President Joe Biden said he spoke with Florida Gov. Ron DeSantis on Friday and promised federal help for Surfside, where 159 people are unaccounted for and four are confirmed dead … Click to Continue »
Kelly Clarkson won twice at the 48th annual Daytime Emmy Awards, which aired Friday (June 25) on CBS. The syndicated The Kelly Clarkson Show took outstanding talk show, entertainment, in its second season. Clarkson also won outstanding entertainment talk show host, an award she won last year too.
In the series category, Clarkson’s show beat The Ellen DeGeneres Show, which had won eight times in the category, including the last two years in a row.
Clarkson has now won as many Daytime Emmys (three) as she has Grammys, even though she has been a recording star much longer (since 2002).
Sheryl Underwood, co-host of CBS’ The Talk, hosted the Daytime Emmys for the fifth time.
Red Table Talk won outstanding informative talk show, beating, among others, Red Table Talk: The Estefans. Jada Pinkett Smith co-hosts Red Table Talk with her daughter, “Whip My Hair” hitmaker Willow Smith, and her mom, Adrienne Banfield-Norris. Gloria Estefan co-hosts Red Table Talk: The Estefans with her daughters Emily and Lili Estefan. Both shows air on Facebook Watch.
CBS Sunday Morning, which frequently runs profiles of top music artists, won outstanding morning show. The show’s host, Jane Pauley, formerly co-hosted NBC’s Today show, one of the other nominees in this category.
The Daytime Emmys included tributes to three TV legends who died in the past year: Regis Philbin, Alex Trebek and Larry King. First lady Dr. Jill Biden and Canadian Prime Minister Justin Trudeau were surprise guests in the tribute to Trebek (who was born in Canada). Robin Roberts and actor Ken Jeong also participated in the Trebek tribute. Kathie Lee Gifford saluted her longtime colleague Philbin. Martha Stewart remembered King, whose long-running talk show on CNN featured countless music stars “for the full hour,” to use King’s well-worn phrase.
Trebek and King also won posthumous competitive awards. Trebek won outstanding game show host for Jeopardy! His children Matt and Emily accepted the award. King won outstanding informative talk show host for Larry King Now. His sons Chance and Cannon accepted the award.
The Daytime Emmy Awards have recognized outstanding achievements in daytime programming since 1974. The awards are presented to individuals and programs broadcast between 2 a.m. and 6 p.m., as well as certain categories of digital and syndicated programming of similar content.
Awards for daytime children’s programming, animation, and daytime lifestyle programming will be presented in separate ceremonies in July.
Here’s a partial list of winners from the 48th annual Daytime Emmys:
Outstanding game show: Jeopardy!, syndicated
Outstanding morning show: CBS Sunday Morning, CBS
Outstanding informative talk show: Red Table Talk, Facebook Watch
Outstanding entertainment talk show: The Kelly Clarkson Show, syndicated
Outstanding entertainment news program: Entertainment Tonight, syndicated
Outstanding daytime non-fiction special: Creators for Change on Girls’ Education with
Michelle Obama, YouTube Originals
Outstanding game show host: Alex Trebek, Jeopardy!, syndicated
Outstanding informative talk show host: Larry King, Larry King Now, Ora TV
Outstanding entertainment talk show host: Kelly Clarkson, The Kelly Clarkson Show, syndicated
Outstanding music direction and composition for a daytime program: The Letter for the King, Brandon Campbell, composer, Netflix
Outstanding original song: “Unsaid Emily,” Julie and the Phantoms, Michelle Lewis & Dan Petty, composers & lyricists, Netflix
Tyler, the Creator released his new album Call Me If You Get Lost on Friday (June 25), and on one song, he calls himself out for his past behavior toward Selena Gomez.
On the track “Manifesto,” featuring his old Odd Future member Domo Genesis, Tyler confesses that he apologized to the “Kill Em With Kindness” pop star after he wrote a number of inappropriate and sexually explicit tweets about her in 2010 and 2011, around the time she was just 18 years old and dating Justin Bieber, who was good friends with Tyler.
“I was a teener, tweetin’ Selena crazy shit/ Didn’t wanna offend her, apologize when I seen her/ Back when I was tryna f— Bieber, Just-in,” he raps in the third verse.
In a 2013 radio interview with Power 106 Los Angeles, the 30-year-old rapper described the dynamic behind their relationship. “We don’t really get along. She don’t like me,” he said. “We don’t like each other ’cause [I’m] kicking it with Justin [Bieber], like that’s my homeboy. She always be mean muggin’ me. Like why are you hating on me?”
At press time, Gomez has not publicly responded to the new song.
Outside of the Billboard charts, Drake has found a new ranking to come out on top: the top 10 most popular musical baby names.
Jewellery Box unveiled the artists and bands that the most babies in the U.S. are being named after, with the “Laugh Now Cry Later” rapper coming in at No. 1. According to the chart, more than 25,000 babies who were born between 2000 and 2019 share the same name as the Billboard Music Awards Artist of the Decade recipient (born Aubrey Drake Graham).
Coming in at No. 2, the Jonas Brothers are credited as the inspiration for 14,000-plus babies being named “Jonas.” Another former Disney star, Miley Cyrus, takes the third spot with almost 12,000 babies sharing her stage name. Also from the Disney camp, Demi Lovato is ranked the seventh-most popular name, with nearly 7,000 babies called Demi.
An eclectic group of rock stars — Prince, John Lennon, Jimi Hendrix, Mick Jagger and Carlos Santana — make up five of the top 10 in the U.S., with the last names of the latter four serving as some of the most popular baby first names: Lennon, Hendrix, Jagger and Santana. Rihanna rounds out the tally at No. 10 with almost 6,000 babies sharing the singer’s stage name (she was born Robyn Rihanna Fenty).
See the full list, plus a breakdown of the top 10 most popular musical boys’ and girls’ names, here.
Last year was a disaster for the touring industry. Since March 2020, when the coronavirus pandemic shut down live shows en masse around the world, promoters and music fans alike have been largely left waiting for concerts to return. Now, with vaccinations on the rise, new tour dates are getting put on the books and live events are poised to make a comeback.
“It’s a good day when you get to announce that LIVE is back,” Life Is Beautiful partner Justin Weniger said in March (his event is scheduled to return Sept. 17-19). “In the darkest days of 2020 when everything else stopped, the Life Is Beautiful community kept us moving forward. We’re eagerly awaiting a return to the festival grounds where we will reunite our community and celebrate the role of art and music in providing us hope when we need it the most.”
As the touring industry plots the return of concerts for 2021, Billboard has compiled a list of the major festivals and tours slated to take place later this year (organized by when they’re kicking off).
JUNE
Pepsi Gulf Coast Jam – June 4-6 in Panama City Beach, Fla.
Essence Fest – June 25-27 and July 2-4 in New Orleans
JULY
Chris Stapleton, All-American Road Show (partially rescheduled) – Starts July 17 in Chicago
Rolling Loud Miami – July 23-25 in Miami
Dave Matthews Band, North American Summer Tour (rescheduled) – Starts July 23 in Raleigh, N.C.
Green Day, Weezer & Fall Out Boy, The Hella Mega Tour (rescheduled) – Starts July 24 at Globe Life Field in Dallas
James Taylor & Jackson Browne, North American Tour (rescheduled) – Starts July 29 in Chicago
Lollapalooza – July 29-Aug. 1 in Chicago
AUGUST
Korn & Staind, North American Tour – Starts Aug. 5 at iTHINK Financial Amphitheatre in West Palm Beach, Fla.
Marc Anthony, The Marc Anthony Tour – Starts Aug. 27 in San Antonio, Texas
SEPTEMBER
Maluma, Papi Juancho Tour – Starts Sept. 1 in Sacramento, Calif.
Bonnaroo – Sept. 2-4 in Manchester, Tenn.
Banda MS, Positivo Tour – Starts Sept. 3 in New York
Pepsi Gulf Coast Jam – Sept. 3-5 in Panama City Beach, Fla.
Pitchfork Music Festival – Sept. 10-12 in Chicago
iHeartRadio Music Festival – Sept. 17-18 in Las Vegas
Life Is Beautiful – Sept. 17-19 in Las Vegas
Riot Fest – Sept. 17-19 in Chicago
Eric Church, The Gather Again Tour – Starts Sept. 17 in Lexington, Ky.
Firefly Festival – Sept. 23-36 in Dover, Del.
Louder Than Life – Sept. 23-26 in Louisville, Ky.
Governors Ball – Sept. 24-26 in New York
Ohana Festival – Sept. 24-26 in Dana Point, Calif.
OCTOBER
Kane Brown, Blessed & Free Tour – Starts Oct. 1 in Sacramento, Calif.
Austin City Limits – Oct. 1-3 & Oct. 8-10 in Austin, Texas
Andrea Bocelli – Believe North American Tour – Starts Oct. 13 in Milwaukee, Wis.
Electric Daisy Carnival – Oct. 22-24 in Las Vegas
Outside Lands – Oct. 29-31 in San Francisco
NOVEMBER
Evanescence and Halestorm, North American Tour – Starts Nov. 5 in Portland, Oregon
Astroworld – Nov. 5-6 in Houston
Genesis, The Last Domino? Tour – Starts Nov. 15 in Chicago
Kany Garcia continues to be a voice for “all the victims of hate that still exist in the LGBTQ+ community,” and that’s why she’s taking her inspirational and empowering lyrics to San Juan’s emblematic Coliseo de Puerto Rico for a two-day show.
The Puerto Rican crooner will perform some of her biggest hits such as “Lo Que En Ti Veo,” “Búscame,” “Titanic” and “Nuevas Mentiras” to her beloved fans of La Isla del Encanto on Jan. 28 and 29, 2022.
Presented by Move Concerts, La Buena Fortuna and Noah Assad Presents, tickets for Garcia’s concert are available at Ticketera.com.
As the countdown begins, Garcia celebrates Pride Month by telling Billboard how coming out has impacted her art and who her LGBTQ+ idol was growing up. Read the Q&A below:
How did the decision to come out impact your art?
I think I have never gained so much credibility in my career. That kind of credibility doesn’t come from songs or lines of thought, but rather from real authenticity.
Did you ever have an LGBTQ+ idol growing up?
I was always a fan of Juan Gabriel, of his versatility, of his way of composing, but above all, that loyalty to himself before anyone else.
Would you say the industry is more accepting of the LGBTQ+ community compared to when you first started your career?
We have taken many steps forward, but we still have a long way to go.
What would you say to new artists who are on the rise and are unsure about coming out?
It is sad that we continue to live in a society that apart from being unequal and we still cannot obtain the same rights, we must make orientation public. I think this is a very personal process, good for each one. I would simply tell them that they are not alone and that they have a community that loves them and does things in their own time.
Any up-and-coming LGBTQ+ artist you’re excited about?
Villano Antillano, I love what she is doing! I think she’s daring, authentic, irreverent, and totally innovative.
This year, I’ll be celebrating Pride by:
For all the victims of hate that still exist in our community, especially my trans brothers and sisters whom I love, value, and work for.
As dawn broke Thursday, Miami-Dade Fire Rescue crews searching an unstable two-story high pile of concrete rubble and twisted, jagged steel pulled out a young boy and his mother from … Click to Continue »
Republic Records co-founders and label heads Monte and Avery Lipman went home again on Thursday (June 24) to deliver a commencement address to their alma matter high school in Montclair, New Jersey.
Speaking before a crowd of graduating Montclair High School students, they brought a special guest along, Republic artist Coi Leray — who’s also a New Jersey native — presenting her with an honorary degree.
“The spirit of Republic Records started right here in Montclair, New Jersey,” said Monte Lipman, the label’s CEO. “I remember at my graduation the commencement speaker talked about challenges met during our four years of high school. But what you’ve endured and experienced, is truly one for the history books. With the events of the past 15 months, you’ve been challenged in ways that are unimaginable. In addition to being high school students, I can only imagine many of you have become caregivers, social activists and may have suffered great loss. You may not realize it now, but this moment will set you apart from generations to come and has prepared you for the unpredictability of life.”
Taking turns speaking, Avery Lipman, Republic president and COO, continued to describe how he and his brother launched Republic “on our dad’s kitchen table with about $800 from selling our baseball card collection.” He said, “And while it may look very glamorous from the outside looking in, the road to success has not been an easy one. As a matter of fact, it’s been the failures and disappointments that have served as our greatest and most constructive lessons.
“Again; this is an important point: those situations that didn’t work out, where we made mistakes, where we got fired (in Monte’s case three times); each of these were learning experiences, where we took the negative and frustrations and flipped that into inspiration to keep moving forward.”
In the spirit of resilience, Monte Lipman next referenced one of the songs that he and Avery built their careers on, Chumbawamba’s “Tubthumping” and the perennial lyrics — which in all likelihood few, if any of the graduates were familiar with previously: “I get knocked down but I get back up again, you’re never gonna keep me down.”
“This has become our mantra for the past 25 years,” he said.
U.S. Representatives Ted Deutch (D-FL) and Darrell Issa (R-CA) have introduced a new bill that would require AM/FM stations to pay performance royalties to music creators and copyright holders for radio airplay in the U.S., as announced at a press conference Thursday (June 24).
The American Music Fairness Act (AMFA) is just the latest attempt by members of Congress to compel radio stations to pay performance royalties, which is a common practice in other countries but has not historically been required in the U.S. In Nov. 2019, Sen. Marsha Blackburn (R-TN) and Rep. Jerrold Nadler (D-NY) introduced a similar bill, the Ask Musicians for Music Act, which would have allowed artists and copyright owners to negotiate performance royalty rates with radio stations in exchange for permission to play their music. That piece of legislation followed a previous bill, the Fair Play Fair Pay Act — also introduced by Blackburn and Nadler — that set out to achieve the same goal.
Unlike satellite/online radio and streaming services, AM/FM stations pay only songwriter royalties on the music they broadcast. To rectify that, the AMFA legislation would establish fair market value for radio performance royalties in the same way it has been for those other platforms.
The bipartisan bill is in part a response to the Local Radio Freedom Act, a non-binding resolution introduced last month by Rep. Steve Womack (R-AR) and Rep. Kathy Castor (D-FL) that opposes the imposition of a performance royalty, which proponents argue would be financially devastating for broadcasters. A companion resolution was introduced in the Senate by Martin Heinrich (D-NM) and John Barrasso (R-WY). Both resolutions are backed by the National Association of Broadcasters (NAB), which has long been opposed to enforcing a performance royalty payout on terrestrial radio.
Deutch and Issa introduced the AMFA at a press conference outside Capitol Hill on Thursday with assistance from singers Dionne Warwick and Sam Moore, along with Dropkick Murphys singer/bassist Ken Casey. In her speech, Warwick highlighted how drawn-out the fight for radio performance royalties has been by noting that she’s worked on the issue for nearly three decades.
“I personally was brought into this some 28 years ago by Frank Sinatra … that’s how long I have been actively involved,” Warwick said.
In his introduction, Deutch pointed to the longstanding rationalization on the part of AM/FM broadcasters that performers garner a benefit just by having their music played — in essence arguing that radio stations provide what amounts to free publicity for artists. “First of all, that was never a legitimate excuse,” said Deutch, “but it’s even less so today given that FM/AM radio isn’t the place that most artists are discovered.”
Of course, terrestrial radio’s decreasing relevance in terms of music consumption has been held up by opponents of radio performance royalties as a reason why they should not be instituted. The Local Radio Freedom Act “reaffirms Congress’s support for local radio stations and opposes new fees or taxes on local, free, broadcast radio which could jeopardize those very services upon which so many rely,” said Castor in a statement announcing the legislation last month.
In addition to establishing a performance royalty for radio broadcasters, the AMFA includes protections for songwriters to assuage fears that songwriter royalties would be undermined by the new bill. It would also create a tiered system under which smaller and nonprofit radio stations would be exempt from paying out the same performance royalties as major radio conglomerates. Stations that earn less than $1.5 million in annual revenue, for example, would pay just $2 per day for the right to play unlimited music. Meanwhile, college and other small, noncommercial stations could pay as little as $10 per year.
Accounting for the fact that foreign radio stations often exploit the AM/FM loophole in the U.S. to hold back performance royalties from American artists — even when the countries where the stations operate require them — the AMFA would also compel other countries to pay U.S.-based artists when their songs are played overseas.
Not surprisingly, the National Association of Broadcasters came out strongly against the AMFA in a press release, which included the names of the 138 members of Congress and 18 Senators who have cosponsored the Local Radio Freedom Act.
“NAB strongly opposes the American Music Fairness Act or any imposition of a performance royalty on America’s local radio stations,” said NAB CEO Gordon Smith. “For decades, broadcast radio has enjoyed a mutually beneficial relationship with the music industry, launching and sustaining the careers of countless artists, promoting album sales and streams, and helping to foster a robust music-creation environment that is the envy of the world.
“Broadcasters remain open to working with the record labels to reach a comprehensive and reasonable solution to this issue that reflects the incredible value provided by local radio to musicians, labels and our millions of listeners over-the-air and online,” Smith continued. “It is unfortunate that the record industry refuses to have those discussions.”
Musician advocates released their own statements in support of the AMFA.
“We commend this bipartisan bill led by Reps. Deutch and Issa, and we thank them for joining us in the fight for fair pay,” said Harvey Mason Jr., CEO of the Recording Academy. “Artists create music that can bring us together and heal us, and they deserve to be paid when their work is played on FM/AM radio.”
Mexican actress, producer and writer Ana de la Reguera grew up in a music-filled home with artists such as Lupita D’Alessio, Camilo Sesto, Emmanuel and Los Bukis soundtracking her childhood. In fact, her older sister, Ali Gua Gua, went on to become a singer-songwriter playing for rock-punk bands in Argentina and Mexico.
De la Reguera took a different path, which led her to Hollywood, but she’s still entrenched in music thanks to her sister and her love for all types of Latin genres, from reggaeton to rock en Español.
Following de la Reguera’s semi-autobiographical show Ana, where music is key to telling the story of her journey as an actress, the upcoming horror film The Forever Purge finds de la Reguera in a more serious and action-filled setting, where she’s fighting to survive the annual one-day purge that seems never-ending.
Ahead of The Forever Purge’s release July 2 and the film’s official song “Esto No Ha Terminado (This Isn’t Over)” by Snow Tha Product and The Newton Brothers out Friday, Billboard spoke to de la Reguera about how she helped shape her character’s identity, the artists that soundtracked her childhood, and which Latin artist’s biopic she’d want to produce and/or write.
Watch the Instagram Live interview below:
