Avril Lavigne Brings Out a Pink-Haired Machine Gun Kelly for First-Ever ‘Bois Lie’ Performance

Avril Lavigne celebrated the release of her seventh studio album, Love Sux, on Friday (Feb. 25) with an intimate show at Los Angeles’ The Roxy as part of SiriusXM and Pandora’s Small Stage Series.

The 37-year-old punk pop princess was visibly elated throughout the night, where she gave high-energy renditions of fan-favorite hits including “Sk8er Boi,” “What the Hell,” “Girlfriend” and, of course, “Complicated.”

Champagne bottle in hand, Lavigne drank to her return to the rock scene after her emotional 2019 LP Head Above Water — all with a little help from her famous friends. With Travis Barker on drums for four songs, Lavigne also called up her boyfriend Mod Sun for their “Flames” duet, complete with a swoon-worthy hug and kiss onstage.

A highlight of the evening was when the “My Happy Ending” singer surprised the crowd with her longtime pal Machine Gun Kelly, sporting a crop top and a new pastel pink hairdo. The duo performed their collaboration, “Bois Lie,” together for the very first time — as MGK’s fiancée, actress Megan Fox, watched sweetly from the crowd.

Among the other celebrities in attendance at the celebratory event were Barker’s fiancée Kourtney Kardashian, Willow Smith, Huddy, JXDN, Nessa Barrett, Tyler Posey, Phem, Pinkpantheress, Alex Gaskarth and Zack Merrick of All Time Low and Grandson.

“I went into this album and just said, ‘I want to make a pop-punk record, a rock-and-roll record. I don’t want to be on the piano. I don’t want ballads, really. I just really want to rock out,’” Lavigne recently told Billboard of her new album. “I think especially after my last album being so mellow and dramatic and deep and introspective — you know, it was beautiful, and it was where I was at in my life, and that’s what worked for me at the time. But I was just ready to get back out there, rock the f—k out, and again just thinking about the live shows. I mean, this is the kind of music I fell in love with, when I was old enough to buy CDs, to discover bands — like, my first year of high school, which is grade nine in Canada.”

See her SiriusXM and Pandora’s Small Stage Series set list below.

Sk8er Boi
What the Hell
Complicated
Bite Me
Girlfriend
Love It When You Hate Me
Bois Lie (with Machine Gun Kelly)
Here’s to Never Growing Up
My Happy Ending
Flames
I’m With You

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Breland Joins Warner Music Nashville Roster

Warner Music Nashville has teamed with Atlantic Records and Bad Realm Records to bring singer-songwriter Breland to the WMN roster.
Breland is in the top 15 on Billboard‘s Country Airplay chart with his feature on Dierks Bentley’s single “Beers on Me” with HARDY, and will debut his new song “Praise The Lord” at the 57th annual ACM Awards on March 7. Breland is the second country artist to be recognized as part of Amazon Music’s Breakthrough Artist program. He’s on the road opening shows for Russell Dickerson.
He becomes the latest in a long line of acts that pop divisions are partnering with their Nashville counterparts to work and vice versa. WMN and Warner Records’ pop division already work together on Gabby Barrett and Dan + Shay to garner pop airplay on certain releases. Universal Music Group Nashville and UMG’s Interscope partnered on Kacey Musgraves’ latest album, Star-crossed. Sony Music Nashville has teamed with RCA Records to promote several acts including Tenille Townes and Kane Brown, who has released songs with several acts on RCA’s pop roster, including Khalid and H.E.R.
In 2019, Breland earned a viral hit with “My Truck,” which gained traction on TikTok and reached No. 1 on Spotify’s Global Viral 50 chart. The song also crossed over onto Billboard‘s Hot 100 chart and was certified platinum by the RIAA. Since releasing “My Truck,” thanks to his musical blend of country, pop, trap, hip-hop and bluegrass elements, Breland has become an in-demand collaborator, working with artists including Keith Urban (“Throw It Back” “Out The Cage”), Sam Hunt (a remix of “My Truck”), Mickey Guyton (“Cross Country”), Nelly and Blanco Brown (“High Horse”), Tiera (“Miles”), Gary LeVox (“All I See”) and more.
In 2020, Breland released both a self-titled project, as well as the two-song EP Rage and Sorrow in recognition of Juneteenth. Last year, he inked a publishing deal with Reservoir, made his Grand Ole Opry debut performance, and opened for Deana Carter at the Ryman Auditorium.
“We couldn’t be more excited to partner with Warner Music Nashville on the next phase of Breland’s meteoric career,” said president of Atlantic Records West Coast, Kevin Weaver, in a statement. “It’s a privilege for Atlantic and Breland to join forces with our sister company in Nashville as we continue to introduce Breland’s unique cross-country sound and style around the globe.”
“It’s been so exciting to watch him change the game in this genre and we’re beyond proud to join forces with him as he continues to break down barriers for the next generation of Nashville artists,” added Warner Music Nashville chairman/CEO John Esposito.
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The Ledger: How Big Is the Potential Music NFT Market?

The Ledger is a weekly newsletter about the economics of the music business sent to Billboard Pro subscribers. An abbreviated version of the newsletter is published online.

It seems everybody is getting — or wants to get — in on the NFT business. It’s reminiscent of the late ’90s when companies rushed to launch websites because, well, there was money to be made and everybody else was doing it. Many companies stumbled out of the gate, but the internet turned out to be a pretty good business opportunity. The jury is still out on NFTs but there’s obvious potential. It’s no surprise that people spend hundreds or thousands of dollars on digital tokens that confer rights to anything from digital art to fan club-like perks. Some fans spend dearly to support their favorite artists. And with NFTs, people get immutable proof of ownership on the blockchain and the ability to re-sell at a higher price (and charge a royalty on re-sale).

The size of the addressable market for music NFTs is, however, hard to pin down. NFTs are a unique product that’s purchased by a small subset of music fans willing to jump through hoops to spend cryptocurrency rather than fiat currency on a credit card, and the jury’s still out on their long-term potential. Early cryptocurrency investors are buying NFTs using digital wallets bursting from skyrocketing prices — it’s like spending found money. And analysis found that what looks like demand for NFT can be “wash sales” where creators bought their own NFTs to drive up prices. Those aren’t signs that NFTs, in general, have less value than people think.

One small clue of the potential of NFTs came back in 2013 when Nielsen surveyed U.S. music fans’ spending habits on concert tickets, music purchases and other music-related goods and services. The goal was to quantify the market opportunity available to artists and labels for selling premium products and experiences to their biggest fans. At the time, 40% of U.S. music fans accounted for 75% of music spending, according to Nielsen — between $20 billion and $26 billion annually. That subset of music consumers could spend an additional $450 million to $2.6 billion annually “if they had to opportunity to snag behind-the-scenes access” and “exclusive content” from their favorite artists, wrote Nielsen. Again, that’s only the potential U.S. market.

The question was how artists would get that content and access to fans. In 2013, fan-funding platforms such as Kickstarter, PledgeMusic (which commissioned the survey), Indiegogo, ArtistShare, RocketHub and Sellaband were young and gaining momentum. Artists realized they could use crowdfunding to offer special packages to “superfans” that went beyond the standard CD or LP release. The typical fan might buy a CD or digital download.

The most casual fans — which is most of all music listeners — spend little on music. In 2013, they bought downloads. Today, they’re more likely to stream music and listen to the radio. For a few fortunate artists, these are significant revenue streams, but many acts rely on superfans to spend more on music, merch and concert tickets. About a third of all music spending came from a group Nielsen called aficionados that accounted for just 14% of music consumers.

Nielsen didn’t anticipate the existence of NFTs, but many NFTs offer two of the main things Nielsen talked about in 2013: exclusive content and behind-the-scenes access. Take the NFTs that give the owner lifetime tickets to Coachella — two per year for one weekend — plus various VIP perks to this year’s festival, free access to virtual events and invites to private functions. Those NFTs have received bids over $10,000, and the NFT that includes a fully stocked trailer in the VIP compound this year has a high bid of $115,000 and a “buy now” price of $1 million. Snoop Dogg’s NFTs sold through Gala Music were described as “access to a superfan club” that makes owners of all 17 NFT tracks “part of the VIP scene” and provides “exclusive access to parties at Snoop’s LA mansion.”

It’s difficult to draw direct comparisons between NFTs and fan clubs, though. Buying NFTs for perks requires far more faith than joining a fan club for an annual fee. An NFT is a single, lump-sum purchase for goods and services to be rendered at some point in the future. Exactly what and when the goods and services will be delivered might not be spelled out. The buyer trusts they’ll get what they’re promised. Sure, NFT companies and artists have a motive to deliver value to NFT holders rather than risk angering their most fervent fans. But people are spending a lot of money expecting they’ll get perks for many years.

Superfans want more than high-priced, autographed vinyl box sets. NFT technologies can open the door to a diverse range of products and services in the digital world. Regardless of the uncertainties surrounding music NFTs, fans are already showing a willingness to buy and collect them. Over time, the market could reach and exceed Nielsen’s nine-year-old estimate. In the meantime, though, it could get difficult to separate hype from reality.

 

STOCKS
Through Feb. 25, the % change over last five trading days and year to date.

Spotify: -6.2%, -35.1% YTD
Universal Music Group: -8.7%, -22.6% YTD
Warner Music Group: -0.3%, -15.4% YTD
Live Nation: +7.3%, +19.7% YTD
iHeartMedia: +1.2%, -1.8% YTD
Anghami: +7.7%, +73.4% YTD
NYSE Composite: +0.2%, -4.3% YTD
Nasdaq: +1.1%, -12.5% YTD

 

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First Stream Latin: New Music From Natti Natasha, Maria Becerra, El Fantasma & More

First Stream Latin is a compilation of the best new Latin songs, albums, and videos recommended by the Billboard Latin editors. Check out this week’s picks below.

Natti Natasha, El Alfa, Chimbala, “WOW BB” (Pina Records/Sony Music Latin)

A more fitting title could not exist, as Natti Natasha managed to reel in two pioneers of the dembow movement for “WOW BB.” The flirtatious track, produced by B-One, DJ Luian, Mambo Kingz, and Raphy Pina, is a playful dembow about two men who are trying to swoon the same girl. She, however, is independent and is not impressed by their coquetry. More than a great summer anthem, “WOW BB” flaunts pure Dominican power as the three artists unite their distinct vocals and flow. The three artists officially debuted the song on television at the 2022 Premio Lo Nuestro. — JESSICA ROIZ

Maria Becerra, “Felices x Siempre” (300 Entertainment)

Argentinian singer-songwriter Maria Becerra released the first single off her upcoming second album. The pop-ballad perfectly fuses her lyrical versatility with the theme of a relationship that is over and was not meant to be “Happily Ever After.” This new track empowers new beginnings, where she lets her vulnerability shine in this heartfelt song. While Maria has dabbled in urban music in her previous songs, this is the start of a new era in her music career. — INGRID FAJARDO

El Fantasma, “Fuera De Servicio” (AfinArte Music)

Durango, Mexico-born singer-songwriter El Fantasma is making the rounds with his new banda anthem “Fuera De Servicio,” penned by Luciano Luna and Tony Montoya. The attitude-heavy corrido narrates his return to the forefront after a few obstacles challenged him along the way. “I struggled, but don’t worry, I know you’ll be there for me just how you had said back when I lend you a helping hand,” he sings. “My good luck has returned in case you want to come say hello again.” The track is powered by traditional Sinaloan band brass instruments that provide a canvas to El Fantasma’s emboldened lyrics. — GRISELDA FLORES

Rauw Alejandro, Trap Cake Vol. 2 (Sony Music Latin)

A follow up to his 2019 Trap Cake, Vol. 1, which featured collabs with Cazzu, De La Ghetto, and Jon Z, Rauw Alejandro delivers an equally star-studded Vol. 2 that includes songs with Future, Ty Dolla $ign, and Rvssian. The genre-blurring EP stays in tune with the Puerto Rican artist’s ever-so experimental essence. Treading between trap, rock, pop, and R&B, Alejandro kicks off the nine-track set with the sentimental heartbreak song “Museo.” But not all is heartbreak in Trap Cake Vol. 2, a standout track is “Wuepa” with Ankhal, a bonafide party anthem. — G.F.

VF7, 15 (Sora And Company 1)

VF7 dropped her sophomore studio album 15 on her quinceañera, which coincided with her first-ever nomination at the 2022 Premio Lo Nuestro. The Puerto Rican newcomer, a 2020 “Billboard Latin teen artist to have on your radar,” has already received the stamp of approval from reggaeton stars Rauw Alejandro, Jay Wheeler and Lunay, to name a few. On 15, she counts with collaborations from Nio Garcia (on the urban-bachata “Baila”) and Lyanno (on “Ya No Es =”), to name a few. The 14-track set kicks off with “Quince,” where the artist (real name: Valeria Fernandez) celebrates her sweet 15 by saying: “The more the years go by, the more hunger grows. Fear does not exist. Thank God for another year, 15 bro.” Way beyond her age, however, VF7 has evolved in her penmanship and melodies, experimenting with punk rock and perreo for a different approach. VF7 officially premiered her single “Restart” with Lele Pons, produced by Ninow & Candy, at the 34th annual Premio Lo Nuestro. — J.R.

Rubio, “Buena Suerte Muchacha” (Rubio)

Chilean singer-songwriter Rubio (real name Francisca Straube) gets deep and introspective in her new, piano-led single “Buena Suerte Muchacha,” which also serves as the theme song to Pantaya’s new series Señorita 89. A preview of her upcoming album, the track finds a nostalgic Rubio who is on a healing journey eager to find herself in the process. “Life is a game that if you don’t play, you become sick, with rocks in your backpack for not speaking from the heart,” she evocatively sings. — G.F.

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Daniel Kaluuya & Regina King Are Winners in 2022 NAACP Image Awards’ Pre-Telecast Awards

Daniel Kaluuya and Regina King won NAACP Image Awards for outstanding supporting actor and actress, respectively, in a motion picture on Friday (Feb. 25). Kaluuya won for playing Fred Hampton in Judas and the Black Messiah (for which he won an Oscar last year); King won for her role in The Harder They Fall.

The NAACP Image Awards followed the lead of the Primetime Emmys’ Creative Arts Awards in stripping their pre-telecast awards across an entire week. This was the fifth and final night of the pre-telecast presentations.

The Netflix film The Harder They Fall has been the top winner across these five nights, winning four awards — outstanding ensemble cast in a motion picture; outstanding breakthrough creative (motion picture) to Jeymes Samuel, who directed, co-wrote, co-produced and scored the film; outstanding soundtrack/compilation album to Jay-Z and Samuel; and now King’s acting award.

Judas and the Black Messiah, The Daily Show With Trevor Noah and Jazmine Sullivan each won three awards across the five nights.

Shaka King won two awards for his work on Judas and the Black Messiah (Warner Bros. Pictures). The filmmaker won for outstanding directing in a motion picture and shared the award for outstanding writing in a motion picture. Kaluuya’s acting award brought the film’s total to three.

The Daily Show With Trevor Noah (Comedy Central) won for outstanding variety or game show (series or special); outstanding short-form series – comedy or drama for “Between the Scenes”; and outstanding host in a reality/reality competition, game show or variety (series or special) for Noah.

Sullivan won outstanding album and outstanding female artist for her album Heaux Tales (RCA Records). She also won outstanding soul/R&B song for “Pick Up Your Feelings.”

Two-time winners across the five nights are: the TV show Red Table Talk (Facebook Watch); the “Jemele Hill Is Unbothered” podcast; musical artists Tobe Nwigwe featuring Fat Nwigwe, Wizkid featuring Tems, and gospel star Tamela Mann; the Netflix film Colin in Black and White, ABC’s long-running sitcom black-ish; and the Starz TV show Power Book II: Ghost.

The non-televised awards were announced nightly at 8 p.m. ET/5 p.m. PT on naacpimageawards.net and the NAACP Image Awards YouTube channel.

The remaining awards will be presented on the 53rd NAACP Image Awards, which are set to air on Saturday (Feb. 26) at 8 p.m. ET/PT on BET. Black-ish star Anthony Anderson is set to host the show. Mary J. Blige, won best supporting actress in a drama series for Power Book II: Ghost, is set to perform on the show. Nikole Hannah-Jones, who won outstanding literary work – non-fiction for The 1619 Project: A New Origin Story, is slated to receive the Social Justice Impact Award.

Here are the night-by-night winners of the pre-telecast awards.

 

Friday, Feb. 25

Outstanding Television Movie, Limited–Series or Dramatic Special: Colin in Black & White (Netflix)

Outstanding Actor in a Television Movie, Limited–Series or Dramatic Special: Kevin Hart- True Story (Netflix)

Outstanding Actress in a Television Movie, Limited–Series or Dramatic Special: Taraji P. Henson- Annie Live! (NBC)

Outstanding Supporting Actor in a Television Movie, Limited–Series or Dramatic Special: Courtney B. Vance- Genius: Aretha (National Geographic)

Outstanding Supporting Actress in a Television Movie, Limited–Series or Dramatic Special: Regina Hall – Nine Perfect Strangers (Hulu)

Outstanding Performance by a Youth (Series, Special, Television Movie or Limited–series): Miles Brown- black-ish (ABC)

Outstanding Supporting Actor in a Comedy Series: Deon Cole- black-ish (ABC)

Outstanding Supporting Actress in a Comedy Series: Natasha Rothwell- Insecure (HBO)

Outstanding Supporting Actor in a Drama Series: Cliff “Method Man” Smith- Power Book II: Ghost (Starz)

Outstanding Supporting Actress in a Drama Series: Mary J. Blige- Power Book II: Ghost (Starz)

Outstanding Drama Series: “Queen Sugar” (OWN: Oprah Winfrey Network)

Outstanding Breakthrough Creative (Television): Angel Kristi Williams- Colin in Black & White (Netflix)

Outstanding Supporting Actor in a Motion Picture: Daniel Kaluuya- Judas and the Black Messiah (Warner Bros. Pictures)

Outstanding Supporting Actress in a Motion Picture: Regina King- The Harder They Fall (Netflix)

Outstanding Documentary (Film): Barbara Lee: Speaking Truth to Power (Greenwich Entertainment)

Outstanding Independent Motion Picture: CODA (Apple TV+)

Outstanding Animated Motion Picture: Encanto (Walt Disney Studios)

 

Thursday, Feb. 24

Outstanding Album: Heaux Tales– Jazmine Sullivan (RCA Records)

Outstanding Male Artist: Anthony Hamilton – Love Is the New Black (My Music Box LLC/BMG)

Outstanding Female Artist: Jazmine Sullivan- Heaux Tales (RCA Records)

Outstanding Duo, Group or Collaboration (Traditional): Silk Sonic- “Leave the Door Open” (Aftermath/Atlantic)

Outstanding Duo, Group or Collaboration (Contemporary): Tobe Nwigwe Feat. Fat Nwigwe- “Fye Fye” (Tobe Nwigwe, LLC)

Outstanding New Artist: Saweetie – “Best Friend” featuring Doja Cat (ICY/Warner Records)

Outstanding Soundtrack/Compilation Album: The Harder They Fall (The Motion Picture Soundtrack) – JAY-Z & Jeymes Samuel (Geneva Club/Roc Nation Records, LLC)

Outstanding International Song: “Essence”- Wizkid featuring Tems & Justin Bieber (RCA Records/Starboy/Sony Music International)

Outstanding Music Video/Visual Album: “Essence”- Wizkid featuring Tems (RCA Records/Starboy/Sony Music International)

Outstanding Soul/R&B Song: “Pick Up Your Feelings”- Jazmine Sullivan (RCA Records)

Outstanding Hip-Hop/Rap Song: “Fye Fye” – Tobe Nwigwe Feat. Fat Nwigwe (Tobe Nwigwe, LLC)

Outstanding Jazz Album – Instrumental: “Sounds from the Ancestors” – Kenny Garrett (Mack Avenue Music Group)

Outstanding Jazz Album – Vocal: “Generations”- The Baylor Project (Be a Light)

Outstanding Gospel/Christian Song: “Help Me”- Tamela Mann feat. The Fellas (Tillymann Music Group)

Outstanding Gospel/Christian Album: Overcomer– Tamela Mann (Tillymann Music Group)

Special Award: NAACP Humanitarian of the Year: Darnella Frazier

 

Wednesday, Feb. 23

Outstanding Talk Series: Red Table Talk (Facebook Watch)

Outstanding Host in a Talk or News/Information (Series or Special) – Individual or Ensemble: Jada Pinkett Smith, Adrienne Banfield-Norris, Willow Smith- Red Table Talk (Facebook Watch)

Outstanding Reality Program/Reality Competition Series: Wild ‘n Out (VH1)

Outstanding Host in a Reality/Reality Competition, Game Show or Variety (Series or Special) – Individual or Ensemble: Trevor Noah- The Daily Show with Trevor Noah (Comedy Central)

Outstanding Variety or Game Show (Series or Special): The Daily Show with Trevor Noah (Comedy Central)

Outstanding News/Information (Series or Special): The Reidout (MSNBC)

Outstanding Documentary (Television): High on the Hog: How African American Cuisine Transformed America (Netflix)

Outstanding Children’s Program: Family Reunion (Netflix)

Outstanding Animated Series: We the People (Netflix)

Outstanding Character Voice-Over Performance (Television): Cree Summer- Rugrats (Nickelodeon)

Outstanding Character Voice-Over Performance – Motion Picture: Letitia Wright- Sing 2 (Universal Pictures)

Outstanding Breakthrough Performance in a Motion Picture: Danny Boyd Jr.- Bruised (Netflix)

Outstanding Breakthrough Creative (Motion Picture): Jeymes Samuel- The Harder They Fall (Netflix)

Outstanding Ensemble Cast in a Motion Picture: The Harder They Fall (Netflix)

Outstanding International Motion Picture: 7 Prisoners (Netflix)

Outstanding Guest Performance: Maya Rudolph- Saturday Night Live (NBC)

Special Award: Roy Wilkins Civil Rights Award: Members of the Mexican American Legislative Caucus, Texas House Democratic Caucus, and Texas Legislative Black Caucus

 

Tuesday, Feb. 22

Outstanding Short-Form Series – Comedy or Drama: “Between the Scenes” – The Daily Show (Comedy Central)

Outstanding Short-Form Series or Special – Reality/Nonfiction: “Token of a Great Day:  Lynching Postcards” (Paramount +)

Outstanding Short-Form (Live Action): “When the Sun Sets (Lakutshon’ Ilanga)” (Universal Pictures)

Outstanding Short-Form (Animated): “Us Again” (Walt Disney Animation Studios)

Outstanding Writing in a Comedy Series: Issa Rae- Insecure – Episode #510 “Everything’s Gonna Be, Okay?!” (HBO)

Outstanding Writing in a Drama Series: Davita Scarlett- “The Good Fight” – 505, “And the Firm Had Two Partners” (Paramount +)

Outstanding Writing in a Television Movie or Special: Abdul Williams- “Salt-N-Pepa” (Lifetime Movie Network)

Outstanding Writing in a Motion Picture: Shaka King, Will Berson, Kenny Lucas, Keith Lucas- Judas and the Black Messiah (Warner Bros. Pictures)

Outstanding Directing in a Comedy Series: Bashir Salahuddin, Diallo Riddle – South Side – “Tornado” (208) (HBO Max)

Outstanding Directing in a Drama Series: Barry Jenkins- The Underground Railroad “Indiana Winter” (Amazon Studios)

Outstanding Directing in a Television Movie or Special: Kenny Leon- Robin Roberts Presents: Mahalia (Lifetime)

Outstanding Directing in a Documentary: Samantha Knowles, Yoruba Richen, Geeta Gandbhir, Nadia Hallgren- Black and Missing–  Ep 103 (HBO)

Outstanding Directing in a Motion Picture: Shaka King- Judas and the Black Messiah (Warner Bros. Pictures)

Special Award: NAACP Activist of the Year: Scot X. Esdaile, president of the Connecticut State Conference of NAACP Branches and a member of the NAACP national board of directors.

 

Monday, Feb. 21

Outstanding Literary Work – Fiction: Long Division – Kiese Laymon (Simon & Schuster)

Outstanding Literary Work – Nonfiction: The 1619 Project: A New Origin Story – Nikole Hannah-Jones (Penguin Random House)

Outstanding Literary Work – Debut Author: Just as I Am – Cicely Tyson (Amistad)

Outstanding Literary Work – Biography/Autobiography: Will – Will Smith (Penguin Random House)

Outstanding Literary Work – Instructional: Feeding the Soul (Because It’s My Business) – Tabitha Brown (HarperCollins Publishers)

Outstanding Literary Work – Poetry: Perfect Black – Crystal Wilkinson (University Press of Kentucky)

Outstanding Literary Work – Children: Stacey’s Extraordinary Words – Stacey Abrams, Kitt Thomas (HarperCollins)

Outstanding Literary Work – Youth/Teens: Ace of Spades – Faridah Àbíké-Íyímídé (Feiwel & Friends / Macmillan)

Outstanding News and Information Podcast: “Blindspot: Tulsa Burning”

Outstanding Lifestyle/Self-Help Podcast: “Two Funny Mamas,” Sherri Shepherd & Kym Whitley

Outstanding Society and Culture Podcast: “Jemele Hill Is Unbothered”

Outstanding Arts and Entertainment Podcast: “Jemele Hill Is Unbothered”

Special Award: Youth Activist of the Year: Channing Hill, NAACP chapter president, Howard University.

Here’s a link to a complete list of nominees for the 53rd annual NAACP Image Awards.

 

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The Most Memorable Music Moments From HBO’s ‘Euphoria’

TV shows and movies have been using songs to enhance stories for decades. On HBO’s Euphoria, tracks don’t just add emotion and intensity to certain scenes, the music has become as central to the story as the characters in the show themselves.

The songs featured span decades and genres — including a ‘60s era Andy Williams hit to “Nonstop” off Drake’s 2018 smash Scorpion. But how does the show’s music supervisor Jen Malone curate the perfect soundtrack? It’s actually not rocket science: “Through Spotify, Soundcloud, Instagram, and Twitter. I just find the artists and read all the blogs,” she told W Magazine shortly after the pilot came out in June 2019. “I have a good network of friends who know what’s poppin’ and use playlists. I go into the rabbit holes and see what’s good.”

Nearly two full seasons and two special episodes later, the show has featured dozens of artists and even more songs — from up and coming acts to seasoned veterans. Find seven of Euphoria’s most memorable music moments below, listed from newest to oldest.

SPOILER ALERT: This rest of this post contains spoilers for season 2 of Euphoria.

Season 2, Episode 7 — Bonnie Tyler, “Holding Out For A Hero”

It proves difficult to choose a favorite part from Lexi’s (Maude Apatow) play that the show’s second season has been leading up to, but Ethan’s (Austin Abrams) flashy portrayal of Nate (Jacob Elordi) really brings the unexpected to the episode. With a crowd full of teenagers on edge that their lives outside the classroom are being exposed, the stage at East Highland’s auditorium shifts to a locker room filled with a shirtless, oiled-down football team donning tight gold spandex (à la Rocky Horror). Ethan is front and center as he performs choreographed hip thrusts and suggestive workout poses while lip syncing Bonnie Tyler’s 1983 hit. Though Nate walked out in the middle of the number, fans of the show will agree: Ethan “put his whole ETHUSSY into that performance.”

Season 2, Episode 4 — Labrinth, “I’m Tired”

As Rue (Zendaya) creeps closer and closer to hitting rock bottom, she gives in to the suitcase full of drugs hiding in her bedroom and swallows a few too many pills from one of the many orange bottles inside. In a dream sequence that takes place in a church, the series brings the show’s composer Labrinth on screen for the first time to perform his track “I’m Tired.” Rue walks down the aisle towards Labrinth, who offers her the hug she’s been needing as she continues lying about her sobriety to the people closest to her. She later imagines it’s her father embracing her, whose passing a few years earlier contributed to her drug addiction. As Labrinth sings “Now the tide is rolling in/ I ain’t tryna win/ Let it take me, let it take me” the audience can feel Rue slowly giving up.

Season 2, Episode 1 — Orville Peck, “Dead of Night”

Nate offers to give Cassie (Sydney Sweeney) a ride to the New Year’s Eve party and turns up an Orville Peck tune which perfectly foreshadows what’s to come for the pair’s relationship. The two gulp down beers and look at each other with fiery eyes, establishing a growing sexual tension — despite the fact that Nate is Cassie’s best friend’s on-again-off-again lover. No words are said between the two so the audience can hone in on the sultry sound and mysterious lyrics: “You say ‘go fast’ I say ‘hold on tight’/ In the dead of night, dead of night.”

Special Episode Part 2 — Lorde, “Liability”

In a special episode co-written by Hunter Schafer herself, the viewers gets a deeper peek into Jules’ upbringing. The episode begins with Jules sitting in a therapist’s office as a voice from offscreen asks her, “So where do you want to start?” The scene shifts into a close-up shot of Jules’ bright blue eye literally reflecting flashbacks of the last year she’s had at East Highland — mainly, moments with Rue, as Lorde’s piano-driven ballad plays in full and drives home her feelings for her: “So I guess I’ll go home/ Into the arms of the girl that I love/ The only love I haven’t screwed up/ She’s so hard to please, but she’s a forest fire.”

Season 1, Episode 8 — Labrinth & Zendaya, “All For Us”

After building a strong bond with Rue, Jules decides to run away from the suburbs, leaving a sober Rue feeling helpless. After a good sobriety streak, she relapses in the season 1 closer with a line of cocaine — sending her to an unexpected musical hallucination. The choreographed number brings her out of her bedroom and into the streets, where she drunkenly performs alongside a clan of maroon-hooded figures.

Season 1, Episode 5 — Billie Eilish, “You Should See Me In A Crown”

“There’s nothing more powerful than a fat girl who doesn’t give a f—k,” Kat (Barbie Ferreira) says in a narration right before the beat drops in Billie Eilish’s “You Should See Me In A Crown.” Earning serious coin as a masked camgirl, the high schooler takes her new-found confidence and brand-new look to the mall — a place she used to dread. Passersby can’t help but do a double take as she struts in a sheer red shirt and leather harness. The look even gets the attention of one passing beanie boy with piercings who asks her out to dinner.

Season 1, Episode 1 — Andy Williams, “Can’t Get Used to Losing You” + Beyoncé, “Hold Up”

The teen drama’s pilot opens with a brief history on the central character, Rue, who grew up in a middle class family in the suburbs and started taking medication young after being diagnosed with OCD, ADD, anxiety and “possibly bipolar disorder, but she’s too young to tell,” according to her therapist. Viewers soon see her sniff her first line of cocaine on-screen, sending her into a daze as Andy Williams’ “Can’t Get Used to Losing You” transforms into Beyoncé’s “Hold Up” (which actually samples the Williams’ 1963 track). Though the transition is quick, it’s significant — representing juxtaposition between the —ahem— euphoria the character feels when she’s high versus the fast-paced life of a high schooler.

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Jay-Z Wins $4.5M In Unpaid Royalties Over Failed Cologne Partnership

Jay-Z won $4.5 million in royalties Thursday (Feb. 24) from a fragrance company called Parlux that sued the rapper after their cologne endorsement deal went south.

Three months after a Manhattan jury cleared the superstar of wrongdoing and potentially $67 million in damages, a New York state appeals court went even further, ruling that it was Parlux that must pay up. The court said the fragrance brand owed past royalties, plus interest, for sales of the product made after the deal soured.

“The record is clear: Parlux sold licensed products after July 31, 2015, but failed to pay royalties on those sales,” wrote Justice John Higgitt of the New York Appellate Division.

The ruling came after more than six years of litigation over “Gold Jay-Z,” a cologne brand that the superstar, whose real name is Shawn Carter, launched in 2013 through a partnership with Parlux.

In its lawsuit, the company accused the rapper and his S. Carter Enterprises of failing to properly promote the brand, breaching his contract and dooming the product to failure. Jay-Z quickly countersued, claiming he had fulfilled his obligations despite numerous missteps from Parlux – and that the company still owed him money.

A three week trial was held last fall, featuring heated testimony from the star himself, during which he verbally sparred with opposing attorneys and even threatened to file a new countersuit. Eventually, jurors largely sided with Hov, finding that Parlux was entitled to nothing.

Confusingly, Thursday’s ruling was not based on an appeal from that verdict. Instead, both sides had lodged appeals earlier in the litigation, challenging intermediate rulings issued by the judge overseeing the case. The new decision mostly rejected those challenges, but held that Jay-Z was “correct” when he claimed he was owed $4.5 million in royalties for the period after July 31, 2015.

An appeal of the verdict could still be coming. The case remains in the trial court, where Parlux is asking the judge to set aside the verdict and order a new trial. Once the judge rules on those motions, the case could head back to an appeals court.

Jay-Z’s attorney, Alex Spiro of the law firm Quinn Emmanuel, declined to comment on the decision. Parlux’s lawyer, Anthony J. Viola of the firm Mintz Levin, did not return a request for comment on Thursday evening.

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‘A Thinly Veiled Attempt To Extort’: Snoop Dogg Blasts Sexual Assault Lawsuit

Snoop Dogg told a federal judge on Thursday (Feb. 24) that a dancer’s recent sexual assault lawsuit was a “thinly veiled attempt to extort defendant for money” just days before he was set to appear during the Super Bowl halftime show.

In a motion to dismiss the case filed in Los Angeles federal court, the rapper’s attorneys said the Jane Doe accuser’s lawsuit was legally flawed in a variety of ways, including that it was filed years too late. But, according to Snoop’s lawyers, sound legal arguments were not the main purpose of bringing the case.

“Plaintiff’s complaint, launched just days before Defendant’s Super Bowl Halftime performance, was a thinly veiled attempt to extort Defendant for money to stop Plaintiff from continuing to assert her false claims publicly,” wrote Jennifer L. Keller of the law firm Keller/Anderle LLP. “But the fatal deficiencies in her complaint ensure her gambit will not succeed.”

The attorney who represents the Jane Doe accuser, Matt E.O. Finkelberg, did not immediately return a request for comment on Thursday evening.

In her lawsuit filed on Feb. 9, the Jane Doe accuser alleged that both Snoop Dogg and Bishop Don “Magic” Juan separately assaulted her over a 24-hour span in May 2013. She also says she was not hired again because she rebuffed their advances.

The complaint included startling and explicit allegations against both men. The lawsuit claims that Doe was first assaulted by Juan — whose real name is Donald Campbell — after she accepted a ride home, fell asleep in the car and woke up at his house. She claims he “repeatedly shoved” himself into her mouth the next morning.

The pair then traveled to Snoop Dogg’s recording studio, the lawsuit says, where Doe claims the rapper, whose real name is Calvin Broadus, barged into a bathroom while she was using it and demanded oral sex. She says she reluctantly complied because she was “afraid for her safety and for her life.” She claims he then masturbated onto her.

In Thursday’s response, Snoop’s attorneys said that each of the lawsuit’s specific claims was meritless. For instance, they argued that a claim for federal sex trafficking was not the kind of thing the statute was designed to prevent.

“If accepted as a sufficient pleading, Plaintiff’s claim would transform into federal sex trafficking every alleged sex act between a defendant and a plaintiff with lesser means, fame, or influence,” Snoop’s lawyers wrote.

As for the primary claims of sexual assault and sexual battery, Snoop’s attorneys said they were clearly barred by California’s two-year statute of limitations for such accusations.

Meanwhile, attorneys for Bishop Don “Magic” Juan also filed a separate motion to dismiss the claims against him, making similar arguments to Snoop’s attorneys.

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Yuri Shows Salsa Moves With Gilberto Santa Rosa at 2022 Premio Lo Nuestro

Who knew Yuri could do salsa improvisations?

Yet there she was, soneando next to one of the best – Gilberto Santa Rosa —in their joint rendition of Santa Rosa’s “Conteo Regresivo” at Premio Lo Nuestro on Thursday night (Feb. 24). Backed by a live salsa band, Santa Rosa and Yuri parlayed off each other for a delivery of the “Conteo” version that Yuri included in her live album Celebrando a Una Leyenda with La Sonora Santanera.

For the Premio Lo Nuestro performance, Yuri dazzled in a sexy, full-length yellow dress, and Santa Rosa, of course, was a consummate gentleman in his suit. Both flexed their vocal chops as they flawlessly executed the “Conteo Regresivo” performance.

See a clip on Premio Lo Nuestro’s Instagram Stories before they expire here, and check back to billboard.com for more Premio Lo Nuestro coverage.

Under the theme “Vive El Momento” at this year’s show, J Balvin, Camilo and Nodal lead the list of nominees with 10 nods each. They are followed by Bad Bunny and Karol G with nine each, and Calibre 50, Carlos Rivera, Farruko, Jhay Cortez, Maluma, Myke Towers and Rauw Alejandro with eight.

The 10 artists up for Premio Lo Nuestro artist of the year are Ángela Aguilar, Bad Bunny, Camilo, Christian Nodal, Grupo Firme, J Balvin, Karol G, Maluma, Rauw Alejandro, and Sebastián Yatra. Other notable categories include album of the year, song of the year, new female artist of the year, and new male artist of the year.

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Maluma, Blessd & Kapla Y Miky Speak Out Against Violence in Colombia During Premio Lo Nuestro Performance

Maluma, Blessd and Kapla Y Miky utilized their platform during Univision’s Premio Lo Nuestro on Thursday night (Feb. 24) to speak out against drug culture and the narratives surrounding their native Colombia.

With his Idolo Global award in hand, Maluma closed out his performance with pertinent words. “Colombia isn’t drug trafficking; Colombia is loads of talent,” he said, amidst cheers from the audience.

The singer gave an energized performance, riding onto the stage atop a motorcycle, in an all leather getup and shades during “Mama Tetema.” The singer then transitioned into “Cositas Del USA” in an industrial, graffiti-covered scene, surrounded by dancers in red leather. Maluma was soon joined by Blessd and Kapla Y Miky, for their performance of “L.N.E.M. (GATA).”

The four artists all donned thick jackets, soon revealing what was underneath: matching white t-shirts that read “Medallo en el Mapa. + Musica, – Violencia.”

Maluma is up for eight awards, including Premio Lo Nuestro Artist of the Year, pop solo artist of the year and pop collaboration of the year alongside Reik for “Perfecta.” Blessd is nominated for male new artist.

Under the theme “Vive El Momento,” at this year’s show, J Balvin, Camilo and Nodal lead the list of nominees with 10 nods each. They are followed by Bad Bunny and Karol G with nine each, and Calibre 50, Carlos Rivera, Farruko, Jhay Cortez, Maluma, Myke Towers and Rauw Alejandro with eight.

The 10 artists up for Premio Lo Nuestro artist of the year are Ángela Aguilar, Bad Bunny, Camilo, Christian Nodal, Grupo Firme, J Balvin, Karol G, Maluma, Rauw Alejandro, and Sebastián Yatra. Other notable categories include album of the year, song of the year, new female artist of the year, and new male artist of the year.

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