance and broadcast rights globally for such a revered catalog of recorded music.”
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.pngYveto2024-10-14 23:49:002024-10-14 23:49:00John Lennon Estate Appoints PPL to Collect Neighboring Rights Royalties
The founders of indie label group [PIAS] have announced they are selling the remaining shares they hold in the company to Universal Music Group (UMG), making the music giant the firm’s majority shareholder.
In an announcement on Tuesday (Oct. 15), Kenny Gates said he and his [PIAS] co-founder Michel Lambot were selling their shares to UMG, which acquired a 49% stake in the company in 2022, to “allow us to offer a truly global distribution and services platform to the independent music community.”
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Financial terms were not revealed for the deal, which expands upon a strategic global partnership between the two companies that began in 2021. When UMG acquired the 49% stake in [PIAS] for an undisclosed sum the following year, Gates and Lambot retained majority control of the company.
Ownership of [PIAS] now appears to be fully in the hands of UMG, although representatives of the European indie label group and UMG declined to expand upon the information contained in Tuesday’s press release.
Details that have been confirmed as part of the new arrangement include the merger of Virgin Music Group and [PIAS]’s services division [Integral], which provides physical and digital distribution services to more than 100 indie label partners including ATO, Beggars Group and Secretly Group.
The newly combined teams will provide “independent entrepreneurs with world class services and access to a bespoke, stand-alone international distribution network,” said [PIAS]. Reps for the firm and UMG declined to comment when asked if the merger would result in any job losses.
The [PIAS] Label Group, which includes the indie labels Play It Again Sam, harmonia mundi, Spinefarm, Source and partner imprints such as ATO, Heavenly, Mute and Transgressive, will remain completely autonomous, said the company. Artists signed to or distributed by those labels include Nick Cave & The Bad Seeds, Kneecap, Sofiane Pamart, Sleep Token, Arlo Parks and Black Pumas.
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“I am selling my shares not my soul,” said Gates, who will remain CEO of [PIAS] and sit on the Virgin Music Group main board and advisory group, in a statement.
“Since agreeing [to] a strategic alliance with UMG in 2021 we have found them to be supportive and engaged partners who have added real value to our offering,” continued Gates, describing the decision to relinquish the founders’ remaining shareholdings in [PIAS] as a “pragmatic one.”
The company’s existing leadership team will continue to steer day-to-day operations “and nothing will change culturally or commercially for our existing clients and partners,” said Gates, who co-founded [PIAS] with Lambot in Brussels, Belgium, in 1983.
Lambot said that despite initially having “some concerns” about partnering with UMG in 2021, the experience has surpassed his expectations.
“Our relationship to date has been fruitful, convivial and everything we hoped it would it be,” he said. “This new phase, which will see us working even closer together promises to be an exciting new era for [PIAS], our staff, our partners and the artists we represent.”
“I’ve known Kenny and Michel for decades, beginning in the 80s when we were all signing bands from emerging scenes in Europe,” added Lucian Grainge, chairman/CEO of UMG, in a statement.
“Since that time, Kenny and Michel have built [PIAS] into a company that stands for authenticity and the best in independent music,” Grainge added. “And it is those qualities that are not only important to me personally but that also make [PIAS] a perfect fit for UMG’s entrepreneurial and creative culture.”
“We are delighted by all that’s been accomplished over the past three years together, and we look forward to working with Kenny and Michel and their entire team, including their family of artists and labels, to further build [PIAS]’s legacy,” said UMG executive vp/CFO/president of operations Boyd Muir. “Their experience and insights have significantly helped to grow this dynamic area of our business. Completing the acquisition of [PIAS] Label Group and [Integral] reinforces our best-in-class label services operations and enhances our ability to support the independent artist and label community globally.”
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.pngYveto2024-10-14 23:18:402024-10-14 23:18:40Universal Music Group to Acquire Indie Label Group [PIAS]
The 2024 MAMA Awards are just around the corner, and the first set of star-studded performers have officially been announced.
The three-day event, which celebrates the brightest stars in K-pop, will kick off on Nov. 21 at the Hollywood Dolby Theatre in Los Angeles for the first time, where KATSEYE, ILLIT and RIIZE will perform. The awards ceremony will then take place at the Kyocera Dome in Osaka, Japan on November 22 and 23, with ENHYPEN, TOMORROW X TOGETHER and IVE performing on the first day and Aespa, INI and ZEROBASEONE taking the stage on the second day.
This year’s MAMA Awards, presented by Visa, will feature the concept of “Big Blur: What Is Real?,” reflecting the growing trend of blurred boundaries between industries, culture, music genres and technology. In correspondence with the theme, the ceremony will “present surreal but real experiences and showcase visually captivating performances through the convergence of art and technology,” per a press release.
In addition to the performers, the 2024 MAMA Awards nominees were also revealed by entertainment company CJ ENM. The eligibility period ranged from October 1, 2023 to September 30, 2024, and the nominees were decided on based on an evaluation of global music data as well as a panel of specialists.
One of the new categories this year is best choreography, and the Visa Fans’ Choice awards have returned. The first round of votes will take place from Oct. 14 to 25, and the second round will follow starting on Nov. 1. Fans can vote on X as well as the global K-pop platform Mnet Plus, which will list out the nominees.
See the full list of 2024 MAMA Awards nominations below, and catch the show when it airs worldwide in November.
Best New Male Artist 82MAJOR ALL(H)OURS AMPERS&ONE NCT WISH NOWADAYS TWS
Best New Female Artist BABYMONSTER ILLIT MEOVV QWER UNIS YOUNG POSSE
Best Male Group ENHYPEN NCT DREAM SEVENTEEN Stray Kids TOMORROW X TOGETHER ZEROBASEONE
Best Female Group (G)I-DLE aespa IVE LE SSERAFIM NewJeans TWICE
Best Male Artist BAEKHYUN Jimin Jung Kook Lim Young Woong TAEMIN
Best Female Artist IU JENNIE NAYEON (TWICE) TAEYEON YUQI ((G)I-DLE)
Best Dance Performance Male Solo Jimin– Who Jung Kook – Standing Next to You KEY – Pleasure Shop TAEMIN – Guilty TAEYONG – TAP
Best Dance Performance Female Solo HWASA – NA JENNIE – You & Me NAYEON (TWICE) – ABCD SUNMI – Balloon in Love YUQI ((G)I-DLE) – FREAK
Best Dance Performance Male Group NCT 127 – Fact Check RIIZE – Love 119 SEVENTEEN – God of Music Stray Kids – LALALALA ENHYPEN – Sweet Venom TWS – plot twist
Best Dance Performance Female Group (G)I-DLE – Super Lady aespa – Supernova ILLIT – Magnetic IVE – Baddie LE SSERAFIM – EASY NewJeans – How Sweet
Best Vocal Performance Solo BIBI – Bam Yang Gang IU – Love wins all LEE MU JIN – Episode Lim Young Woong – Warmth TAEYEON – To. X
Best Vocal Performance Group (G)I-DLE – Fate AKMU – Hero DAVICHI – A very personal story PLAVE – WAY 4 LUV Red Velvet – Cosmic
Best Rap & Hip-Hop Performance DEAN – DIE 4 YOU Lee Young Ji – Small girl (Feat. D.O.) Leellamarz -Boys Like Girls (Feat. Gist, Jayci yucca) RM – LOST! ZICO – SPOT! (Feat. JENNIE)
Best Band Performance DAY6 – Welcome to the Show HYUKOH, Sunset Rollercoaster – Young Man LUCY – The knight who can’t die and the silk cradle N.Flying – Into You QWER – T.B.H
Best Collaboration GroovyRoom – Yes or No (Feat. HUH YUNJIN of LE SSERAFIM, Crush) Jay Park – Taxi Blurr (feat. NATTY of KISS OF LIFE) Lee Young Ji – Small girl (Feat. D.O.) Sung Si Kyung, Naul – Even for a moment ZICO – SPOT! (Feat. JENNIE)
Best OST Crush – Love You With All My Heart (Queen of Tears OST) ECLIPSE – Sudden Shower (Lovely Runner OST) LEE CHANGSUB – Heavenly fate (A Not So Fairy tale OST) Roy Kim – Whenever, Wherever (My Demon OST) TAEYEON – Dream (Welcome to Samdal-ri OST)
Best Music Video aespa – Armageddon IU – Love wins all IVE – HEYA K.Will – No Sad Song For My Broken Heart (Prod. Yoonsang) SEVENTEEN – MAESTRO
Best Choreography aespa – Supernova ILLIT – Magnetic LE SSERAFIM – CRAZY NewJeans – Supernatural RIIZE – Impossible TAEMIN – Guilty
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.pngYveto2024-10-14 23:03:152024-10-14 23:03:15KATSEYE, RIIZE & ILLIT to Perform at 2024 U.S. MAMA Awards
Tick tock on the clock! The Halloween party isn’t going to stop just yet, but the Christmas season is coming early to Spotify. The music streamer is set to release five new Spotify Singles at the stroke of midnight local time on Tuesday (Oct. 15), including one by Billboard Hot 100 and Billboard 200 chart-topper Kesha.
This year’s annual singles collection — which arrives a little earlier than usual this time — will feature four other artists and their covers of holiday tunes. The featured musicians and their yuletide songs are:
“Holiday Road” by Kesha
“Driving Home for Christmas” by Dasha
“River” by Max Richter
“Run Rudolph Run” by Mark Ambor
“Emmanuel” by Miel San Marcos
“As you’ll hopefully hear, each single really showcases the personality and style of each artist — often reinventing holiday classics in an entirely new way,” Talia Kraines, Spotify’s senior editor of pop, tells Billboard.
“With ‘Holiday Road,’ Kesha has taken this really fun ’80s song – which wasn’t originally a holiday song – and brought it to the modern day. We just knew she would sound amazing singing it, and she does. Her vocals make me think of The Go-Gos or The Bangles here. It feels like a monumental year for Kesha, and we’re thrilled to be a part of it – she’s reclaiming her joy and owning her own voice,” she adds of the Grammy nominated artist. “It also seemed fitting to have Kesha make a holiday song with us because her music actually hits a high each year on Spotify during the holiday season. Tracks like ‘Tik Tok’ and ‘Timber’ have come to be known as New Year’s and celebration anthems.”
Kesha for Spotify Singles
As for “Driving Home for Christmas,” Kraines notes that it’s “huge in the U.K. and Europe” if not the U.S. “We saw this as a great opportunity to give this holiday song a whole new audience in America while sharing a new version for countries where the song is already beloved,” she says of Dasha’s contribution.
Last year’s Spotify Singles’ holiday collection was announced during mid November, usually when the music streamer decks the speakers with holiday tunes. It featured Laufey’s interpretation of the classic “Winter Wonderland,” which peaked at No. 2 on the Bubbling Under Hot 100 and No. 80 on the Billboard Canadian Hot 100 charts; Kirk Franklin’s gospel take on “Joy to the World”; Ezra Collective’s cover of “God Rest Ye Merry Gentlemen”; and Musica Mexicana artist Panter Bélico offered his original tune “Un Vaquero En Navidad.”
Previous Spotify Singles for its Holiday Collection include Kurt Vile’s take of Bob Dylan’s version of holiday classic “Must Be Santa,” IVE’s holiday mix of its own “After LIKE” and more. The overall Holiday Collection playlist on Spotify also includes contributions from Miley Cyrus, DMX, Demi Lovato, Sam Smith, Liam Payne, John Legend, Fifth Harmony, Camilo, Black Pumas and many, many more.
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.pngYveto2024-10-14 23:03:142024-10-14 23:03:14Kesha, Dasha & More to Welcome the Holidays With New Spotify Singles
Unity, camaraderie and constant collaboration among Argentine artists have become a fundamental contribution to their success and globalization.
On Monday (Oct. 14) at Billboard Latin Music Week 2024, Argentine rapper and singer La Joaqui and Mexican star Kenia Os discussed the importance of friendship and support among colleagues within the industry, particularly for women.
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La Joaqui and Kenia Os, who have released two collaborations together this year — “Kitty” and “San Turrona RMX” — participated in the “Entre Amigas” panel, moderated by Flor Mauro, editorial content director of Billboard Argentina.
“We are in an industry where, especially if you are a woman, media wants you to treat each other as competition — ‘Such female artist surpassed another female artist’ — when both surpassed 10 male artists,” La Joaqui said. “However, many women are making noise.”
“It brought me a lot of relief when I collaborated with Kenia,” she added, mentioning that she was already her “No. 1 fan” when she wrote to her hoping to meet, and the Mexican artist replied that she was in the studio recording an album and immediately invited her to collaborate in it. “She opened the doors of her kingdom to me, let me enter this world so new to me. I was very afraid of these kinds of connections, but […] it was a genuine connection, that’s why I think we did so well.”
or Kenia, who also declared herself a fan of La Joaqui, collaborating with another woman was something refreshing because it doesn’t happen often among female artists in Mexico, where “the media pits women against each other a lot,” she said.
“My first collaboration was with La Joaqui […] and from day one it was a beautiful connection. It was incredible,” she said, noting that it not only gave her entry into a difficult market for Mexicans like Argentina, but led to new opportunities to collaborate, including with Mexican artists like Peso Pluma, with whom she recorded the hit “Tommy & Pamela.”
For both, authenticity is a priority in their careers. “It’s super important for artists who are starting out,” said Kenia Os, recalling that it took her a while to find her own voice because she started young in the business, going from teenager to adulthood in the public eye and being influenced by other people’s opinions. La Joaqui, who started as a rapper, said she found her authentic place in RKT, a subgenre of cumbia villera characterized by its influences from cumbia villera, reggaeton, and electronic music.
To sum up the importance of friendship in music, La Joaqui said it is “crucial” in a world where artists are constantly mistreated on social media, and called for “more friends and less business.”
“We move in an environment where there is impunity,” said the Argentine star. “Where it’s normal for people to tweet: ‘Your music is crap… I hope you die.’ It’s no longer an opinion, it’s abuse. And you are simply getting up and doing something you like.”
“There are times you pretend so much madness that you become mad and you need a friend to simply ask you, ‘How are you? Are you okay? How do you feel?’” she continued. “Most of the time I’m not okay, I cry once a week, and having friends in the industry has allowed me to cry in private. I recommend making real friendships to make songs. That integrated feeling is a sure hit.”
Over the past 35 years, Latin Music Week has become the one, steady foundation of Latin music in this country, becoming the single most important — and biggest — gathering of Latin artists and industry executives in the world. Initially named Latin Music Seminar, sponsored by Billboard, the event traces back to 1990, where it kicked off as a one-day event in Miami featuring a two-artist showcase and awards show.
Latin Music Week coincides with the 2024 Billboard Latin Music Awards set to air at 9 p.m. ET on Sunday, Oct. 20, on Telemundo. It will simultaneously be available on Universo, Peacock and the Telemundo app, and in Latin America and the Caribbean through Telemundo Internacional.
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.pngYveto2024-10-14 22:55:032024-10-14 22:55:03‘More Friends, Less Business’: Kenia Os & La Joaqui Explain the Power of Friendship at Billboard Latin Music Week
