In between being hit hard and soft — but mostly hard — by varying levels of spiciness on First We Feast’s latest Hot Ones Versus episode Tuesday (July 9), Billie Eilish and Finneas opened up about disagreements they had while making the former’s new album Hit Me Hard and Soft together.
Related
Taylor, Megan, Billie & Chappell: Women Claim Four in Top Five on Billboard 200 for First Time in…
“He’s a lot of times barefoot, a lot of the times in very filthy shoes,” the 22-year-old singer began, miming how her older brother would put his feet up on the sound board right in front of her. “My face is right there. And actually we filmed so much in making the album that almost all the footage is his feet and then me.”
That said, the 26-year-old producer revealed that another conflict during the album-recording process takes the cake. “I think the longest, biggest argument was during a period of transition in maybe both of our lives where we were just trying to be kind of honest,” he shared as his younger sister nodded in agreement. “To give [Billie] credit, I was very much high and mighty about, like, ‘You’re not being honest or authentic enough.’”
“So I learned a lot from being too egocentric in that process,” Finneas added.
As the duo braved increasingly spicy vegan chicken wings — which caused them both to get progressively sweaty and tear up — Billie and Finneas also took turns answering questions about their childhood fears (Star Trek‘s Salt Monster and parents turning into pigs in Spirited Away, respectively) and their love for their Barbie soundtrack contribution “What Was I Made For?” At one point, the elder sibling revealed which star he never wants to produce for ever again — although the name was bleeped out — while the “Lunch” singer rated some of her old outfits but refused to rank her idols Tyler, the Creator, Lana Del Rey, Justin Bieber and Childish Gambino.
The pair have previously opened up about butting heads while making their third studio album together, telling Apple Music 1‘s Zane Lowe in May that they clashed over how vulnerable Billie was willing to be in their songwriting sessions. “I was like, ‘Subject-wise, I’m not being led into what you’re actually feeling, and I think that there are real guards up,’” Finneas recalled telling his sister at the time.
They also reached a boiling point when Finneas temporarily felt like he no longer wanted to make music. “It was very interesting because I saw myself in that,” Billie added to Lowe. “I was like, ‘I have felt that way and you have always been the thing that keeps the ship moving, and now you feel that way. What does that mean for us? And what are we going to do?”
Watch Billie and Finneas on Hot Ones Versus above.
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.pngYveto2024-07-09 17:56:132024-07-09 17:56:13Billie Eilish & Finneas Reveal the Biggest Argument They Had While Making ‘Hit Me Hard and Soft’
Will Smith’s first Christian/gospel single, “You Can Make It,” featuring Fridayy and Sunday Service Choir, arrives on Billboard’s charts (dated July 13).
Related
Will Smith Debuts ‘You Can Make It’ With Chandler Moore, Kirk Franklin & Sunday Service Choir at…
Released June 28, the track enters the streaming-, airplay- and sales-based Hot Gospel Songs chart at No. 3, as well as the multimetric Hot Christian Songs tally at No. 23.. It drew 726,000 in radio audience and 665,000 official U.S. streams and sold 1,000 through July 4, according to Luminate.
The screen star and rapper makes his first appearance on the rankings. His latest film, Bad Boys: Ride or Die, also starring Martin Lawrence, premiered June 7.
“I was really talking to myself,” Smith tells Billboard of the song, which he co-wrote. “To see so many people resonate with the intention gives me a clear North Star for this next chapter of my creative life.”
Smith and Sunday Service Choir performed “You Can Make It” live for the first time at the 2024 BET Awards at the Peacock Theatre in Los Angeles on June 30, joined by Kirk Franklin and Chandler Moore.
Like Smith, R&B/hip-hop artist Fridayy earns his first Hot Gospel Songs top 10, while Sunday Service Choir adds its third. The track also opens in the top 10 on Gospel Digital Song Sales (No. 3), Christian Digital Song Sales (No. 6) and Gospel Streaming Songs (No. 10), as well as at No. 28 on Gospel Airplay.
Related
Jada Pinkett Smith Explains How Will Smith’s Oscars Slap Saved Couple’s Marriage
Smith has scored a pair of No. 1s as a soloist on the Billboard Hot 100: “Gettin’ Jiggy Wit It” in 1998, and “Wild Wild West,” featuring Dru Hill and Kool Mo Dee, in 1999. He broke through in the late 1980s/early ‘90s as (the latter) half of duo D.J. Jazzy Jeff & The Fresh Prince, who reached a No. 4 Hot 100 high with “Summertime” in 1991, and as the lead on NBC’s pop-culture cornerstone The Fresh Prince of Bel-Air.
Smith, who won a best actor Academy Award for his role in the 2022 film King Richard, and who has taken home four Grammy Awards, is reportedly working on a full Christian/gospel album.
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.pngYveto2024-07-09 17:52:282024-07-09 17:52:28Will Smith’s First Faith-Based Song ‘You Can Make It’ Debuts on Billboard Charts: ‘I Was Really Talking to Myself’
Adrian Olivares, an ex-member of famed Latin boy band Menudo, died at the age of 48 on Monday (July 8).
Related
Gone But Not Forgotten: Musicians We Lost in 2024
The news was confirmed by fellow bandmate Robert Avellanet, who shared a photo carousel on Instagram of the time they were both part of the group. “I’m still in shock! Strength for your family,” he captioned the post. “Happy transition to your soul. I will always remember his great sense of humor. We will meet there, brother. RIP Adrian.”
The official Menudo Instagram account also shared various throwback photos and videos in remembrance of Olivares. “Remembering Adrian, the 23rd member of Menudo, who brought joy to many from 1990-1993,” the group captioned its post. “His legacy will forever live in our hearts.”
Olivares, who hosted a podcast at Wynwood Radio, unexpectedly died at 5:30 a.m. on Monday, July 8, after being diagnosed with Crohn’s disease only a week ago, according to the GoFundMe page created by his loved ones and shared by Menudo. The disease was further complicated by ulcerative colitis.
“Adrian was an incredible father to his three daughters Eliana (18), and the twins Lia and Lilly (8),” the organizer wrote. “If you would please consider donating anything you can, it would be greatly appreciated as the family does not have the means to give Adrian his final farewell and help these girls with all their necessary expenses. All donations will be given to his mother, Natasha … Fly high Adrian, we love you!”
Olivares, from Mexico, formed part of Menudo from 1990 to 1993 when he was 13 to 16 years old, joining after Ricky Martin’s departure in 1989. He’s the third Menudo member of menudo to pass on, following Rey Reyes and Anthony Galindo.
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.pngYveto2024-07-09 17:41:252024-07-09 17:41:25Adrian Olivares, Former Menudo Band Member, Dead at 48
The U.S. Copyright Office has finalized a new rule aimed at ensuring that songwriters who invoke termination rights to regain control of their music will actually start getting paid streaming royalties after they do so.
The provision, issued on Tuesday, will overturn what the Copyright Office called an “erroneous” earlier policy by the Mechanical Licensing Collective, which critics feared would have kept sending money from streamers like Spotify to former owners in perpetuity, long after a songwriter took back ownership.
Related
MLC and DLC Begin First Re-Designation Process Since MMA Passage
Proposals to force the MLC to change that approach, first reported by Billboard in 2022, were supported by a slew of songwriters like Don Henley, Sheryl Crow and Sting, who feared they would be “deprived of the rights afforded to them by copyright law.” The effort was led by groups including the Music Artists Coalition, Songwriters of North America, Black Music Action Coalition and the Recording Academy.
In a statement on Tuesday, Music Artists Coalition board member Jordan Bromley called the Copyright Office’s new termination rule a “landmark victory for songwriters.”
“This decision not only ensures fair compensation for songwriters who reclaim their rights, but also sets a precedent that strengthens the very foundation of copyright law in the digital age,” Bromley said. “It’s a clear message that in the evolving landscape of music streaming and licensing, the rights of creators must be protected and respected.”
A spokeswoman for the MLC did not return a request for comment.
HOW IT WORKS
The new rule issued Tuesday addresses complex questions about how MLC’s blanket license for streaming royalties, created by the Music Modernization Act in 2018, interacts with so-called termination rights – a federal provision that empowers authors to reclaim the rights to their copyrighted works decades after selling them away.
Though a powerful tool for songwriters, termination comes with an important exception. Even though a publisher must hand back the rights to the original song, they’re entitled to keep selling any existing “derivative works” they created when they owned it. Those continue to be fair game, and any fees under existing licenses keep flowing back to their old publisher.
That exception makes practical sense: It would be unfair to let a terminating songwriter suddenly send cease-and-desists over a famous sample that had been legal when it was initially cleared, or sue over a movie that featured the song under a synch license. But it also creates difficult ambiguity for the MLC and the blanket license.
Related
As Big Labels and Publishers Lose Market Power, They Are Pushing to Change Rules on Royalties…
Say a songwriter terminates their publisher’s control of their music. The writer is now the owner of those songs — that’s easy to figure out. But by paying the MLC for access to the blanket license, Spotify arguably already has an existing license in place with the old publisher. So, isn’t the copy of the song on Spotify an existing derivative work? And shouldn’t the royalties from it continue to go to the old publisher under that license?
Under a dispute resolution policy issued by MLC in 2021, that appeared to be the case. The rules seemed to choose who to pay based on when a song was uploaded to a digital streamer’s servers; if it was uploaded prior to when a songwriter invoked their termination right, the royalties would keep going to the old owner — seemingly forever.
The MLC’s approach was not intended as a scheme to hurt songwriters. According to the Copyright Office, the group saw it as a “middle ground,” aimed at preventing drawn-out disputes that would lock up royalty payments “to the disadvantage of both songwriters and publishers.” But advocates argued that it would undermine the very purpose of termination rights, which were created to level the playing field for small creators who sold their works away to powerful companies.
In October 2022, the Copyright Office largely agreed. In a proposed new rule, the agency said the MLC’s policy was based on an “erroneous understanding and application of current law.” Ordering the group to “immediately repeal its policy in full,” the proposal said that when a songwriter gets their rights back, they should obviously start getting the royalties, too.
Nearly two years later, that rule was finalized on Tuesday. The final version retains most of the core features of the original proposal, though certain elements have been changed to address “practical and administrative concerns” raised by industry groups. In particular, the agency said it had modified how the rule identifies the payee to whom the MLC must distribute royalties, and pushed back deadlines to give the MLC more time to “update its processes and systems.”
QUIETING THE CRITICS
Over the past two years, the proposed rule underwent a so-called public comment period, during which it was met with both support and criticism from outside groups. According to Tuesday’s final rule, one of the “principal critics” was the National Music Publisher’s Association, which argued that the MLC’s original approach had been supported by historical precedent in industry practice.
In the new rule, the Copyright Office said it was “not persuaded by NMPA’s argument” on that issue.
“We do not dispute NMPA’s assertion that certain publishers may have adopted a different approach to termination, but this approach is not supported by the law in the context of the blanket license,” the agency wrote. “The Office is not adopting a new position, or changing the law as it relates to termination or the exception. Nor are we contending that the MMA or blanket license altered the law as it relates to the exception. The Office is merely stating what the law is and has always been.”
Related
NMPA Calls on Congress for Copyright Act Overhaul Amid Spotify Battle Over Bundling
The Copyright Office also rejected separate arguments from the NMPA that the new rule was an impermissible “retroactive” rule, or even an unconstitutional “taking” that violated the Fifth Amendment. In doing so, the agency said that “these royalties always belonged to the post-termination copyright owner” and that the new rule simply “implements the law as it already existed.”
Despite earlier disagreements, NMPA President & CEO David Israelite celebrated the final enactment of the rule in a statement Tuesday, saying the group was pleased with a policy that “ensures songwriters are properly and expediently paid post termination.”
“Having clear guidance on this issue will make the MLC and larger industry even more efficient as it gives a clear roadmap to those who have decided to reclaim their copyrights,” Israelite said. “The songwriter groups deserve much credit for working with the Copyright Office and music publishers to push for this decision.”
A spokesperson for the NMPA declined to comment the Copyright Office’s decisions on the group’s specific objections.
Notably, the new rule will not just change the MLC’s approach going forward, but also require “corrective royalty adjustments” to address any money that was paid improperly under the old policy. But such payments are likely to be relatively small: In filings, the MLC has said that it voluntarily suspended the old termination policy while the case played out at the Copyright Office, and that it expects any corrections to total “less than $2 million.”
Bob Dylan will look back on one of the most exciting times in his half-century live performance career this fall with the release of a sprawling 27-disc chronicle of the singer’s iconic 1974 tour featuring The Band as his backing group.
Related
Bob Dylan Center Announces Inaugural Fellowship Recipients
Bob Dylan – The 1974 Live Recordings will be released by Columbia Records and Legacy Recordings on September 20 as a massive set including 431 tracks — 417 of which are previously unreleased performances — with fans getting a sneak peek on Tuesday (July 9) via a never-released version of “Forever Young” recorded in Seattle on Feb. 9, 1974.
The set’s release is timed to celebrate the 50th anniversary of Dylan’s return to touring that year; Dylan retired from the road following a 1966 motorcycle accident. The 40-city North American outing was Dylan’s first tour in eight years and it resulted in the live double album Before the Flood.
After making their name as Dylan’s backing band in 1966 on the folk legend’s first plugged-in tour, the group featuring Robbie Robertson, Rick Danko, Levon Helm, Garth Hudson and Richard Manuel re-joined him in 1974 for his first arena tour. Barnstorming across North America while playing 30 shows in 42 days — sometimes performing two sets per day — the tour kicked off in Chicago on Jan. 3, 1974. According to the release, the outing helped “create the template for the major rock tour,” cementing such live concert staples as fans holding up their lighters en masse (pre-cellphone) and the bright flash of the house lights during pivotal moments in the set.
The group performed many songs for the first time on the tour, including such beloved tracks as “All Along the Watchtower,” “Forever Young” and “Most Likely You Go Your Way (and I’ll Go Mine)” as well as such rarities including “Ballad of Hollis Brown,” “Song to Woody” and “Nobody ‘Cept You.”
A release announcing the box set noted that it will feature 133 of the recordings newly mixed from 16-track tape and every surviving soundboard recording of the tour, as well as new liner notes by journalist/critic Elizabeth Nelson.
A three-LP colored vinyl highlights release, The 1974 Live Recordings – The Missing Songs From Before The Flood, will be issued by Third Man Records featuring versions of every song from the 1974 tour not included on the original Before the Flood album.
Dylan, 83, is currently on the road as part of his “Never Ending Tour,” with his next show slated for July 29 at the North Island Credit Union Amphitheatre in Chula Vista, CA.
Listen to the 1974 recording of “Forever Young” and see the full track listing below.
Track list:
DISC 1
January 3, 1974 – Chicago Stadium, Chicago, IL
1. Hero Blues
2. Lay, Lady, Lay
3. Tough Mama
4. It Ain’t Me, Babe
5. Leopard-Skin Pill-Box Hat
6. All Along the Watchtower
7. Song to Woody
8. The Lonesome Death of Hattie Carroll
9. Nobody ‘Cept You
10. It’s Alright, Ma (I’m Only Bleeding)
11. Forever Young
12. Something There Is About You
13. Like a Rolling Stone
14. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 2
January 4, 1974 – Chicago Stadium, Chicago, IL
1. Hero Blues
2. Just Like Tom Thumb’s Blues
3. It Ain’t Me, Babe
4. Tough Mama
5. Ballad of a Thin Man
6. Leopard-Skin Pill-Box Hat
7. Knockin’ on Heaven’s Door
8. The Times They Are A-Changin’
9. Love Minus Zero/No Limit
10. The Lonesome Death of Hattie Carroll
11. Nobody ‘Cept You
12. It’s Alright, Ma (I’m Only Bleeding)
13. Maggie’s Farm
DISC 3
January 6, 1974 (Afternoon) – The Spectrum, Philadelphia, PA
1. Ballad of Hollis Brown
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. It Ain’t Me, Babe
5. Tough Mama
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Leopard-Skin Pill-Box Hat
9. Knockin’ on Heaven’s Door
10. To Ramona
11. Mama, You Been on My Mind
12. The Lonesome Death of Hattie Carroll
13. Nobody ‘Cept You
14. It’s Alright, Ma (I’m Only Bleeding)
15. I Don’t Believe You (She Acts Like We Never Have Met)
16. Forever Young
17. Something There Is About You
18. Like a Rolling Stone
DISC 4
January 6, 1974 (Evening) – The Spectrum, Philadelphia, PA
1. Rainy Day Women #12 & 35
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. It Ain’t Me, Babe
5. I Don’t Believe You (She Acts Like We Never Have Met)
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Leopard-Skin Pill-Box Hat
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. It’s All Over Now, Baby Blue
12. Song to Woody
13. Mr. Tambourine Man
14. Nobody ‘Cept You
15. It’s Alright, Ma (I’m Only Bleeding)
16. Forever Young
17. Something There Is About You
18. Like a Rolling Stone
19. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 5
January 7, 1974 – The Spectrum, Philadelphia, PA
1. Rainy Day Women #12 & 35
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. It Ain’t Me, Babe
5. I Don’t Believe You
(She Acts Like We Never Have Met)
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. Just Like a Woman
11. Girl from the North Country
12. Wedding Song
13. Nobody ‘Cept You
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 6
January 9, 1974 – Maple Leaf Gardens, Toronto, Canada
1. Rainy Day Women #12 & 35
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. It Ain’t Me, Babe
5. It Take a Lot to Laugh, It Takes a Train to Cry
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. Just Like a Woman
11. Girl from the North Country
12. Wedding Song
13. Nobody ‘Cept You
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 7
January 11, 1974 – Montreal Forum, Montreal, Canada
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. I Don’t Believe You (She Acts Like We Never Have Met)
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Nobody ‘Cept You
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 8
January 14, 1974 (Afternoon) – Boston Gardens, Boston, MA
1. Rainy Day Women #12 & 35
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. It Ain’t Me, Babe
5. I Don’t Believe You (She Acts Like We Never Have Met)
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 9
January 15, 1974 – Capital Centre, Largo, MD
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. I Don’t Believe You (She Acts Like We Never Have Met)
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Wedding Song
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 10
January 16, 1974 – Capital Centre, Largo, MD
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. One Too Many Mornings
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Nobody ‘Cept You
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 11
January 17, 1974 – Coliseum, Charlotte, NC
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 12
January 19, 1974 (Afternoon) – Hollywood Sportatorium, Hollywood, FL
1. All Along the Watchtower
2. Ballad of Hollis Brown
3. Knockin’ on Heaven’s Door
4. The Times They Are A-Changin’
5. Don’t Think Twice, It’s All Right
6. Gates of Eden
7. Just Like a Woman
8. It’s Alright, Ma (I’m Only Bleeding)
9. Forever Young
10. Something There Is About You
11. Like a Rolling Stone
12. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 13
January 21, 1974 – The Omni, Atlanta, GA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Leopard-Skin Pill-Box Hat
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 14
January 22, 1974 – The Omni, Atlanta, GA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. Ballad of Hollis Brown
8. Knockin’ on Heaven’s Door
9. The Times They Are A-Changin’
10. Don’t Think Twice, It’s All Right
11. Gates of Eden
12. It’s All Over Now, Baby Blue
13. It’s Alright, Ma (I’m Only Bleeding)
14. Forever Young
15. Something There Is About You
16. Like a Rolling Stone
17. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 15
January 26, 1974 (Afternoon) – Hofheinz Pavilion, Houston, TX
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 16
January 26, 1974 (Evening) – Hofheinz Pavilion, Houston, TX
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Something There Is About You
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
DISC 17
January 30, 1974 – Madison Square Garden, New York City, NY
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. All Along the Watchtower
5. Ballad of Hollis Brown
6. Knockin’ on Heaven’s Door – released on Before the Flood
7. The Times They Are A-Changin’
8. Don’t Think Twice, It’s All Right
9. Gates of Eden
10. Just Like a Woman
11. It’s Alright, Ma (I’m Only Bleeding) – Incomplete
12. Forever Young
13. Something There Is About You
14. Like a Rolling Stone
15. Most Likely You Go Your Way (and I’ll Go Mine)
16. Blowin’ in the Wind
DISC 18
January 31, 1974 (Afternoon) – Madison Square Garden, New York City, NY
1. All Along the Watchtower
2. Ballad of Hollis Brown
3. Knockin’ on Heaven’s Door
4. The Times They Are A-Changin’
5. Don’t Think Twice, It’s All Right
6. Gates of Eden – Incomplete
7. Forever Young
8. Highway 61 Revisited – released on A Musical History (The Band)
9. Like a Rolling Stone – Incomplete
DISC 19
January 31, 1974 (Evening) – Madison Square Garden, New York City, NY
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower – Incomplete
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Don’t Think Twice, It’s All Right
12. Gates of Eden
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Highway 61 Revisited
17. Like a Rolling Stone
18. Most Likely You Go Your Way (and I’ll Go Mine)
19. Blowin’ in the Wind
DISC 20
February 9, 1974 (Afternoon) – Seattle Center Coliseum, Seattle, WA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. All Along the Watchtower
5. Ballad of Hollis Brown
6. Knockin’ on Heaven’s Door
7. She Belongs to Me
8. The Times They Are A-Changin’
9. The Lonesome Death of Hattie Carroll
10. Don’t Think Twice, It’s All Right
11. Wedding Song
12. Forever Young
13. Highway 61 Revisited
DISC 21
February 9, 1974 (Evening) – Seattle Center Coliseum, Seattle, WA
1. The Times They Are A-Changin’
2. Just Like a Woman
3. Wedding Song
4. Don’t Think Twice, It’s All Right
5. It’s All Right, Ma (I’m Only Bleeding)
6. Forever Young
7. Highway 61 Revisited
8. Like a Rolling Stone
9. Most Likely You Go Your Way (and I’ll Go Mine)
10. Blowin’ in the Wind
DISC 22
February 11, 1974 (Afternoon) – Alameda County Coliseum, Oakland, CA
1. All Along the Watchtower
2. Ballad of Hollis Brown
3. Knockin’ on Heaven’s Door
4. She Belongs to Me
5. The Times They Are A-Changin’
6. The Lonesome Death of Hattie Carroll
7. Don’t Think Twice, It’s All Right
8. Wedding Song
9. Forever Young
10. Highway 61 Revisited
11. Like a Rolling Stone – Incomplete
12. Most Likely You Go Your Way (and I’ll Go Mine)
13. Blowin’ in the Wind
DISC 23
February 11, 1974 (Evening) – Alameda County Coliseum, Oakland, CA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. The Times They Are A-Changin’
11. Just Like a Woman
12. Gates of Eden
13. Don’t Think Twice, It’s All Right – Incomplete
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Highway 61 Revisited – Incomplete
17. Like a Rolling Stone
18. Maggie’s Farm
19. Blowin’ in the Wind
DISC 24
February 13, 1974 – The Forum, Inglewood, CA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay – released on Before the Flood
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35 – released on Before the Flood
5. It Ain’t Me, Babe
6. Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. She Belongs to Me
11. The Times They Are A-Changin’
12. Love Minus Zero/No Limit
13. Don’t Think Twice, It’s All Right
14. Just Like a Woman
15. It’s Alright, Ma (I’m Only Bleeding)
16. Forever Young
17. Highway 61 Revisited
18. Like a Rolling Stone – released on Before the Flood
19. Most Likely You Go Your Way (and I’ll Go Mine)
20. Blowin’ in the Wind – released on Before the Flood (first two verses only)
DISC 25
February 14, 1974 (Afternoon) – The Forum, Inglewood, CA
1. Most Likely You Go Your Way (and I’ll Go Mine)
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe
6. Ballad of a Thin Man – released on Before the Flood
7. All Along the Watchtower – released on Before the Flood
8. Ballad of Hollis Brown
9. Knockin’ on Heaven’s Door
10. She Belongs to Me
11. It’s All Over Now, Baby Blue
12. The Times They Are A-Changin’
13. Just Like a Woman
14. It’s Alright, Ma (I’m Only Bleeding)
15. Forever Young
16. Highway 61 Revisited
17. Like a Rolling Stone
18. Blowin’ in the Wind – released on Before the Flood (last verse only)
DISC 26
February 14, 1974 (Evening) – The Forum, Inglewood, CA (Pt. 1)
1. Most Likely You Go Your Way (and I’ll Go Mine) – released on Before the Flood
2. Lay, Lady, Lay
3. Just Like Tom Thumb’s Blues
4. Rainy Day Women #12 & 35
5. It Ain’t Me, Babe – released on Before the Flood
6.Ballad of a Thin Man
7. All Along the Watchtower
8. Ballad of Hollis Brown
9. Mr. Tambourine Man
10. Knockin’ on Heaven’s Door
DISC 27
February 14, 1974 (Evening) – The Forum, Inglewood, CA (Pt. 2)
1. She Belongs to Me
2. The Times They Are A-Changin’
3. Just Like a Woman – released on Before the Flood
4. Gates of Eden
5. Don’t Think Twice, It’s All Right – released on Before the Flood
6. It’s Alright, Ma (I’m Only Bleeding) – released on Before the Flood
7. Forever Young
8. Highway 61 Revisited – released on Before the Flood
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.pngYveto2024-07-09 17:24:042024-07-09 17:24:04Bob Dylan Releasing 27-Disc, 431-Track Live Recording Box Set of 1974 Shows With The Band
Joe Bonsall, the tenor in The Oak Ridge Boys, died on Tuesday (July 9) from complications of Amyotrophic Lateral Sclerosis (ALS), the group announced on its website and social media accounts. He was 76, and died in Hendersonville, Tenn. Bonsall had announced his retirement from touring at the beginning of the year.
Related
Gone But Not Forgotten: Musicians We Lost in 2024
The Oak Ridge Boys, in which Bonsall teamed with Duane Allen, William Lee Golden and Richard Sterban, first found success as a gospel group. They segued into country music in 1977 with “Y’All Come Back Saloon,” their first of 34 top 10 hits on Billboard’s Top Country Songs chart.
The Oaks landed 17 No. 1 hits on that chart, the third-highest total among duos and groups after Alabama (33) and Brooks & Dunn (20). Two of the Oaks’ country chart-toppers became top 20 hits on the Billboard Hot 100 – “Elvira” (No. 5 in 1981) and “Bobbie Sue” (No. 12 in 1982).
The group landed three No. 1 albums on Billboard’s Top Country Albums chart, two of which became top 20 albums on the all-genre Billboard 200 – Fancy Free (No. 14 in 1981) and Bobbie Sue (No. 20 in 1982).
The Oaks won five Grammys. The first four were in gospel categories; the fifth in country, for “Elvira.” That platinum-selling smash won best country performance by a duo or group with vocal.
The Oaks won two CMA awards – vocal group of the year in 1978 and single of the year in 1981 for “Elvira.”
They won four ACM Awards – top vocal group in 1978, album of the year that same year for Ya’ll Come Back Saloon, single record of the year in 1981 for “Elvira” and the Cliffie Stone Pioneer Award in 2007.
As a 50-year member of the The Oak Ridge Boys, Bonsall was a member of the Grand Ole Opry and was inducted into the Philadelphia Music Hall of Fame, the Gospel Music Hall of Fame, the Vocal Group Hall of Fame, and the Country Music Hall of Fame, the latter in 2015.
“For 50 years, Joe Bonsall was the Oak Ridge Boys’ sparkplug,” Kyle Young, CEO of the Country Music Hall of Fame and Museum, said in a statement. “He was as exciting a performer as any who ever hit a gospel or country stage. His tenor voice was high and clear, and his jovial spirit always provided a jolt of energy, immediately rousing audiences to come on in and take a load off. He certainly lightened our cares every time he sang.”
“When I think of the Oak Ridge Boys and their place in country music history, the image of Joe with his huge smile and boundless energy comes to mind so clearly,” Sarah Trahern, Country Music Association CEO, said in a statement. “His commitment to serving others while developing country music into a worldwide sensation will never be forgotten and our industry has been made better because of him. Today, we lost an incomparable energy and voice in music. He will be missed greatly by all who were fortunate to know him.”
Bonsall was also the author of 11 books including his latest, a memoir entitled I See Myself, which is set for release in November.
At Bonsall’s request, there will be no funeral. In lieu of flowers, donations may be made to The ALS Association or to the Vanderbilt Medical Center ALS and Neuroscience Research Center.
Survivors include his wife, Mary Ann; daughters Jennifer and Sabrina; granddaughter Breanne; grandson Luke; two great grandsons, Chance and Grey; and a sister, Nancy. He is preceded in death by his parents, Joseph S. Bonsall Sr. and Lillie Bonsall.
Bonsall’s death comes just eight days after the death of William “Rusty” Golden, a musician, songwriter and son of The Oak Ridge Boys member William Lee Golden. The younger Golden died on July 1 at his home in Hendersonville, Tenn. He was 65.
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.pngYveto2024-07-09 17:16:262024-07-09 17:16:26Joe Bonsall, Longtime Member of The Oak Ridge Boys, Dies at 76
Heather Morris paid loving tribute to her late Glee co-star Naya Rivera on the fourth anniversary of Rivera’s tragic death. In a sweet Instagram post featuring a black and white snap of the two women cuddling on a bed, Morris wrote, “I can’t believe it’s been 4 years..boy how time flies. Yet every year I’m taken by surprise how much it still hurts. We grow up together, fell apart, and came back together in such a beautiful way.”
After going missing for six days, Rivera, 33, was found after taking a boat ride with her then four-year-old son during which she drowned while swimming. The two women worked together on six seasons of the Fox musical comedy, with Morris starring as cheerleader Brittany Pierce, whose romance with Rivera’s closeted fellow cheer teamer Santana Lopez was a fan favorite storyline. “God you’re missed so much… except I can’t shake the feeling you never left… you’re still here with us..guiding us to our highest potential,” Morris, 37, added. “I miss you Nay Nay.”
Rivera starred on Glee from 2009-2015, winning a Screen Actors Guild Award and an ALMA Award for her work on the show, as well as sharing two Grammy Award nominations with her cast mates. In addition to Glee, Rivera appeared in a number of films, including her debut in 2002’s Dana Carvey comedy The Master of Disguise, as well as 2014’s At the Devil’s Door and a posthumous voice role in 2021’s Batman: The Long Halloween.
The singer/actress married former flame Ryan Dorsey in 2014, and they had a child together in September 2015, a year before filing for divorce; the couple reconciled, but then she refiled for divorce in December 2017. Rivera was reported missing on July 8, 2020 after the couple’s son was found alone on a rented boat in the Lake Piru reservoir in Ventura County, CA. The child told investigators that his mom went swimming and was unable to climb back on the boat before she disappeared. Rivera’s body was found by divers in the lake on July 13.
During Rivera’s disappearance, Morris helped organize search parties to help with rescue efforts, later posting an emotional tribute to her friend and former co-star that included pics of their sons playing together.
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.pngYveto2024-07-09 16:28:482024-07-09 16:28:48Heather Morris Pays Tribute to Late ‘Glee’ Co-Star Naya Rivera on 4th Anniversary of Death: ‘You’re Still Here With Us’
Ariana Grande is once again addressing how her speaking voice has changed in recent months, this time pointing out that male performers are rarely met with the same criticism she’s received for embodying her role as Glinda in the upcoming Wicked films.
Related
Ariana Grande Confirms an ‘Eternal Sunshine’ Deluxe Album Is on Its Way, But Not ‘Super Soon…
While appearing as a guest on the Tuesday (July 9) episode of Evan Ross Katz’s Shut Up Evan podcast, the pop star opened up about her decision in June to explain why the sound of her voice sometimes changes. After a clip of her abruptly switching tones on Penn Badgley’s Podcrushed went viral last month, she’d commented on TikTok that she’d been “speaking like this for two years” on the set of the upcoming Wicked films and noted that using a higher register is better for her vocal health.
And on Katz’s show, Grande went into even more detail. “I did just spend a long time playing a character every single day and training my voice to do different things,” she said of her tenure as Glinda opposite Cynthia Erivo’s Elphaba. “The voice is in the body, it’s an instrument, and muscle memory is a real thing. That’s a normal thing for people who, it’s their job to transform.”
The “Yes, And?” singer went on to marvel at how men in Hollywood are often praised when their characters carry over into their real-life personas, whereas she’s been made fun of online for the same thing. “You see male actors — sure, people make jokes here and there as well about everybody who experiences something like this — but it’s always after the fact that they’re like, ‘Oh, wow, how dedicated to his craft. What an amazing transformation! He’s a brilliant performer!’” she said. “And God forbid I sneeze like Glinda.”
“I had a job to do,” Grande added. “People change and habits happen. It’s a strange thing to be under such a microscope.”
Related
Ariana Grande Shares Studio Footage to Celebrate 4 Months of ‘Eternal Sunshine’: ‘So Grateful…
The scrutiny she’s faced about her speech habits was just one of many topics the Grammy winner broached with Katz, who also asked Grande about why she deactivated her X account as well as her decision to gently call out body shaming with a vulnerable TikTok last year (something she called “impulsive,” but doesn’t regret). At one point, the pair discussed the reasons why the star has chosen to remain quiet throughout last year’s backlash to her romance with Wicked costar Ethan Slater, which they hinted at without referencing head on.
“There’s still a lot of misperceptions about everything out there,” Grande told Katz. “I’ve sent you so many drafts of things like, ‘I want to say this so badly!’ I always sleep on it and I always come back around to protecting and not taking that bait, because what I have discovered is that protecting my peace and my privacy and the actual details … sometimes when it would be addressing something, you would actually be exposing more of your actual real life.”
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.pngYveto2024-07-09 16:28:472024-07-09 16:28:47Ariana Grande Calls Out Double Standards for Male Actors After Being Criticized for Changing Her Voice
Busta Rhymes wasn’t feeling the crowd’s energy during his first-ever performance in New Orleans at Essence Fest over the weekend.
Bus-A-Bus attempted to shake the audience up for his Saturday night (July 6) set, and he wasn’t thrilled with those in the crowd not standing up, and hiding behind their cell phones instead.
Related
Lil Wayne Nixes Hot Boys Reunion at Essence Fest, Performs Solo Set
“New Orleans, y’all look like y’all tired,” he proclaimed. “You motherf–kers ain’t ready. Everybody that’s in here, get the f–k up. Ay, f–k them camera phones, too. Let’s get back to interacting like humans. Put them weird a– devices down. I ain’t from that era. Them s–ts don’t control a soul. F–k your phone.”
Bus continued to rant: “33 years of doing this s–t, I ain’t used to n—-s sitting down at my show. The reason there will be zero tolerance for bulls–t energy in here is because this is my first time in New Orleans at the f—ing 30-year anniversary of the ESSENCE Festival. Make me feel like we home!”
A look into the crowd and footage showed that there was sparse attendance with fans spread thin across the floor seats, while the lower and upper bowls appeared to be more full.
Fans had plenty to say about Busta’s rant, and comments came from both sides. “This is when you are too old as an artist to realize your time and audience is old,” one person wrote on X. “It’s not 1999. If you gotta beg for energy, what dies it say about you as the performer?”
Another chimed in, “Busta is a legendary MC but that dont give you the right to talk to people like that, especially after they paid for tickets. Bad take man, he should of just performed like Redman and Meth, address it after the show.”
After the dust settled, Busta Rhymes expressed gratitude for being able to take the stage for the first time in New Orleans and appreciated the love he received from the Big Easy.
“WHEN THE TRUTH IS UNDISPUTED YOU DON’T GOTTA EVER BE CONCERNED WITH THE S–T TALK AND THE FALSE NARRATIVES,” he wrote on Instagram. “WE ARE TO BLESSED TO BE MAD ABOUT ANYTHING THAT WE LOVE TO DO!! EVERY PLATFORM WE APPRECILOVE Y’ALL BUT WHEN YOU TALK MAKE SURE YOU KNOW WHAT TOU TALKING ABOUT OR SILENCE IS THE BETTER OPTION, JUST FOR THE RECORD WHAT Y’ALL SAW THEM GIVING WITH THAT WRONG NARRATIVE ABOUT FRUSTRATION WITH THE CROWD NOT ROCKING WITH US IS CALLED ‘SHOWMANSHIP’ RESPECTFULLY!!”
Bus added: “FROM THE REST OF TH E WORLD’S POINT OF VIEW IT LOOKS LIKE AND SOUNDS LIKE AND FEELS LIKE NEW ORLEANS WAS TURNT ALL THE WAY THE F–K UP AND WE ALL ENJOYED IT!! THANK Y’ALL SO MUCH AND WE LOVE Y’ALL!!”
There’s no time to waste, as it’s right back on the road for Busta, who is supporting Missy Elliott on her first-ever headlining tour, alongside Ciara and Timbaland. The North American trek kicked off north of the border in July in Vancouver, and has shows lined up this week in Oakland, Los Angeles and Las Vegas.
Watch fan-captured footage of Busta’s rant below:
So #BustaRhymes went off at the crowd while performing at the 2024 Essence Festival (New Orleans). I love THIS energy and he had every right to call them out!! Like he said, he’s not USED to people sitting still in their seats and watching purely through their phones. I’m glad… pic.twitter.com/1sNeMS4YRG
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.pngYveto2024-07-09 16:17:452024-07-09 16:17:45Busta Rhymes Blasts Essence Fest Crowd During His Performance: ‘F–k Your Phone’
It’s Celebrity Family Feud week, and the survey says: Team Megan Thee Stallion will be matched up against Ne-Yo and his clan.
Ahead of Tuesday night’s (July 9) premiere on ABC, Billboard exclusively obtained a clip from the episode featuring the Houston Hottie going toe-to-toe with the “Because of You” singer in the face-off round.
Dressed to the nines in a sharp bronze suit, host Steve Harvey asks Meg and Ne-Yo, their hands ready to buzz: “Name something you’ve done to your mate’s feet.” Thee Stallion beats Ne-Yo to the buzzer with a romantic foot remedy, “Massage!”
A version of her answer came in as the top response with 50 out of the 100 replies giving a variation of “Rubbed ‘Em.”
An excited Meg elected to play the round and brought Steve over to her family, who were all completely decked out in red threads. Her manager Travis Farris steps up and delivers with his answer, which finds him taking care of his woman’s at-home pedicure needs: “Cut they toenails.”
Harvey was a fan of the answer. “Come on playa, snip snip!” the comedian said in response. “You still feeling that, click click!” Farris nailed the second-highest response, with pedicure scoring team Meg another 27 points.
Tune into the full Celebrity Family Feud episode on Tuesday night at 10 p.m. ET on ABC. Hulu subscribers will have access to streaming the episode on Wednesday (July 10).
It’s been a banner year for Megan Thee Stallion, who delivered her highly anticipatedMeganalbum on June 28. It bowed in at No. 3 on the Billboard 200 – her sixth top 10 entry – with 64,000 equivalent album units earned.
Watch Billboard‘s exclusive Celebrity Family Feud clip below.
