Jordan Adetunji’s “Kehlani” becomes the first song to remain at No. 1 on the TikTok Billboard Top 50 chart for more than one week since July, reigning for a second straight frame on the Aug. 24-dated tally.
The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Aug. 12 to 18. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Kehlani” is the first song to reign for more than one week since Tommy Richman’s “Million Dollar Baby” led between the May 18 and July 20 surveys. Since then, three tunes – Blood Orange’s “Champagne Coast,” Clairo’s “Juna” and Sevdaliza, Pabllo Vittar and Yseult’s “Alibi” – ruled for one week each prior to the rise of “Kehlani.”
Chiefly, major uploads using “Kehlani” on TikTok adhere to its dance trend, with Kehlani herself (who was added to a remix of the song on June 20, followed by a music video on Aug. 2) participating in many of the highest profile videos.
“Kehlani” concurrently hits a new peak of No. 25 on the Billboard Hot 100 dated Aug. 24, lifting 26-25 thanks to 13.1 million official U.S. streams, 9.7 million radio audience impressions and 1,000 downloads sold in the week ending Aug. 15, according to Luminate.
The aforementioned “Alibi” holds at No. 2 on the TikTok Billboard Top 50 while Hanumankind and Kalmi’s “Big Dawgs,” following its first time in the top 10 on the Aug. 17-dated ranking, zooms to No. 3.
Many of the top uploads using “Big Dawgs” on TikTok feature emulations of Hanumankind’s stepping dance moves in its music video or reactions to the video itself, as well as soundtracking other general viral content uploads.
For the second week in a row, “Big Dawgs” is the greatest gainer in streaming on the Hot 100, jumping 31-23 via 14.2 million streams, up 18%.
One other song hits the TikTok Billboard Top 50’s top five for the first time: DJ Drama and Gucci Mane’s “Photo Shoot,” which leaps 16-5 in its third week on the list.
“Photo Shoot” was originally released in 2009. Though it’s had occasional blips of activity on TikTok in recent months, its latest rise largely stems from picture-based uploads, highlighting Gucci Mane’s “Come and take a camera flash” lyric.
The song jumps 45% to 324,000 streams in the week ending Aug. 15.
Project Pat’s “Life We Live” and Surf Curse’s “Disco” follow “Photo Shoot” at Nos. 6 and 7, respectively. “Life We Live” debuted at No. 46 on the Aug. 17 tally, while “Disco” is the Aug. 24 list’s top debut.
“Life We Live,” which features Namond Lumpkin and Edgar Fletcher, is the third song from Project Pat to hit the top 10 of the TikTok Billboard Top 50 since the chart’s September 2023 inception, following “Choose U” and “Good Googly Moogly,” both in January. Like that pair of songs, “Life We Live” is an older release, having come out in 2001.
The TikTok trend for the song features its “Gotta take the good with the bad, smile with the sad/ Love what you got and remember what you had” lyric that kicks off its third verse. Creators give a thumbs up or down and smile or frown in conjunction with the corresponding lyrics.
It’s the first time “Life We Live” has ever reached a chart. Its parent album, 2001’s Mista Don’t Play: Everythangs Workin, peaked at No. 4 on the Billboard 200 that March.
As for “Disco,” the rockers’ 2019 track is their first to make the TikTok Billboard Top 50, though Surf Curse had a previous TikTok-fueled resurgence in 2021 via “Freaks,” which peaked at No. 10 on the Hot Rock & Alternative Songs ranking that September.
“Disco” also benefits from a dance trend, generally done between two people while facing each other.
“Disco” sports a 47% bump in streams to 933,000 in the week ending Aug. 15.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
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.pngYveto2024-08-22 16:08:452024-08-22 16:08:45Jordan Adetunji’s ‘Kehlani’ Spends Second Week at No. 1 on TikTok Billboard Top 50
I’m not getting too stressed about bridge lyrics,” says Benjmn, 29. “Because there’s like a 100% chance it’s going to get translated.”
The Los Angeles-based topliner is closing in on his ninth straight hour of songwriting today. And like the 10 other lyricists and producers Universal Music Publishing Group has assembled at Arcade Studios in New York, he won’t stop until he’s achieved perfection. Benjmn, who has written for acts like ENHYPEN and Le Sserafim before, and his cohorts here are all proven K-pop hit-makers, so they’re well aware that much of today’s work will be rewritten in Korean. Still, he and his collaborators on this particular track — 31-year-old SAAY from South Korea and 34-year-old Sandra Wikstrom from Sweden — will continue fine-tuning their already pristine bridge for at least 15 more minutes before moving on. Are there enough syllables? Is it dragging? Can the melody be more expansive?
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They know that the punchier the lyrics, the likelier it is that major K-pop labels like HYBE, JYP Entertainment and SM Entertainment will pick up their demos for artists to record. Their current target is a boy band on the rise that UMPG knows is looking for its next hit, although the track — a swaggering dance tune tentatively titled “GLUE” — may very well go to another of the ever-proliferating K-pop groups. (Because of the unpredictable nature of where songs end up and the prejudices a label may have if it sees a song title publicly attached to other acts, UMPG declines to comment on the precise artists for whom the musicians have gathered.)
The three rainy days these writers and producers will spend here mark just the second-ever international K-pop camp UMPG has held in the United States as it pushes to capitalize on the opportunities the genre offers its roster of talent, rounding up its most experienced creatives from all over the world and charging them with completing three songs a day in small groups. After the camp concludes, UMPG Korea senior creative A&R executive Yena Kim will pitch the nine finished tracks to the big three labels, which constantly send her hyperspecific briefs outlining what they’re looking for and for whom; for now, she walks from room to room ensuring everyone understands their assignments.
“Ultimately, we want releases,” explains UMPG’s head of its global creative group, David Gray. “We can sign K-pop writers and say, ‘Go get us K-pop cuts.’ But we can also be proactive and creative. Let’s put our best K-pop writers together, bring them briefs from Korea and keep it small, focused and strategic so we have the best chance of getting results.”
Benjmn (left) records vocals for an R&B-inspired demo produced by Sam Klempner.
Jeppe London (left) and Lauritz Emil work on a song with guitars.
On day one of camp, delirium is already setting in. “We should do a song called ‘Jet Lag,’ ” Benjmn jokes before he, SAAY and Wikstrom start spitting out catchy rap bars seemingly effortlessly, despite their lack of sleep. “Jet lag, jet lag, gotta go get bags/All around the world, I’m getting whiplash,” they sing, taking turns adding lines.
Down the hall, 28-year-old BLVSH from Germany and London-based Josh McClelland, 27, are writing for the same boy band, penning a punk-rock heartbreak anthem called “Close the Door.” Producer duo Jeppe London, 28, and Lauritz Emil, 26, both from Denmark, speak in rapid-fire Danish while recording electric guitar passes to find a sweet spot between Demi Lovato and Linkin Park, both of whom label SM sent as references. The room’s shared credits include tracks for BTS, ENHYPEN, NCT and TWICE, and an expertise in the subtleties of writing for K-pop artists shows.
“You’re looking for fun keywords instead of poetic structure,” explains BLVSH, who earned a No. 1 on the Billboard Hot 100 last year for her work on Jimin’s “Like Crazy.” “It’s more [about] attention-grabbing visuals and hooky words.”
They also labor over how pleasing each syllable sounds, the cadence and differentiation of each line, whether the melodies will sit in the band members’ varying vocal ranges and how easily choreographers will be able to pair the lyrics with snappy dance moves — all elements they say they don’t necessarily think about when writing for other genres, as many of them started out writing outside K-pop. Phonetics are key, even if most lyrics do end up getting reworked by translators, who generally earn a 12.5% split in royalties when the song is finished; BLVSH and McClelland say Korean labels are more likely to bite when they can imagine from the get-go how a song will sound once translated, which is why the writers make sure to infuse their demos with sharp consonants to mimic the Korean language. (For example: Saying a love interest looks “picturesque” grabs their ears far more than a simple “pretty” or “good.”)
SAAY (left) listens to a demo while BLVSH tinkers on piano.
Max Thulin produces a track in Logic Pro.
It’s also why the writers focus less on storytelling and more on a certain vibe or attitude in their songs, which they strive to convey even when recording their demos. By nature, many of them are far less extroverted than the acts they write for, so it’s entertaining to watch Benjmn cringe as he listens to a take of himself singing with Justin Bieber-esque sultriness, or to see 31-year-old Feli Ferraro of Los Angeles intuitively flip her hair and pop her hips while recording sexy-confident raps for a song called “8” that’ll be sent off to a brand-new girl group SM is developing (the campers know nothing of its top-secret lineup).
The songwriters aren’t fazed when translators alter the meaning of their lyrics; they understand it’s an often necessary part of ensuring they still rhyme and flow well in Korean. Still, it’s always ideal artistically when their work stays as close to the original as possible — and there are ways of increasing the chances that it does: As McClelland puts it, “Let’s make sure this lyric is fire.”
Toward the end of the day, everyone takes a short break to mingle and eat dinner; last year, UMPG learned that the ever-diligent writers prefer bringing in meals to avoid taking time away from their songs, and tonight’s comes from Joe’s Home of Soup Dumplings. SAAY and Wikstrom excitedly make plans to visit the Times Square Disney store while they’re in town. But there’s minimal time for this kind of pleasant catchup. A mountain of empty plastic containers in their wake, everyone instinctively filters back into their respective rooms.
Most end up staying until 10 p.m. There’s more work to be done.
From a publisher’s perspective, everything changed for global K-pop in 2020. That’s when BTS earned its first Hot 100 No. 1 with “Dynamite” — and the genre “exploded, that’s for sure,” quips Daniella Rasho, international A&R executive at UMPG U.S., who oversees the camp alongside Yena Kim.
“People have seen what BTS has done,” she continues. “Now every K-pop label is like, ‘I’m going to have the next BTS. I’m going to have the next one that goes global or is on U.S. radio.’ ”
“[Korean] labels are aiming for hits on the Billboard charts,” Kim adds. “The artists, most of them now all speak English, as well as local A&Rs. The whole thing is changing. It wasn’t like this five to six years ago.”
As K-pop’s global reach has expanded, so too has foreign songwriters’ interest in the genre, which rapidly transformed from one of the least popular international markets for songwriters to one of the most competitive. It’s an appealing space: Western pop stars are often inclined to stick with the same close circle of collaborators, but K-pop labels are quite open to taking songs from outsiders. Thanks to K-pop fans’ propensity for buying multiple physical variants of singles and albums, the royalty checks for songwriters and producers tend to be higher, too.
Western stars like Taylor Swift have also prioritized writing their own music, while K-pop fans value the glossy, high-production performances their idols have spent years training to execute more than the names on a song’s billing, allowing more space for career songwriters to notch credits. Rasho has a theory as to why: “American audiences want to relate to pop stars. For K-pop, people want to be them.”
Front row, from left: Jeppe London, Celine Svanback, Feli Ferraro, Benjmn and Max Thulin. Middle row, from left: Sandra Wikstrom, SAAY, Sam Klempner and BLVSH. Back row: Josh McClelland (left) and Lauritz Emil.
SAAY (left) with Sandra Wikstrom who reads lyrics off her phone.
Plus, the campers say that K-pop labels are in some ways more forgiving than their Western counterparts. They’re used to receiving detailed feedback on their demos and getting ample opportunity to rewrite or add parts to a song, and Ferraro explains that some will “Frankenstein” pieces of different submissions together to achieve the desired result. “They’ll find a home for it,” says the Connecticut native, who co-wrote “Run BTS” and Le Sserafim’s “Unforgiven.” “It doesn’t feel like you’re wasting your time at all.”
Seeing the many opportunities K-pop presents for its roster, UMPG has sprung into action over the past few years organizing writing sessions all over the world. Kim handpicked each creative at this year’s camp based not just on skill, but also on who would be most suited to the song briefs at hand — “Specific labels like some writing styles more than others,” Rasho explains — and who would get along best as collaborators.
Figuring out the latter is an art in itself. At last year’s camp, Gray recalls that “there were tears” during a creative dispute over a song that would turn out to be TWICE soloist NAYEON’s “Something.” It ended up being one of the most high-profile releases the inaugural camp created, with the EP it was on, NA, reaching No. 1 on Billboard’s Top Album Sales chart in June.
Next, Kim tailored small groups around who could best match the demands of the individual briefs, which reflect just how tuned in to global trends K-pop labels are. JYP requested a solo song akin to Tate McRae’s “Greedy” for a member of one of its girl groups, while others cited Sabrina Carpenter’s “Espresso,” Chappell Roan, Caroline Polachek and Charli xcx’s brat as references.
K-pop’s sonic evolution is a big reason why UMPG’s approach, gathering writers from all over the world, works so well. Swedish and British producers like Max Thulin, 30, and Sam Klempner, respectively, “bring their experimental, cool sounds,” while Germans are masters of “fun, electronic pop,” Rasho says.
“The U.S. writers come and do their rap thing — they have that swagger,” she continues. “They bring out something new and different in each other. They bring the best of their territories, too.”
Celine Svanback records vocals for a girl-group demo.
Celine Svanback and Josh McClelland records vocals.
Only at the end of camp, when all of their songs are finished, do the writers let UMPG treat them to dinner offsite — Cecconi’s on Broadway. Over drinks, McClelland jokes that Universal saved money on hotels by having two couples present. Benjmn and Ferraro are married, and Emil is engaged to fellow Dane Celine Svanback, 28; both couples met in past writing sessions. But aside from a few others from the same close-knit territories who’ve worked together before, like McClelland and Klempner, it’s the first time many of the campers have met — although, in the course of conversation, Benjmn and Thulin realize they share credits on a previous song created remotely, Le Sserafim’s “Eve, Psyche & the Bluebeard’s Wife.”
Most of them, it seems, fell into the K-pop world unintentionally, whether they were headhunted by labels or indoctrinated at the nudging of UMPG. It wasn’t the first choice for many but now, it’s become perhaps their best avenue to flex their creative muscles, writing pop, hip-hop, rock and R&B all under the ever-expanding K-pop umbrella.
“It’s not just one sound,” says Wikstrom, who never did come up for air long enough to visit the Disney store. “That’s what I really love — you’re not tied to anything. I used to think, ‘No, I don’t want to do K-pop. I don’t even know what K-pop is.’
“Then, I realized,” she continues, her eyes widening. “K-pop is everything.”
Ariana Grande is giving her fans everything in honor of her sophomore album’s 10-year anniversary.
On Thursday (Aug. 22), the pop star commemorated a decade of My Everything by sharing new vinyl and digital deluxe editions of her 2014 era, a year that found her dominating the Billboard Hot 100 top 10 with hits such as “Break Free,” “Love Me Harder” with The Weeknd and “Problem” featuring Iggy Azalea. The pink-tinted vinyl, which is available for preorder on Grande’s website, features the original set’s track list plus songs that were previously never made available in the format: “Bang Bang,” “Only 1,” “You Don’t Know Me,” “Cadillac Song” and “Too Close.”
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The Grammy winner also unveiled a brand new digital deluxe edition of My Everything including “Too Close” and “Cadillac Song,” marking the first time those bonus tracks have ever been available for streaming. The celebration continues next week, with Grande planning to release a limited 7″ vinyl bundle featuring “Problem,” “Break Free,” “Love Me Harder” and “One Last Time” on Monday (Aug. 26), followed by a digital bundle with a capella and instrumental versions of those same singles as well as “Bang Bang” on Tuesday (Aug. 27).
Plus, the star released a new line of anniversary merch on her website, complete with pastel pink, lavendar and black shirts, sweatshirts and sweatpants.
By the time Grande released My Everything in 2014, opening at No. 1 on the Billboard 200, she was already a full-fledged pop superstar thanks to her debut record, Yours Truly. The latter LP celebrated its 10th anniversary last year, which the Florida native commemorated by releasing filmed live performances of “Honeymoon Avenue,” “Daydreamin,’” “Baby I,” “Tattooed Heart” and “Right There.” She also engaged with fans through Q&As on social media, as well as dropped an extended anniversary edition of the album.
Eleven years ago, Yours Truly also debuted at No. 1 on the albums chart, but Grande told Billboardin 2014 that she allowed herself to celebrate for only about an hour before immediately getting back to work on the project that would become My Everything. “I’m a workaholic, and a perfectionist,” she said at the time. “I never thought I’d be able to say this, but I love this [album] five times as much as I love Yours Truly. They’re different, but I love this one so much more.”
Stream the 10th anniversary edition of My Everything below:
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-08-22 15:26:012024-08-22 15:26:01Ariana Grande Releases New Vinyl & Digital Deluxe Editions of ‘My Everything’ for 10-Year Anniversary
Mr. David Washington stands on the grounds that he has tended for decades, amid the Georgia Pines that flood much of the property, as the early-morning June heat creeps across the lawns. Now in his 70s, he’s quick to laugh and does so often, each one punctuating his thick, Southern drawl as he tells the story of the day, some 35 years ago, when Mr. James Brown called out to him and changed his life.
It was the late 1980s, and Mr. Washington, as everyone calls him, had gotten off a 12-hour shift at the cotton mill in Graniteville, some 14 miles away, and gone straight to Mr. Brown’s estate in Beech Island, S.C., when the Godfather of Soul summoned him to the house’s front porch. He had a series of pointed questions for his groundskeeper: Did he smoke? Nothing other than his Newports, Mr. Washington said. Did he drink? He and his wife would have a glass on special occasions, but that was all. Well then, Mr. Brown wanted to know, why were his eyes so red? He explained about the mill job; that his part-time work for Mr. Brown was a way to make ends meet; that he had been on his feet, by then, for hours on end. Well, that wouldn’t do, Mr. Brown replied.
“ ‘You go back down to that plant and tell them you’re putting in your two-week notice — what you make down there, I’ll pay you double if you come work for me,’ ” Mr. Washington recalls the boss saying before breaking out in another laugh. “I said, ‘Yes, sir, Mr. Brown!’ ”
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.pngYveto2024-08-22 15:26:002024-08-22 15:26:00James Brown Estate: Photos From the Billboard Shoot
On his 2023 full-length album, Pretty Little Poison, Warren Zeiders covered a little-known 14-year-old Chris Stapleton song, “Inside Your Head,” which Stapleton had recorded as part of rock duo The Jompson Brothers.
While many artists would regard a Stapleton-sung song as beyond anything they would dare attempt, the task was undaunting to newcomer Zeiders.
“It’s full circle for me. I’m a huge Stapleton fan,” he tells Billboard. Zeiders includes another Stapleton song, “Love on the Line” on his new album, Relapse, out Friday (Aug. 23) via Warner Records. Zeiders is perhaps one of the few country music newcomers with the growl and grit in his voice capable of making such a song his own.
The Pennsylvania native grew up playing lacrosse and while a student at Maryland’s Frostburg State University, a series of sports concussions forced him onto the sidelines permanently. Zeiders, 24, turned his interests to music. In December 2020, he released the original song “On the Run,” and soon signed with Underscore Works’ Charly Salvatore for management. He quickly followed with his breakthrough hit “Ride the Lightning,” which has been certified platinum by the Recording Industry Association of America. His EP The 717 Tapes followed in 2021, and this February, “Pretty Little Poison” become his first No. 1 on Billboard‘s Country Airplay chart (the song has also earned RIAA double-platinum status).
On his new 10-song album, Zeiders seems poised to continue that surge, with the title track currently sitting at No. 36 on Billboard‘s Hot Country Songs chart. The album centers around a heart-shattering arc from romance to betrayal on songs including “Intoxicated” and “Stone’s Throw Away.” Scattered across the album are one-word titles, such as “Addictions,” “Betrayal” and “Intoxicated,” which draw on drug and/or alcohol-fueled imagery, but often delve more into entanglements of the soul.
“In ‘Addictions,’ it’s about choosing my addictions over a lover — and when I wrote that song, I was thinking about the addiction I have for the music industry,” Zeiders says. “I’m choosing that over being with someone. It is saying, ‘I can’t be the person you want me to be right now, because I’m in my 20s and focused on this career.’ It’s fun to take that concept, like a drug term, and flip it on its head.”
The music on his new album, which he co-produced with Mike Elizondo and Ross Copperman, traverse a number of genres. Some of the newer songs stem from a June writing retreat in Miami, where he worked with pop hitmakers J Kash, Blake Pendergrass, and Ali Tamposi, who have written tunes for acts like Justin Bieber, Maroon 5 and Selena Gomez, as well as for country hitmaker Morgan Wallen.
“It’s been fun for me, stepping outside of that box and watching those people come into the country scene and want to be part of it,” Zeiders says. “Between JKash [co]-writing one of the biggest songs in country music, ‘Last Night’ for Morgan Wallen, it’s been cool to see.”
As with many songs in today’s data-driven music ecosystem, fans led the way in deciding the release of his new radio single, “Relapse,” after Zeiders and his team saw the response on Instagram and TikTok.
In-person, Zeiders’ laid-back, joyous persona belies the tough-guy persona crafted in his press materials and album artwork — but his collection of breakup-driven songs are heartfelt.
“People like to joke about it, but I’m a lover boy. I’m a teddy bear at heart. But I know with the long hair and cowboy imagery I give off a different perception. I do have a tendency of breaking my own heart,” he says. “I fall for these women and these kinds of things and maybe it’s not the right fit. It’s like, ‘I’m going away for two months on tour — and can they handle the distance?’”
“Betrayal” is a song Zeiders relates to all too well, alluding to a past romantic breakup: “That was an interesting part of my life. Not a fun one, but it is what it is. We all got our stories — but more than anything the overall process has been a fun one, and a totally different vibe from the first record.”
Zeiders will soon open shows for Jelly Roll on his The Beautifully Broken Tour this fall, while gearing up for a jam-packed 2025 — which includes both a slate of headlining U.K. shows beginning in January, followed by his stateside The Relapse Tour, which launches in March, with shows in cities including Nashville, Atlanta and Pittsburgh.
“I’m going on the biggest tour in the fall and being a direct support artist for Jelly Roll, who is touching so many lives, and [he’s] just massive in pop culture right now — the man is everywhere,” he says. “I feel that being in front of that many people night after night, whether it’s [playing for] my fans [or] having a chance to win over his and bring them into the fold, what’s going to be on my mind night after night is leaving a lasting impact, being a great opener for Jelly, making sure the fans are ready for him.”
Zeiders notes that he’s never traveled to the U.K., but as with picking songs, he’s letting fan demand lead the way on the European tour.
“Just looking at the numbers and looking at the demand, what’s super cool is I’m able to skip some steps. I’m not just going into 400, 500-seat rooms. We’re doing 1,000 and 2,000-seat rooms for my first appearance. It’s exciting to see the fan base and the people supporting my music and wanting me to come over there. The demand is there, and it’s going to be a fun experience.”
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This should be a good one in Sin City! Two tough middleweight fighters are set to go at each other in the octagon as the main event for UFC Fight Night. American Jared “The Killa Gorilla” Cannonier (17-7-0) faces off against Brazilian fighter Caio “The Natural” Borralho (16-1-0) on Saturday, Aug. 24.
UFC Fight Night: Cannonier vs. Borralho takes place at UFC Apex in Las Vegas with a start time of 7 p.m. ET/4 p.m. PT. The main card is expected to begin at 10 p.m. ET/7 p.m. PT.
If you’re not a subscriber, a monthly subscription to ESPN+ goes for $10.99 per month. However, you can go with an ESPN+ annual subscription for $109.99, which saves you 15% compared to the month-to-month subscription price.
Jared Cannonier vs. Caio Borralho (Middleweight) — Main Event
Angela Hill vs. Tabatha Ricci (Women’s Strawweight)
Robert Valentin vs. Ryan Loder (Middleweight)
Kaan Ofli vs. Mairon Santos (Featherweight)
Neil Magny vs. Michael Morales (Welterweight)
Edmen Shahbazyan vs. Gerald Meerschaert (Middleweight)
Prelims Card, 7 p.m. ET/4 p.m. PT
Dennis Buzukja vs. Francis Marshall (Lightweight)
Zachary Reese vs. Jose Medina (Middleweight)
Viacheslav Borshchev vs. James Llontop (Lightweight)
Jacqueline Cavalcanti vs. Josiane Nunes (Women’s Bantamweight)
Zygimantas Ramaska vs. Nathan Fletcher (Featherweight)
Wang Cong vs. Victoria Leonardo (Women’s Flyweight)
Additionally, the main card broadcasts live on ESPN, so half of the event is available to stream on DirecTV Stream and Fubo, too. In fact, both streaming services also offer free trials for new subscribers.
Both Sling TV and Hulu + Live TV come with ESPN. However, Hulu + Live TV comes a three-day free trial, while Sling doesn’t have a free trial available at all. You can get the Disney Trio — which comes with ESPN+, Hulu and Disney+ — starting at just $14.99 per month for both services in one package.
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.pngYveto2024-08-22 15:17:492024-08-22 15:17:49UFC Fight Night Livestream: How to Watch the Jared Cannonier vs. Caio Borralho Match Live
Just a week before a court-ordered auction of Damon Dash’s one-third stake in Jay-Z’s Roc-A-Fella Records, there’s a stunning new wrinkle: New York State says he owes more than $8.7 million in unpaid taxes and that the Roc-A-Fella proceeds must be used to pay down the huge debt.
In a motion filed Wednesday in Manhattan federal court, New York’s Department of Taxation & Finance asked to legally intervene in the proceedings ahead of the Aug. 29 auction, in which the United States Marshals Service will auction off Dash’s 33.3% interest in the storied record company.
The tax authorities claim that Dash owes more than $8.7 million in unpaid taxes and penalties from personal income he reported from 2005 and 2018 – and that the Roc-A-Fella auction might be their last shot at recouping a debt that has been “delinquent for far too long.”
“To date, the Department has been unsuccessful in its efforts to collect the unpaid New York State tax debt owed by Dash,” attorneys for the state wrote. “Intervening in this matter may be the Department’s only opportunity to collect some of the unpaid taxes Dash owes to New York.”
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The new wrinkle is sure to complicate an already-complex situation. The Roc-A-Fella auction is being held to satisfy an $823,000 judgment against Dash, won by movie producer Josh Webber in a civil lawsuit over a failed film partnership. But New York City’s Department of Social Services will actually have first dibs, since Dash also owes a total of $145,096 in unpaid child support.
In their filing on Wednesday, the tax department stressed that it does not seek to jump ahead of child services in pecking order for auction proceeds. But it offered no such promise to Webber – and pointedly noted that it had secured a lien against the Roc-A-Fella proceeds more a decade earlier than he had.
Set to take place next week at a Manhattan hotel, the Roc-A-Fella auction will have a minimum bid of $1.2 million. The sale will be for Dash’s stake in Roc-A-Fella Inc., an entity whose primary asset is Jay-Z’s iconic debut album Reasonable Doubt. The rest of the catalog of music released by Roc-A-Fella, which dissolved in 2013, is owned by other entities and isn’t involved.
The owners of the other two-thirds of Roc-A-Fella — label cofounders Jay-Z (Shawn Carter) and Kareem “Biggs” Burke — have already attempted to stop the auction, including making changes to the company’s bylaws and intervening in the lawsuit. But a federal judge rejected such opposition in February.
The auction will be coordinated by Webber’s attorney, Chris Brown, who told Billboard earlier this month that he had received numerous inquiries from potential bidders, including corporate investors, high-profile individuals and collectors. Brown not immediately return a request for comment Thursday on the Department of Taxation & Finance’s request to access the proceeds.
Though the auction’s minimum bid has been set at $1.2 million, it’s entirely unclear how much a potential buyer is going to be willing to spend on Dash’s one-third stake.
The royalties from Reasonable Doubt would likely provide them a revenue stream; since its 1996 release, Reasonable Doubt has racked up 2.2 million equivalent album units in the U.S., according to Luminate, including 21,500 units so far this year. But the eventual buyer also would be a minority owner in a company controlled by hostile partners, with little ability to perform typical due diligence on the asset they’re about to purchase. And Roc-A-Fella’s rights to Reasonable Doubt could potentially expire in 2031, thanks to copyright law’s termination right.
If any money from the auction is left over, it will go to Dash himself. In a statement to Billboard last month, his attorney Natraj Bhushan said that he and his client would be at the Aug. 29 event and “expect a robust auction with bids entering the several millions if not higher.” Bhushan did not immediately return a request for comment Thursday on the Department of Taxation & Finance’s request to access the proceeds.
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.pngYveto2024-08-22 15:15:072024-08-22 15:15:07New York Says Damon Dash Owes $8.7M In Unpaid Taxes – And That Roc-A-Fella Auction Must Pay Them
Sexyy Red‘s upcoming tour is getting a re-shuffle. The “Pound Town” rapper was originally slated to kick-off the U.S. outing in Seattle tonight (August 22), but according to Ticketmaster listings, the planned first gig at the WAMU Theater has been cancelled, with a note advising, “unfortunately, the Event Organizer has had to cancel your event.”
At press time no additional information was available about the cause of the cancellation and a spokesperson for the rapper had not returned Billboard‘s request for comment.
The tour is now slated to kick off on Saturday (August 24) at the State Farm Arena in Atlanta. The tour announced in June also initially included a gig on Friday (August 23) in Portland, OR, as well as as one on August 26 in Oakland, CA, neither of which are on the current roster of dates listed on the TM site. A gig in New Orleans on August 29 is also not currently on the schedule. According to Ticketmaster, a planned Sept. 30 appearance by Sexyy at the FedExForum in Memphis on Moneybagg Yo’s Larger Than Life tour has also been dropped from her tour routing.
Sexyy’s arena tour is slated to feature support from Hunxho, Loe Shimmy and fellow St. Louis native BlakeIANA.
At press time it did not appear that the rapper had acknowledged the tour kick-off switch-up on her socials, but a month ago she threw cold water on reports that her first arena tour was on the verge of cancellation due to reported low ticket sales. “My fans are buying tickets we’re doin just fine. We not cancelling no tour,” she wrote in response to a post suggesting her tour was in jeopardy after Touring Data said that as of July 3 less than 38% of tickets for the 24-date outing had been sold, with more than 85,000 reportedly still available at that time.
“Dis how Dey try to do u wen u go wit an independent promoter n the bigger companies try to sabotage u,” Red added in another post, in reference to her partnership with AG Entertainment. “We not cancelling sht.”
After breaking through last summer with the “Pound Town 2” remix with Tay Keith and Nicki Minaj — which hit No. 66 on the Billboard Hot 100, Sexyy continued her chart run this year, with “Get It Sexyy” peaking at No. 20 on the Billboard Hot 100.
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.pngYveto2024-08-22 15:15:062024-08-22 15:15:06Sexyy Red Reshuffles 4 President U.S. Tour Dates, Pushes Back Kick-Off
Mr. David Washington stands on the grounds that he has tended for decades, amid the Georgia Pines that flood much of the property, as the early-morning June heat creeps across the lawns. Now in his 70s, he’s quick to laugh and does so often, each one punctuating his thick, Southern drawl as he tells the story of the day, some 35 years ago, when Mr. James Brown called out to him and changed his life.
It was the late 1980s, and Mr. Washington, as everyone calls him, had gotten off a 12-hour shift at the cotton mill in Graniteville, some 14 miles away, and gone straight to Mr. Brown’s estate in Beech Island, S.C., when the Godfather of Soul summoned him to the house’s front porch. He had a series of pointed questions for his groundskeeper: Did he smoke? Nothing other than his Newports, Mr. Washington said. Did he drink? He and his wife would have a glass on special occasions, but that was all. Well then, Mr. Brown wanted to know, why were his eyes so red? He explained about the mill job; that his part-time work for Mr. Brown was a way to make ends meet; that he had been on his feet, by then, for hours on end. Well, that wouldn’t do, Mr. Brown replied.
“ ‘You go back down to that plant and tell them you’re putting in your two-week notice — what you make down there, I’ll pay you double if you come work for me,’ ” Mr. Washington recalls the boss saying before breaking out in another laugh. “I said, ‘Yes, sir, Mr. Brown!’ ”
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Over the next 15-plus years, Mr. Washington became more than just Mr. Brown’s full-time groundskeeper. He became a driver, an assistant, a confidant and, after Mr. Brown’s maid fell ill, something of a jack of all trades. “I started working in the house: running his bathwater, doing his grocery shopping, making the bed, babysitting; I did a little bit of everything around here,” he says. “He didn’t like to be by himself, so sometimes I’d sit right in the house with him and we’d watch Westerns, Jeopardy!, Wheel of Fortune, the news.” Mr. Washington was the one who, in late December 2006, drove Mr. Brown to the hospital after his dentist heard something in the Godfather’s chest and recommended he get it checked out; and he was there, in the early hours of Christmas Day, when the Hardest-Working Man in Show Business succumbed to pneumonia and took his last breath.
More than 17 years after he made the drive back to Beech Island alone, Mr. Washington is still here. He has kept watch over Brown’s house through a succession of three estate trustees, a Christie’s auction, a 15-year legal battle among Brown’s heirs over his assets and, now, under the stewardship of Primary Wave, which purchased the assets of his estate in December 2021 for a reported $90 million. Primary Wave — the publishing, marketing, branding and content firm that touts itself as being in the “icons and legends” business and also has stakes in the rights of Whitney Houston, Bob Marley, Prince and more — acquired Brown’s publishing, master-royalty income, name and likeness rights and the Beech Island property, with its 60-plus acres, the mansion in which Brown lived since the late 1970s and everything in it, including a dozen cars, two tour buses and even the food that had remained in the cabinets since his death. The company also retained Mr. Washington to look after the place. “He’s our resident historian,” says Donna Grecco, Primary Wave’s asset manager who has overseen the cataloging and archiving of the estate. “He’s a treasure.”
James Brown, who grew up picking cotton so he could afford food and clothes, kept cotton branches in vases around his house to remind himself where he came from.
The Brown estate in Beech Island sits on 62.8 acres on James Brown Boulevard, behind wrought-iron gates and down a sloping drive that passes through a lake and several other outbuildings. The house is built around an Asian garden in the center, where he liked to sit.
Primary Wave, founded by veteran label executive Larry Mestel in 2006, has a long history of reinvigorating the intellectual property of music’s giants, both living and departed, whether through new remixes, samples or interpolations of their work, partnerships with brands (its first major success, in 2008, was a sneaker deal with Converse that featured Kurt Cobain lyrics on a line of shoes) or big-ticket content plays like the 2022 Houston biopic I Wanna Dance With Somebody. Several estate and asset deals the company has done came with troves of personal items and memorabilia that took months to sift through and organize.
But the Brown deal marked the first time the company acquired an actual house. (After finalizing the acquisition of 50% of the Prince estate in August 2022, Primary Wave now also owns a stake in Paisley Park.) And what the company found on the compound, which sits just across the Savannah River from Augusta, Ga., was a home almost entirely preserved as it was on the day Brown died, down to the Christmas tree that still stands in the foyer, with unopened presents underneath.
To walk through its rooms is to step into a moment frozen in time: big, clunky TVs and VCRs by brands long out of business; Christmas decorations on the mantel; a matching collection of Reader’s Digest Condensed Books in his office; phone books on the shelves. Mirrors, elephant motifs, bamboo poles and marble are everywhere. Inside Brown’s personal hair salon there’s a basket of dozens of hair curlers, with bottles and cans of hair product lining the shelves. A mix of cultural artifacts — African, Native American, Indian, East Asian — adorn every room; each light switch cover is a photo of Brown holding a street sign with his name on it. Grecco, with her team’s help and Mr. Washington’s expertise, has been working to restore everything to precisely where it was during Brown’s life, before a series of museums (including the Rock & Roll Hall of Fame) and the one-time auction resulted in some items shifting around and being moved in and out.
“When we first came into this house, there were boxes everywhere,” Grecco remembers. She and a team of archivists went room by room, photographing everything, scanning documents, protecting clothing, entering information into spreadsheets and documenting where things were found and where they should go. “We’ve had this estate for two-and-a-half-years — we’re still doing it,” she says. “You put together a plan of how to approach it from the most delicate and respectful angle knowing that this isn’t a museum — this was somebody’s living space.”
Mr. David Washington, who worked for Brown for decades later in the star’s life, with Brown’s Rolls-Royce, one of several luxury vehicles — including a red Thunderbird and a ’42 Lincoln Continental — that came with the estate when Primary Wave purchased it. Mr. Washington’s favorite? “Big Red,” the lawnmower he stores at the top of the hill.
Brown’s bedroom was a centerpiece of his house; opposite the bed (with his monogrammed pajamas), heart- shaped mirrors flank an old TV on the wall. In the corner is a movie director’s chair, from the set of either The Blues Brothers or Rocky IV, both of which he appeared in.
At the same time, the rest of Primary Wave got to work, and the executive team went down to Beech Island to walk through the property. “When we are stepping into the full gamut of an artist’s life and you can touch the cars and go on the tour bus, it helps us with our ideation and what we’re going to do on a marketing level and a content level,” says Ramon Villa, Primary Wave’s COO. “The closer we are to the assets and we see how the artist lived, it helps us ideate more.”
Already, some of the team’s ideas have had an impact. In 2022, Primary Wave licensed Brown’s “It’s a Man’s Man’s Man’s World” to Amazon for its Mother’s Day “Woman’s World” campaign; the ad won a Clio Award in January for best use of music in film and video. The following month, plant-based milk company Silk featured Jeremy Renner singing Brown’s “I Got You (I Feel Good)” in a Super Bowl ad. The Netflix films You People (“The Payback”) and Shirley (“Think [About It]”) also dipped into the catalog, while the upcoming Peacock film Fight Night incorporated “The Boss” into its trailer and The Wonder Years used “I’m Black and I’m Proud” in a period-specific scene. “A lot of what we’re trying to connect the dots to is either period-specific projects in film and TV or just more generally catalog-based projects,” Primary Wave head of global synch Marty Silverstone says. In partnership with Republic Records, the estate also put out a previously unreleased archival song, “We Got To Change” — recorded in August 1970 — in tandem with the February release of a four-part A&E docuseries, James Brown: Say It Loud.
In fact, one of the challenges Primary Wave faces as it looks at content opportunities for the Brown estate is that so many things have already been done. In 2014, a biopic starring Chadwick Boseman, Get On Up, was released to positive reviews. Around a dozen other documentary-style or live performance-based films on Brown have come in the past 20 years. “There’s been a lot done,” Primary Wave partner/chief content officer Natalia Nastaskin says. “But there are so many stories that are part of Mr. Brown’s life.”
Brown’s salon, which also contained a spa and footbaths (for feet that were constantly dancing onstage), was full of dozens of the same product — he was so meticulous about his hair and appearance that when he found something he liked, he would often buy it in bulk out of fear it would sell out or be discontinued.
This photo of Brown holding the street sign that leads to his home adorns nearly every light switch in the house.
Nastaskin cites films such as 2023’s Air, about the creation of Michael Jordan’s Nike empire, and 2020’s Academy Award-nominated One Night in Miami…, centered on a meeting between Muhammad Ali, Malcolm X, Sam Cooke and Jim Brown, as examples of how a figure like Brown could appear in a major film without making another cradle-to-grave biopic. “It’s about isolating these very important moments in time and focusing on them, and focusing on ways that they haven’t been dissected before,” she says. A live-theater project is also in the works.
But for an artist who dominated music for decades, then earned a second life as one of the most-sampled talents in hip-hop, Primary Wave is looking far beyond the obvious opportunities to keep Brown’s legacy front and center for future generations. “With new media and emerging platforms and things like [artificial intelligence], we get a ton of incoming traffic with wanting Mr. Brown, wanting to create the next ABBA: Voyage experience that is based on Mr. Brown’s live performances,” Nastaskin says, referencing the successful virtual concert series of the Swedish band that debuted earlier this year. “We’re having those conversations, but we’re very selective because it’s very hard to get Mr. Brown right as an avatar. It has to be perfect, and if it’s not perfect, then we’re not interested in doing it.”
The first thing most people notice when they get to Augusta is the heat. The summer has barely begun, but the heat already wraps the city like a cocoon, standing at 98 on the thermostat but more like quicksand on Broad Street. Anyone in their right mind is indoors, giving the streets an almost Potemkin feel, though one man lounging in the shade with a trumpet outside an empty club called The SOUL Bar hints at the history that thrums below the surface.
Brown was born in South Carolina but raised in Augusta, and the murals, statues and soul references that permeate the city reflect his continuing influence. He’s an icon, a genius and means many different things to many different people. “Entrepreneur, self-made, proud, confident,” says Bennish Brown, president/CEO of Destination Augusta, which promotes tourism in the city. “A lot of Augusta’s history and progress is tied to the way James Brown lived his life: constantly innovating, evolving and always looking for opportunities that made sense.”
Primary Wave takes special care of Brown’s iconic suits and jumpsuits, which can be particularly susceptible to the passage of time.
The front living room of Brown’s home, featuring a photo of him and his eldest son, Teddy, above the fireplace; a phonograph on the hearth; and a bar in the corner. The house is full of mirrors, bamboo and motifs such as elephants.
Though the Brown house is technically in South Carolina, Augusta lies just 8 miles away. And the city will be an important partner in Primary Wave’s ultimate vision for the house: a Brown version of Elvis Presley’s home-turned-museum, Graceland.
In pursuit of that, Primary Wave will document the continuing restoration process through a development deal with Page Turner, the licensed real estate agent/TV producer who hosts HGTV’s Fix My Flip. “We want people to be able to come and peek behind the curtain of James Brown’s home and have a space with some creative and educational opportunities, too, because education was pretty important to him,” says Primary Wave’s Songhay Taylor, who runs point on all things house-related.
But there is one important distinction between Graceland and the Brown home. “Memphis is a city that gets a lot more tourists and traffic as a music city,” Villa says. “So as we look at what is a realistic approach to having his house be open to the public, we’re working with the city of Augusta as they try to build up their tourism to make a comprehensive plan.” That, Destination Augusta’s Brown says, could include marketing the estate as the focal point of a regionwide attraction with James Brown at its center — “a dream come true.”
A photograph of Brown and his father, above the service flag that adorned his dad’s casket during his funeral. Brown had a sometimes contentious relationship with him, though he later purchased a house for the elder Brown in Augusta in the ’60s.
James Brown’s “Sex” jumpsuit in the music atrium of Brown’s home in Beech Island, S.C.
To many, Augusta is most synonymous with The Masters, the crown jewel of global golf tournaments, played each April at Augusta National Golf Club. But Brown’s story aligns better with how locals see themselves and their city than The Masters, the Hardest-Working Man in Show Business a better avatar than the golfers who visit once a year to play an exclusive course. Brown, after all, pulled himself up from sharecropping roots to the top shelf of culture; from picking cotton to shaking hands with the Pope; from dropping out of school to working with a half-dozen successive American presidents on free education initiatives for kids across the country. (His estate stipulates that his master-recording royalties support educational opportunities for Georgia and South Carolina youth; Primary Wave has honored this by contributing a portion of all revenue to a permanent trust run by Brown’s family.)
His story was one version of the American dream — good, bad and ugly. And there was an ugly. Brown’s sterling musical reputation is deeply scarred by allegations of domestic violence against a series of wives and girlfriends, often spurred by alleged drug use, as well as arrests for assault and drug possession for which he served a prison sentence in the late 1980s, among other lurid incidents and accusations, particularly near the end of his life. “We’re not running from that aspect of him, but we’re also paying homage to what he did throughout history, the trails he blazed and the things he stood on from education to Black empowerment, entrepreneurialism, his principles,” Taylor says. “It’s about not ignoring the human elements of him, but also celebrating him as well.”
If things go to plan, Augusta will soon be even more widely known as the home of James Brown — the City of Soul, perhaps, or of Funk — where his legacy and influence are on full display. (As Brown put it in an interview featured in the A&E docuseries, “I created funk. God and me.”) “In order to create an overall immersive experience, we need the city of Augusta to help tell those stories,” Taylor says. “Where he shoeshined, where he buck-danced, where he would do shows, where he went to church — all of those things that are part of the overall story.”
Brown died on Christmas Day in 2006, and this tree has remained standing — with presents underneath — in the foyer of his home ever since.
Two tour buses parked on the lawns of the Brown estate from the Living in America Tour in the ’80s. One housed the band, the other equipment.
And for some, that story is not entirely in the past. Mr. Washington recounts that long, lonely drive back to Beech Island from the hospital on Christmas Day, passing through the wrought-iron gates for the first time since the boss had gone.
“I come down the hill — you could see right to the porch — and it looked like he was standing out there with his hands folded up,” he says. “I was like, ‘Mr. Brown, you know you got pneumonia, you need to get back in the house!’ And then the closer I got, his spirit just faded away.” For a few days afterward, he remembers the house alarm going off for no reason, lights flickering in different rooms, an unsettling feeling.
He has other memories, too — driving back-and-forth with Mr. Brown to Atlanta, going down to church on Sundays and then visiting Mr. Brown’s mother in the nursing home afterward, stopping for fried chicken on the way back. “I’ve got a lot of good memories of him,” he says. “Any time he’d crack a joke or something…” Mr. Washington trails off, then laughs again. “I could visualize his face right there. I know it’s been some years, but it seems like he’s been gone just yesterday.”
For more exclusive photos of the James Brown home, read here.
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.pngYveto2024-08-22 15:06:332024-08-22 15:06:33Inside James Brown’s House: Can It Become the Next Graceland?
As summer turns to fall, festival lineups for early 2025 are starting to drop.
One of the first out the gate is Costa Rica’s Ocaso Festival, which on Thursday (Aug. 22) announced a 2025 lineup featuring house maestro Chris Lake, globetrotting idols The Martinez Brothers and Brazilian phenom Vintage Culture, along with Space Miami resident Layla Benitez, techno duo Kasablanca, Brazilian producer Maz, rising U.K. producer Riordan and a flurry of other dance acts. See the complete lineup below.
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The festival will mark the first Costa Rica appearances by Lake, Kasablanca and Riordon, with the event also featuring a stage takeover by Lake’s Black Book Records. Ocaso happens Jan. 31-Feb. 1, 2025, at a new location on Playa Hermosa, roughly 10 miles from the city of Jaco on the Central American country’s Pacific coast. The festival was previously hosted in Costa Rica locations including the northwestern province of Guanacaste. Tickets are on sale now.
Along with the music, festival organizers are offering package tours to nearby destinations like volcanos, hot springs and national parks that attendees can take part in in the days after the festival.
“It’s always been a goal of our team to bring underground house music culture to Costa Rica,” festival organizers tell Billboard. “Providing locals the ability to experience the top DJs in the world without having to travel to Ibiza or Miami while emanating the vibe of an eclectic festival, This is what pushes the local scene forward and why we do this year over year. We’re excited to deliver the best experience yet this year”
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.pngYveto2024-08-22 15:02:592024-08-22 15:02:59Chris Lake, The Martinez Brothers & Vintage Culture Lead Ocaso Festival 2025 Lineup
