The 23rd Annual Americana Honors & Awards, which are set for Sept. 18 at Nashville’s fabled Ryman Auditorium, will be bookended by memorable performances.
Duane Betts will open the show by performing the Allman Brothers Band’s “Blue Sky,” which his father Dickie Betts wrote. The song appeared on the 1972 classic Eat a Peach, the band’s first album to make the top 10 on the Billboard 200. Dickie Betts died on April 18 at age 80.
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Emmylou Harris and Rodney Crowell will close the show with “Return of the Grievous Angel,” the opening track on Gram Parsons‘ Grievous Angel, on which Harris was prominently featured. The album was released in January 1974, four months after Parsons’ death from an overdose. He was just 26.
The Americana All-Star Band, led by Buddy Miller, will return to back the artists who are performing on Americana music’s biggest night. Other band members include Don Was (who is set to receive a lifetime achievement award), The McCrary Sisters, Bryan Owings, Jerry Pentecost, Jen Gunderman, Jim Hoke and Larry Campbell.
Other performers set for the show include SistaStrings (who will perform with Clark) and Fantastic Negrito (who will perform in a tribute to the late Rev. Gary Davis, who will receive the Legacy Award in partnership with the National Museum of African American Music).
The program will be filmed for broadcast on PBS in the Austin City Limits time slot in November. The awards show is the centerpiece of the annual Americanafest, which returns for its 24th year Sept. 17-21.
The show is set to begin at 6:30 pm CT. Doors open at 5:30 pm CT.
Here are all the performers and presenters for the 2024 Americana Honors & Awards.
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.pngYveto2024-09-13 19:50:562024-09-13 19:50:56Here Are All the Performers & Presenters for the 2024 Americana Honors & Awards: Full List
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August proved to be full of major releases for new streaming content, and thanks to platforms such as Hulu, Paramount+, Netflix, Apple TV+, Peacock, Max, Disney+ and Prime Video, the amount of TV shows and movies to watch is practically endless. With so many streaming options available, it can be overwhelming trying to keep track of what to watch every weekend. Rather than have to keep track or endlessly scroll to figure out the best new shows to stream, ShopBillboard has put together a guide of some of the most anticipated releases to put on your radar.
Each month, streaming platforms have a lineup of exciting and new releases to add to your watch list. From the return of the Emmy’s to channel-exclusive content from MTV, ABC and even USA Network, find our picks for the best TV series and movies to watch this weekend below.
What to Watch on Hulu This Weekend
Hulu comes with a full library of original shows in addition to cable shows from FX and ABC that premiere the day after airing. If you don’t have a subscription, you can get a 30-day free trial when you sign up. When the free trial ends, you’ll be charged as little as $7.99 a month. For even more content options, you can bundle Hulu with with Disney+ and ESPN+ and Max for as low as $14.99 a month. And for live TV options, you can get Hulu + Live TV for $76.99 a month.
JFK airport worker Melissa (Natasha Rothwell) is notably afraid of flying, but after a close encounter with death, she rediscovers her passion for life and decides to dream big again.
In Vogue: The ’90s (Season 1)
Release date: Sept. 13
With ’90s fashion continuing to influence today’s fashion trends, this limited docu-series delves into the fashion industry during the decade through the eyes of notable style editors including Anna Wintour, Edward Enninful, Tonne Goodman and Hamish Bowles in addition to celebrity fashion influencers like Kim Kardashian, Kate Moss, Victoria Beckham and Mary J. Blige.
76th Emmy’s Award Show (2024)
Release date: Sept. 15
The Emmy’s return for the 76th year and will be aired live on ABC with co-hosts Dan and Eugene Levy taking you through the night. Shogunand The Bearare current record holders for the most amount of nominations for their respective categories (23 for the Jeremey Allen White led comedy series and 25 for the drama). You’ll need Hulu + Live TV in order to livestream the award show or you can stream it the next day on Hulu.
What to Watch on Prime Video This Weekend
Prime members have all of the Prime Video library at their fingertips, including Prime originals and exclusive content. If you’re not a member, Amazon is offering a 30-day free trial for new users. You’ll get access to the entire Prime Video library in addition to Prime exclusive perks. Once your free trial is over, you’ll be charged the regular membership fee of $14.99 a month or $139 a year.
In The Money Game, Prime Video gives a closer look into college athletes’ lives and the impacts on the law change that finally allows players to make a profit through brand deals. You’ll see four different players from Louisiana State University as they navigate the benefits and challenges that come with this new era in collegiate sports.
What to Watch on Paramount+ This Weekend
Paramount+ is the official streaming platform for Showtime, Nickelodeon, MTV, CBS, Comedy Central and even its own exclusive content. Paramount+ subscribers can watch and stream any content within the library for free including live content. New users who sign up can take advantage of a free seven day trial that’ll let you watch everything for free. Once the free trial is over, you’ll be charged $5.99 a month (or $59.99 a year). To get access to Showtime content, you’ll need to sign up for Paramount+ With Showtime, which is only $11.99 a month.
Sylvester Stallone returns in this dark comedy that follows Mafia capo Dwight “The General” Manfredi as he begins a new crime empire after being exiled to Tulsa. The latest season will see how things fare after The General draws unwanted attention with the opening of his new casino and weed company.
What to Watch on Max This Weekend
Max subscribers can look forward to dramatic new releases when logging in. If you don’t have a subscription, you can sign up for as low as $9.99 a month or $99.99 a year for the ad-supported plan or you can go ad-free for $15.99 a month ($149.99 a year).
The final season of the drama series looks examines female friendships focusing on two young women’s relationship and its evolution throughout the years with the final season set against the backdrop of a post WWII Italy.
Civil War (2024)
Release date: Sept. 13
Kristen Dunst stars in this dystopian thriller as journalists race to the Washington D.C. in an attempt to help prevent an attack from rebel factions on the White House.
What to Watch on Netflix This Weekend
Besides signing up the traditional way, new Netflix subscribers can take advantage of free trials and promos going on through Xfinity, T-Mobile and Verizon.
Emily in Paris (Season 4, Part 2)
Release date: Sept. 12
Fans’ appetite for the full season can finally be satiated as the second part of Emily in Paris is officially out. New romance is possibly on the horizon for Emily Cooper as she finds herself in Italy on vacation with Gabriel and Camille (who is secretly hiding her false pregnancy).
Uglies (2024)
Release date: Sept. 13
Based on the bestselling series, Joey King stars in this sci-fi thriller as Tally Youngblood, a young girl who lives in a society that enforces beauty standards. As she awaits her mandatory cosmetic surgery, she finds herself caught up in a hunt to find her missing best friend.
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Donald Trump infringed copyrights by using Eddy Grant’s iconic “Electric Avenue” in a 2020 campaign video without permission, a federal judge ruled Friday (Sept. 13), rejecting Trump’s argument that he made legal fair use of the song.
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Grant sued Trump in 2020 after the then-president used his 1982 hit in a social media video attacking Joe Biden. Grant said he reacted with “dismay” when he began receiving inquiries asking if he had approved the Republican candidate’s use of his music.
Trump’s lawyers had argued the video was shielded under copyright’s fair use doctrine, which allows for the “transformative” re-use of protected works in certain situations. But in Friday’s ruling, Judge John G. Koeltl sharply rejected that argument.
“In this case, the video has a very low degree of transformativeness, if any at all,” the judge wrote. “The video is best described as a wholesale copying of music to accompany a political campaign ad.”
A spokesperson and an attorney for the Trump campaign did not immediately return requests for comment.
Four years earlier, Grant filed a similar case over Trump’s “wrongful and willful” use of “Electric Avenue,” a funky, reggae-infused track about the 1981 Brixton riot, named for a road running through that London neighborhood. The song reached No. 2 on the Hot 100 in the summer of 1983 and ultimately spent 22 weeks on the chart.
The video at issue, shared by Trump on Twitter, featured a red “Trump” train outrunning a handcar driven by Biden, as audio clips of Biden’s speeches played above Grant’s 1982 hit. Grant’s attorneys said the campaign had refused to remove the clip even after they were warned — meaning that Trump was acting as if he was “above the law.”
Facing those allegations, Trump’s legal team argued that the video amounted to fair use, claiming the campaign had transformed Grant’s song into a vehicle to criticize Biden. In 2021, Judge Koeltl hinted that he would likely reject that argument on the grounds that it “misapprehends” how fair use works, but he said it was too early to decide the issue.
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On Friday, the judge made good on his warnings, largely adopting the same rationale as his 2021 decision. He noted that Trump’s video “did not edit the song’s lyrics, vocals, or instrumentals at all” and had “offered no justification for their extensive borrowing.”
Trump’s attorneys had argued that the video had “transformed Grant’s original conception of ‘Electric Avenue’ as a protest against social conditions into a colorful attack on the character and personality traits of a rival political figure.” But the judge was entirely unswayed by that defense — saying that it would only count as fair use if Trump had used the song to attack Grant, not Biden.
“The animation does not use ‘Electric Avenue’ as a vehicle to deliver its satirical message, and it makes no effort to poke fun at the song or Grant,” Judge Koeltl wrote, quoting directly from his earlier decision.
Friday’s ruling means that Trump and his campaign have been held legally liable for copyright infringement, but it leaves undecided the amount he must ultimately pay Grant in damages. That issue will be resolved in future proceedings.
An attorney for Grant did not immediately return a request for comment.
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With fall just around the corner, there’s no better time to update your autumn playlists with new music from your favorite queer artists. Billboard Pride is 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 Charli XCX & Troye Sivan’s amped-up new remix to Demi Lovato’s touching new ballad, check out just a few of our favorite releases from this week below.
Charli XCX feat. Troye Sivan, “Talk Talk (Remix)”
The best remixes are the ones that take the concept behind an original song and completely transform it into something new. Charli XCX and Troye Sivan accomplish exactly that on their thrilling rendition of “Talk Talk,” keeping a handful of memorable melodies from the original song while completely recontextualizing the track into a sweaty, bouncing club banger. Their vocals pair perfectly together as they talk their way into their respective lovers’ beds, making the hype around this remix much more than just talk (talk).
Demi Lovato, “You’ll Be OK, Kid”
In many ways, Demi Lovato’s new documentary Child Star is an opportunity for them to speak to their younger self. With the documentary’s accompanying song “You’ll Be OK, Kid,” Lovato takes that idea to its literal conclusion, singing a lullaby-esque melody to a younger, less-experienced Demi. She warns her former self to be wary of “sharks in the water” and “thorns on the roses,” but concludes with assurance that ultimately, things will work out.
Joy Oladokun, “I’d Miss the Birds”
Joy Oladokun is ready to move on. On her stunning new single “I’d Miss the Birds,” the pop-folk singer-songwriter pens a bittersweet farewell to the city of Nashville, a place that has simultaneously helped her become the person she is, while also being the place that she has entirely outgrown. Throughout her brutally-honest track, Oladokun makes clear all the things she won’t miss, before admitting that leaving somewhere you’ve called home for so long is never easy. “But it doesn’t mean I should hang ’round and suffer,” she determines.
Arca & Tokischa, “Chama”
What happens when you take two of the most fascinating experimental pop artists in the game and put them together on one song? You get something like “Chama,” the entrancing new single out courtesy of Arca and Tokischa. Throughout this pulsating anthem, the duo trade sexed-up verses in their native Spanish, which the shifting, percolating beat constantly switches, morphs, speed, slows and intensifies, making “Chama” yet another slice of thrilling music courtesy of two artists intent on changing things up.
Soccer Mommy, “Driver”
If Taylor Swift was admitting she might be the problem with “Anti-Hero,” then Sophie Allison (a.k.a. Soccer Mommy) is thanking her lover for sticking around anyways on “Driver.” This classic, guitar-and-drum indie-rock track sees Allison embracing her role as the indecisive, spaced-out girlfriend, waiting for her partner to bring her back to Earth. It’s simple, effective, and a testament to Soccer Mommy’s staying power as a rock artist that she keeps you listening throughout this easy-to-enjoy single.
Pale Waves, “Thinking About You”
Speaking of effective rock vibes, Pale Waves is here to once again prove just how good their new era sounds. “Thinking About You” follows previous singles like “Perfume” and “Gravity” in its ’90s goth-rock-meets-pop inspiration, as frontwoman Heather Baron-Gracie finds herself stuck on a past relationship no matter how hard she tries to move on. The soft guitars and Baron-Gracie’s top-tier vocal sends “Thinking About You” to new heights for the band.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
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With the announcement of Charli XCX’s Brat remix album, Troye Sivan leads the way with his remix with her on “Talk Talk.” Watch what he had to say about making the remixed single, out now!
Stay tuned for the full Troye Sivan interview, coming soon!
Troye Sivan: We’ve come out with something that I really, really love, like, it slaps I think.
Why was “Talk Talk” the song that you guys felt like was right for your remix?
She did the whole remix album, so there’s, like, a remix for every song, and she chose me for “Talk talk.” When she was first working on Brat, she sent me “Talk Talk” and I loved it, obviously. And it was really cool, though, because what she’s done with this remix album is, like, it can be … Some of the remixes are kind of a more maybe traditional feature, where the person has come on and just, you know, is on the second verse, kind of like doing the same melody, but maybe changing some lyrics, but, you know, kind of like that vibe.
What she said as well, though, was that she wanted some of the songs to … She’s just like, “I don’t care if you use one word from the original, it can be a completely new song. But use, use ‘Talk Talk’ as, like, you know, a seed for a song.” Essentially, we sampled “Talk Talk” and created an entirely new pop song out of it. Because I said to her, “If it’s a remix, is this like a, like a six-minute long, like, club song? Or is this like a pop song?” And she was like, “No, it’s a pop song.” I’m like, “OK, cool.”
I had so much fun, kind of, like, taking the scissors to the song that I really, really love, and getting to, kind of, like, chop it and change it and whatever. And we brought in kind of, like, the rush team, and worked on it, and then sent it back to Charli, and Charli did her thing, sent it back to me. It was just kind of like this really fun collaborative process, and we’ve come out with something that I really, really love, it, like, slaps I think, yeah.
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.pngYveto2024-09-13 19:30:352024-09-13 19:30:35Troye Sivan Gets to ‘Talk Talk’ About Charli XCX Remix | Billboard News
You can’t say no one’s getting rich from streaming. In an indictment unsealed in early September, federal prosecutors charged musician Michael Smith with fraud and conspiracy in a scheme in which he used AI-generated songs streamed by bots to rake in $10 million in royalties. He allegedly received royalties for hundreds of thousands of songs, at least hundreds of which listed as co-writer the CEO of the AI company Boomy, which had received investment from Warner Music Group. (The CEO, Alex Mitchell, has not been charged with any crime.)
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This is the first criminal case for streaming fraud in the U.S., and its size may make it an outlier. But the frightening ease of creating so many AI songs and using bots to generate royalties with them shows how vulnerable the streaming ecosystem really is. This isn’t news to some executives, but it should come as a wake-up call to the industry as a whole. And it shows how the subscription streaming business model with pro-rata royalty distribution that now powers the recorded music industry is broken — not beyond repair, but certainly to the point where serious changes need to be made.
One great thing about streaming music platforms, like the internet in general, is how open they are — anyone can upload music, just like anyone can make a TikTok video or write a blog. But that also means that these platforms are vulnerable to fraud, manipulation and undesirable content that erodes the value of the overall experience. (I don’t mean things I don’t like — I mean spam and attempts to manipulate people.) And while the pluses and minuses of this openness are impossible to calculate, there’s a sense in the industry and among creators that this has gradually become less of a feature and more of a bug.
At this point, more than 100,000 new tracks are uploaded to streaming services daily. And while some of this reflects an inspiring explosion of amateur creativity, some of it is, sometimes literally, noise (not the artistic kind). Millions of those tracks are never heard, so they provide no consumer value — they just clutter up streaming service interfaces — while others are streamed a few times a year. From the point of view of some rightsholders, part of the solution may lie in a system of “artist-centric” royalties that privileges more popular artists and tracks. Even if this can be done fairly, though, this only addresses the financial issue — it does nothing for the user experience.
For users, finding the song they want can be like looking for “Silver Threads and Golden Needles” in a fast-expanding haystack. A search for that song on Apple Music brings up five listings for the same Linda Ronstadt recording, several listings of what seems to be another Ronstadt recording, and multiple versions of a few other performances. In this case, they all seem to be professional recordings, but how many of the listings are for the same one? It’s far from obvious.
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From the perspective of major labels and most indies, the problems with streaming are all about making sure consumers can filter “professional music” from tracks uploaded by amateur creators — bar bands and hobbyists. But that prioritizes sellers over consumers. The truth is that the streaming business is broken in a number of ways. The big streaming services are very effective at steering users to big new releases and mainstream pop and hip-hop, which is one reason why major labels like them so much. But they don’t do a great job of serving consumers who are not that interested in new mainstream music or old favorites. And rightsholders aren’t exactly pushing for change here. From their perspective, under the current pro-rata royalty system, it makes economic sense to focus on the mostly young users who spend hours a day streaming music. Those who listen less, who tend to be older, are literally worth less.
It shows. If you’re interested in cool new rock bands — and a substantial number of people still seem to be — the streaming experience just isn’t as good. Algorithmic recommendations aren’t great. Less popular genres aren’t served well, either. If you search for John Coltrane — hardly an obscure artist — Spotify offers icons for John Coltrane, John Coltrane & Johnny Hartman, the John Coltrane Quartet, the John Coltrane Quintet, the John Coltrane Trio and two for the John Coltrane Sextet, plus some others. It’s hard to know what this means from an accounting perspective — one entry for the Sextet has 928 monthly listeners and the other has none. If you want to listen to John Coltrane, though, it’s not a great experience.
What does this have to do with streaming fraud? Not much — but also everything. If the goal of streaming services is to offer as much music as possible, they’re kicking ass. But most consumers would prefer an experience that’s easier to navigate. This ought to mean less music, with a limit on what can be uploaded, which some services already have; the sheer amount of music Smith had online ought to have suggested a problem, and it seems to have done so after some time. It should mean rethinking the pro-rata royalty system to make everyone’s listening habits generate money for their favorite artists. And it needs to mean spending some money to make streaming services look more like a record store and less like a swap-meet table.
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These ideas may not be popular — streaming services don’t want the burden or expense of curating what they offer, and most of the labels so eager to fight fraud also fear the loss of the pro-rata system that disproportionately benefits their biggest artists. (In this industry, one illegitimate play for one song is fraud but a system that pays unpopular artists less is a business model.) But the industry needs to think about what consumers want — easy ways to find the song they want, music discovery that works in different genres, and a royalty system that benefits the artists they listen to. Shouldn’t they get it?
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.pngYveto2024-09-13 19:25:352024-09-13 19:25:35Is Streaming Broken? The Big AI Fraud Indictment Raises Serious Questions
On Billboard JAPAN’s “Niconico VOCALOID SONGS” 2024 mid-year ranking, announced on June 7, Yoshida Yasei’s “Override” took the top spot. This chart tracks the popularity of Vocaloid songs on Niconico, ranking the top 20 based on data such as the total number of plays, the total number of videos, the number of comments, the number of likes, and other figures, multiplied by coefficients developed by Billboard JAPAN. Chart results have been published on a weekly basis since December 7, 2022.
Sasuke Haraguchi’s “HITO Mania” took the No. 1 spot on the “Niconico VOCALOID SONGS TOP20” for the first time on September 20, 2023, keeping its position for 18 consecutive weeks, a new record for the chart. This had a huge impact on the Vocaloid scene. However, on the January 24, 2024 chart, “HITO Mania” was dethroned by Yoshida Yasei’s “Override,” failing to reach the 19 week mark. What’s important to note is that while jon-YAKITORY’s “Konton Boogie,” Sasuke Haraguchi’s “Medicine,” and nbaji’s “Sukina Souzai Happyou Dragon” then took the number one positions, “Override” made a comeback, claiming the number one position once more. This is a testament to the song’s tremendous momentum. It combines a catchy, distinctively Vocaloid, unforgettable melody with lyrics that can be taken as lampooning society itself, taking the position that there’s no way to know what lies beneath the things people say. The music video, featuring Kasane Teto, makes quite the impression, packed with net memes. The popularity of “Override” also got a boost from derivative works.
◎Yoshida Yasei’s “Override”
Not only have there been changes in the sound of Vocaloid songs, but also in the voice synthesis software used to make them. For example, KAFU, which was released as CeVIO AI voice synthesis software in July 2021, was based on the voice of KAMITSUBAKI STUDIO’s virtual singer KAF, and its use became a major trend starting in 2021. The Niconico VOCALOID SONGS chart has included Tsumiki’s “Phony” (2021), Hiiragi Magnetite’s “Marshall Maximizer” (2021), and Iyowa’s “Kyu-kurarin” (2021), all of which feature KAFU. In addition to Yamaha’s VOCALOID, there is now a growing range of voice synthesis software, including VOICEROID, CeVIO AI, and Synthesizer V. This wide selection has led to more diverse music.
The mid-year chart for 2024 has been taken by storm by songs featuring Kasane Teto in particular. There’s Yoshida Yasei’s “Override” (No. 1), Sasuke Haraguchi’s “HITO Mania” (No. 2), Sasuke Haraguchi’s “Medicine” (No. 3), 32ki’s “Mesmerizer” (No. 6), nbaji’s “Sukina Souzai Happyou Dragon” (No. 7)… The chart is top-heavy with songs that use Kasane Teto. A major reason for this boom is the commercial release of Synthesizer V AI Kasane Teto on April 27, 2023. This voice synthesizer, which can produce more human, realistic vocals, began as an April Fool’s hoax: in March 2008, users on the 2channel message board announced the creation of new Vocaloid software named “Kasane Teto.” Coincidentally, the free UTAU voice synthesis software had been released in March of the same year. With UTAU, it was possible to use the voice of Mayo Oyamano, who provided the fake vocals for the prank, as a voicebank. With this, Kasane Teto was launched as an “official” voice synthesizer. As if to celebrate the 15th anniversary of this serendipitous beginning, the chart for the first half of 2024 is packed with Kasane Teto songs, whether made using the Synthesizer V version or the UTAU version.
Listening again to the songs in the chart, a few other interesting commonalities spring up. The first that stands out is the way that net memes and common phrases are sprinkled throughout. For example, these include “Override,” whose video appears to be a homage to Surii’s “Telecaster B-Boy,” “HITO Mania,” which takes a poke at modern society using familiar, cut-and-pasted expressions, and “Konton Boogie,” which includes the nostalgic 2000’s meme “What is that? Does it taste good?” From the early days of the Vocaloid scene until around 2015, lyrics were often direct, telling a story, as can be heard in ryo’s “Melt” or Scop’s “Irony.” However, in recent years, Vocaloid songs have had a growing tendency to use metaphors, symbolism, and difficult lyrics. We live in an age in which the things that people say are often taken in isolation, divorced from their context, shared and spread, and interpreted in unintended ways. Perhaps this is what is behind the new trend of Vocaloid lyrics becoming strings of abstract expressions. In the comments, people provide various interpretations, attempting to unravel the messages lurking within these abstractions. The massive hit “HITO Mania” typifies this, with deep lyrics that can be seen as skewering society, carried by a clipped audio backing. Its lyrics bear wide room for interpretation.
◎Sasuke Haraguchi’s “HITO Mania”
The Vocaloid scene, which sprang from Niconico, is very welcoming to all kinds of derivative works, such as dance and vocal covers. “Sukina Souzai Happyou Dragon” took the No. 4 spot in the Neta Kyoku Tokosai (“Joke Song Festival”) category in VocaColle 2023 Summer. Parody comics and art by artists like the manga creator Sakamegane caused it to trend on X (Twitter), and its popularity exploded. User-generated content now holds the key to becoming a hit, and in some cases creators themselves actively encourage the creation of derivative works. For example, in the comments of his video “Override,” Yoshida Yasei provided tips for creating derivative works. nbaji wrote in the description box of his own videos that derivative works and parody songs were welcome. Moves such as these have accelerated the sharing of the songs. The killer tunes of the Vocaloid scene aren’t just the product of high musical quality, but involve various interwoven factors, including derivative works.
The chart for the first half of 2024 features many unique songs with the unique passion and individuality so typical of Niconico. It will be one to remember and it’ll be interesting to see what kinds of new killer tunes will one day dethrone them.
—This article by Mio Komachi was planned for publication in June 2024, but Niconico service was suspended due to a cyberattack, and is instead being published in September 2024
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.pngYveto2024-09-13 19:05:352024-09-13 19:05:35Japan’s Vocaloid Scene: Top Trend for the First Half of 2024 Is ‘Room for Interpretation’
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The Lenox Spice Village is back for the first time since the 1980s. Despite being discontinued decades ago, the adorable spice jars went viral on TikTok and Instagram, and now they’re being sold for as much as $2,500 on Etsy.
With all the digital fanfare, Lenox opted to bring the Spice Village back for another run. The second edition is just as “lovely and whimsically nostalgic as the 1989 originals,” per the product description, and the price hasn’t gone up. The retro spice jars retail for $15 each.
Want the full set? The Lenox Spice Village retails for $285 and features 24 spices packaged in miniature Victorian houses made from the brand’s fine ivory porcelain and hand-painted with spice-inspired designs. Each spice house measures 3-inches tall x 1.75-inches long x 1.75-inches wide.
The Spice Village includes rosemary, oregano, basil, allspice, cinnamon, nutmeg, garlic, saffron, bay, tarragon, ginger, thyme, parsley, marjoram, mustard, clove, coriander, sage, paprika, onion, chive, pepper, celery and dill.
“The relaunch of the Spice Village was inspired by the overwhelming enthusiasm from our customers,” Jennifer DiBenedetti, vice president of marketing at Lenox shared with the Food Network in August. “The popularity of the original set on Instagram and TikTok,” she adds, “made it clear that our customers see the Spice Village as a cherished piece of art and nostalgia. We wanted to honor that sentiment by bringing it back for a new generation of collectors.”
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.pngYveto2024-09-13 19:05:342024-09-13 19:05:34Nostalgia Thyme! The Lenox Spice Village Is Back After 35 Years: Here’s How to Shop the Collection Online
In our Latin Remix of the Week series, we spotlight remixes that the Billboard Latin and Billboard Español editors deem to be exceptional and distinct from the rest. We might not publish a review every week. This is our selection today.
Following her latest album, Grasa, Nathy Peluso debuts Club Grasa, an eight-track EP that turbocharges half ofthe album’s original 16 tracks with a dance floor-ready twist. In her first remix project, she harnesses the talents of international electronic producers to reinvent these tracks. Elements of rap, salsa, soul and acoustic melodies are reinterpreted through the lenses of these diverse artists, reflecting a global EDM aesthetic.
“This whole process has been an experiment and a super fun journey for me,” Nathy Peluso shared in a press release. “I’ve handed over my music to producers from the international clubbing scene, giving them total freedom to reinterpret it from its core.”
She also describes Club Grasa as a project that pushes her creative boundaries through collaboration, embodying the album’s intent for listeners to experience the “music in their own unique ways.”
The lineup includes Spain’s nusar3000, TRISTÁN!, Ideas Radicales, and Phoac; Argentina’s Garoto 3000 and Tayhana — who is also Mexican; Colombia’s CRRDR, and the U.K.’s Mura Masa.
The Grammy-winning British producer Mura Masa brings a glitchy electro touch to “Menina,” featuring Spanish-Brazilian artist Lua de Santana. Mura Masa, born Alex Crossen, shared his enthusiasm. “Nathy is really wonderful and Grasa is such a great album with a real sonic identity,” he said in a press release. “I wanted to take what she and Lua de Santana had done with the original and recontextualize those conceptual elements into a more club-friendly setting without compromising that identity.”
The remixes showcase a range of styles and influences. Nusar3000 infuses “Real” with a more adrenaline-pumping approach, while TRISTÁN!’s synth-futurist sound transforms “Corleone.” Tayhana’s remix of “Aprender a Amar” contrasts with Garoto 3000’s bouncy approach to “Manhattan.” PHOAC and Merca Bae explore Caribbean-industrial sounds in their respective remixes, with CRRDR blending tribal and Latin club rhythms in “Todo Roto.”
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.pngYveto2024-09-13 19:00:452024-09-13 19:00:45Latin Remix of the Week: Nathy Peluso’s ‘Club Grasa’ EP
The single – Lynch’s ninth Country Airplay leader and Jelly Roll’s fifth – increased 10% to 30.1 million audience impressions Sept. 6-12, according to Luminate.
“Chevrolet” was written by Chase McGill, Jessi Alexander and Hunter Phelps, with Mentor Williams also receiving writer billing, as it interpolates his classic “Drift Away.” Recorded by Dobie Gray, the original hit No. 5 on the Billboard Hot 100 hit in 1973. Plus, Uncle Kracker’s update, featuring Gray, reached No. 9 in 2003.
“The response to this song has been absolutely wild to see in our live shows from way early on,” Lynch tells Billboard. “This iconic melody from ‘Drift Away’ is deep within all of us, and connects us instantly for such an epic sing-along. There’s a nostalgia to it that just feels good, and it becoming my ninth No. 1 on Billboard’s Country Airplay chart means so much, especially since I get to celebrate this with my buddy Jelly. To the fans that have been on this crazy journey with me, this one is for you! Let’s keep riding y’all – I’m just getting started!”
Notably, “Chevrolet” is the latest Country Airplay No. 1 to either interpolate or remake a past hit. It’s the second in a row, as it supplants Shaboozey’s “A Bar Song (Tipsy),” which updates J-Kwon’s 2004 hip-hop hit “Tipsy.”
Before that, Kane Brown’s “I Can Feel It,” which reworks Phil Collins’ “In the Air Tonight,” led Country Airplay for a week in March; Luke Combs’ faithful cover of Tracy Chapman’s “Fast Car” reigned for five weeks beginning last July; and Cole Swindell’s “She Had Me at Heads Carolina,” which reimagines Jo Dee Messina’s “Heads Carolina, Tails California,” banked four weeks at No. 1 beginning in September 2022.
Plus, Jelly Roll joined MGK for “Lonely Road.” The reinterpretation of John Denver’s “Take Me Home, Country Roads” has spent the last weeks in the top 40 of the multimetric Hot Country Songs chart.
“Chevrolet,” which Zach Crowell and Ben Phillips produced, is from Lynch’s album Killed the Cowboy. He last topped Country Airplay with “Thinking ‘Bout You,” featuring MacKenzie Porter, for six weeks beginning in December 2021. His other No. 1s: “Ridin’ Roads,” for one week in January 2020; “Good Girl” (one, January 2019); “Small Town Boy” (four weeks, starting in September 2017); “Seein’ Red” (one, February 2017); “Mind Reader” (one, June 2016); “Hell of a Night” (one, September 2015); and “Where It’s At (Yep, Yep)” (two, September-October 2014).
Jelly Roll boasts the longest active streak of Country Airplay No. 1s from the start of a career at the format. (Kane Brown boasts the longest run overall: six, dating to July 2021.) Jelly Roll previously led with “Halfway to Hell,” for one week in June; “Save Me,” featuring Lainey Wilson (two weeks, December 2023); “Need a Favor” (four, beginning in August 2023); and “Son of a Sinner” (one, January 2023).
Jelly Roll concurrently climbs 14-11 (17 million, up 15%) on Country Airplay with his own “I Am Not Okay” (Bailee & Buddy/BMG/Republic/Stoney Creek).
Traveling ‘Miles’
Marshmello and the aforementioned Kane Brown’s “Miles on It” hits the Country Airplay top 10 (11-7; 20.8 million, up 19%). Marshmello reaches the tier in the DJ’s first visit to the chart. Brown banks his 13th top 10 and first since “I Can Feel It,” which became his 11th No. 1 in March.
All charts dated Sept. 21 will update Tuesday, Sept. 17 on Billboard.com.
