Icelandic musician Björk has reflected on the grueling nature of touring, explaining how she’s managed to curate her current touring schedule to allow her to “actually have a life”.
Björk, who has been playing shows with varying frequency on a near-annual basis since the release of her 1993 album Debut, spoke to The Guardian about her change in touring, which first occurred following the release of her seventh record, 2011’s Biophilia. Instead of the standard method of visiting numerous cities in a week or a month, Björk took on a more considered approach where she stayed in locations for longer periods of time.
These quasi-residencies allowed for more space between dates and longer time spent immersed in the cities she was performing in. As an example, her Cornucopia tour was launched in New York in May 2019 and featured eight shows in the city across a month-long span. The tour ultimately wrapped in France in 2023 after a total of 45 performances. These shows also ran alongside her Björk Orkestral production, which ran for 20 shows between 2021 and 2023.
“The nuts and bolts are more flexible,” Björk told the publication. “Maybe being a woman, or a matriarch, or whatever, I try to make it more that people can actually have a life. I have gently fought, since my teenage years, this macho way of how people organise both films and tours. ‘Oh, let’s now work 18 hours a day, every single day, until everybody throws up.’ I always wanted to coexist.
“You can have a personal life,” she continued. “You can have your kids. You can have your partners there. I’m not saying I’ve succeeded,” she says, laughing, “but at least I’ve tried to create a world that is more open to things like that.”
Björk’s most recent album, Fossora, was released in late 2022 and coincided with the final stretch of her Björk Orkestral tour. Though traditional touring hasn’t been on the horizon for the veteran artist for close to 15 years, 2024 did shake up her schedule somewhat, with the year only comprising DJ sets – six of which were performed across five countries.
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.pngYveto2025-01-13 03:02:502025-01-13 03:02:50Björk Says Recent Touring Schedule Allows Her to ‘Actually Have a Life’
Sam Moore, half of the seminal duo Sam & Dave, died Friday (Jan. 10) in Coral Gables, Fla. The cause of death was complications from surgery. He was 89.
Moore, who was revered by artists including Bruce Springsteen, Phil Collins, Garth Brooks and Jon Bon Jovi, had an instantly recognizable tenor, first heard on such call-and-response classics as Sam & Dave’s 1960s hits “Hold On, I’m Coming” and the Grammy-winning “Soul Man,” both of which reached No. 1 on Billboard’s Hot R&B Singles chart, as well as “I Thank You” and “When Something Is Wrong with My Baby.” The duo, who performed at Martin Luther King Jr.’s memorial concert at Madison Square Garden following his assassination in 1968, was inducted into the Rock & Roll Hall of Fame in 1992 by Billy Joel.
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Moore, who grew up in Miami, began singing in church and drew the attention of another legendary Sam, Sam Cooke, who wanted Moore to replace him in his gospel group The Soul Stirrers. However, after seeing Jackie Wilson perform, Moore shifted from gospel to pop and was performing at the King O’Hearts Club when he met Dave Prater and the two formed Sam & Dave.
Legendary Atlantic Records executives Ahmet Ertegun, Tom Dowd and Jerry Wexler saw the pair at the King O’Hearts Club and signed them to the label in 1965. Wexler passed them to Atlantic’s southern partner, Stax Records, where Isaac Hayes and David Porter took them under their wing and produced their iconic hits.
Following Sam & Dave’s breakup in 1970, Moore signed to Atlantic as a solo artist. He recorded a solo album produced by King Curtis featuring Donnie Hathaway and Aretha Franklin. However, after Curtis was murdered in 1971, the album was shelved. He reunited with Dave for a few years, but spiraled into heroin addiction, which was chronicled in the DA Pennebaker/Chris Hegedus documentary Only the Strong Survive.
Interest in the duo was greatly revived by 1980’s The Blues Brothers movie, starring John Belushi and Dan Aykroyd. The pair’s main theme was their boisterous version of “Soul Man.”
The song “turned out to be an anthem, sort of like ‘Blowin’ in the Wind” or one of those,” Moore told the Library of Congress in a 2002 interview when “Soul Man” was added to the Library’s National Recording Registry. “And, I tell you, it doesn’t matter where I sing — perform it — at the end of the night; if we didn’t do ‘Soul Man, the room would go up in smoke!”
Moore also shared how he and Prater worked out how to trade verses, with the help of Hayes. “By me at that time being the dominate one — and I’m not bragging here — I always sang the high parts,” he said in the same interview. “We went back with Isaac and he took us back and forth [with the verses]. Isaac was like, ‘Sam, try something like this.’ I remember him saying, ‘We want it bright. Not a dull opening.’ That’s why you hear all the high. Isaac was the one that suggested that.”
In the early ‘80s, Moore became sober with the help of Joyce McRae, whom he married in 1982 and who became his manager.
Moore went on to perform for six U.S. presidents — Jimmy Carter, George H. W. Bush, Bill Clinton, George W. Bush, Barack Obama and Donald Trump — and was a frequent performer at the Kennedy Center Honors.
Springsteen asked Moore to perform on his 1992 Human Touch album, as well as Only the Strong Survive, his 2023 album of soul covers.
Moore recovered his lost 1970 album, Plenty Good Loving, and released it in 2002 via EMI. “I met Sam and his wife, Joyce, when I was in my 20s and working for Rhino Records, who reissued the classic Sam & Dave albums,” says Exceleration Music creative director David Gorman, who was instrumental in the album finally seeing daylight. “Drooling fanboy that I was, I showed up to our first meeting holding a 45 and asking for his autograph. The 45 was his solo single ‘If I Should Lose Your Love.’ When he picked it up, his jaw dropped because he had completely forgotten that he ever made a solo record at all. Over dinner, his memories came flooding back and he remembered making an entire album but had no recollection around its fate. As soon as I got back to LA, I asked [mastering engineer] Bill Inglot if it really existed and within a few days he’d found the tapes and sent over a CD-R. It was brilliant. Sam, Joyce, and I worked together to find a new home for the solo album nobody remembered making.”
Four years later, Moore released his first new album in 30 years, Overnight Sensational, which featured Bon Jovi, Sting, Springsteen and Billy Preston, with whom he received a Grammy nomination for their duet of “You Are So Beautiful.”
In 2019, Moore and Prater received the Recording Academy’s highest honor, its Lifetime Achievement Award.
In his later years, in addition to continuing to perform, Moore became an artists’ advocate, including testifying in Congress on behalf of the Fair Play Fair Pay Act, which would pay performers for radio airplay.
“His loss is deep,” Gorman says. “He was a force of joy as a human being, who lit up everyone around him. As an artist he had the explosive ability to work a crowd out — even Otis [Redding] feared following Sam & Dave on stage — but I found Sam’s genius alone with his records, especially the ballads. Sam’s cries, his knowing asides, the way would use time as a weapon to hit you when it would hurt or heal the most, gave me comfort and companionship in ways no other artist could. He could turn up the tempo and turn up the heat, but his slow-burn just couldn’t be touched. He was a master, the last of his kind.”
At the time of his death, Moore was working on a gospel album with Rudy Perez. He is survived by Joyce, daughter Michelle and grandchildren Tash and Misha.
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.pngYveto2025-01-11 05:18:222025-01-11 05:18:22Legendary Soul Singer Sam Moore, Half of Sam & Dave, Dies at 89
If the Supreme Court upholds a U.S. law that would ban TikTok if its Chinese parent company ByteDance fails to sell it by Jan. 19, it would be bad news for the music industry, including the live events business – which has increasingly relied on TikTok as a marketing engine in recent years.
A decision by the court could be days, even hours, away, and it will have a major impact on dozens of U.S. industries that rely on the site for marketing, including the live music business during one of its busiest marketing months. TikTok’s popularity among concert and festival marketers has increased significantly in the last two years, explains FanIQ CEO Jesse Lawrence, as the event industry shifts to content-based marketing models.
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“The music industry is finally getting away from the static lineup ad and embracing storytelling and lifestyle content,” said Lawrence, who notes that the the company is seeing a return of 15 to 20 times its ad spend on TikTok.
Part of the appeal of TikTok, Lawrence said, is that the learning curve for posting and sharing ads on the platform is fairly simple. Customers are separated into two buckets: upper funnel, which includes essentially new customers who know little, if anything, about an upcoming event, and lower funnel, in which clients have gained awareness and are close to making a final decision on a purchase.
“Our whole approach is about matching upper funnel engagement, based on the user’s interests, with content we’ve created around the festival,” says Lawrence. That includes using beauty and fashion content to find potential customers for a summer country music festival, sneaker content for hip-hop festivals or skateboarding and surfing content to market a punk rock and action sports expo.
“Our videos have a watch time tracker and if someone watches the video for 15 seconds or more, the next video they’ll get is one with specific details about the festival and specific videos instructions on conversion,” meaning buying tickets, Lawrence said. He later noted, “it’s just about knowing where your audience is spending time and putting content in front of them on those platforms.”
A recent content piece FanIQ created for the Oceanfront Festival detailed rapper Key Glock’s extensive sneaker collection, featuring interview snippets with the Memphis rapper.
“That video is getting served to the fan from the festival’s account,” Lawrence said. “The whole idea is that we’re taking content that feels very organic and putting it into paid (content).”
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Lawrence encourages his clients to use multiple social media platforms – Snap, Instagram, Facebook, Reddit and Spotify — for their marketing campaigns, noting that each platform is home to a different audience.
FanIQ is one of the new systems that “aggregates performance across every platform,” Lawrence explained. “We want to give them this access so they can easily understand what’s working, do more of it where we’re seeing performance, and scale back where we’re not.”
Will Franklin with UK marketing firm Round says the strength of TikTok as a marketing platform for the live music business comes from its early success helping artists go viral, starting with the release of “Old Town Road” by Lil Nas X in December 2018. In 2020, Meghan Thee Stallion’s tracks “WAP” and “Savage” — used in countless dance videos by contributors to the platform — made her the No. 1 most played artist on TikTok that year and helped her land headliner slots at a number of major festivals in 2021 including Lollapalooza.
Franklin also notes that fans are increasingly looking to TikTok for video and content from events, noting that searches for the Boomtown festival in the U.K. soared from 29.5 million in the month leading up to the event to 266.8 million during the festival, creating increased awareness around the band.
Many marketers are holding out hope that TikTok will receive a last-minute reprieve from the Supreme Court, but several news outlets covering the hearing reported that a majority of the court’s justices expressed a lack of support for overturning the current ban. If the site is outlawed in the U.S., Franklin says he believes YouTube Shorts will temporarily fill the void.
“I haven’t seen huge budget shifts from TikTok to YouTube yet, but a lot of my clients are experimenting and spending small allocations on different platforms in case they do have to make a shift,” Franklin explains. “There’s a hesitancy because no other platform has as many Gen Z users as TikTok, but the assumption is that if the site is banned, its user will go somewhere else. For now all we can do is guess which platform that may be.”
If the Supreme Court does not intervene to save TikTok, it will be removed from U.S. app stores on Jan. 19 but remain live on users’ phones, albeit without regular push software updates to fix bugs and glitches. ByteDance might be able to maneuver and keep the platform online for a few months after the cut-off date, but the company hasn’t unveiled any of its contingency plans.
“We’re advising client partners to be cautious but optimistic, and recommending they pause TikTok media spend starting Jan. 18 to avoid any unforeseen investment complications,” said Kerry McKibbin, president/partner at ad agency Mischief @ No Fixed Address, adding that advertisers should familiarize themselves with the shorts platforms on both YouTube and Meta if they are concerned about a TikTok shutdown.
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.pngYveto2025-01-11 03:01:092025-01-11 03:01:09How the Live Music Industry Is Preparing for a TikTok Ban
Los Angeles County remains in the throes of massive wildfires that began in various locations starting Tuesday (Jan. 7), leading to the displacement of more than 180,000 residents. The wildfires have reportedly destroyed thousands of properties and claimed 10 lives as first responders continue to battle the flames throughout the region.
More and more organizations are stepping up to collect funds and provide resources for those impacted by the disasters. Below is an updating list of ways to help residents, first responders and members of the city’s music community.
Music workers looking for relief can navigate here for additional resources.
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Support for Families and Outdoor Workers
Inclusive Action has launched a GoFundMe to provide cash relief for outdoor workers impacted by wildfires. The emergency aid fund will provide $500 in cash assistance directly to “open-air workers,” i.e. people whose jobs require them to work outside, including street vendors, landscapers and recyclers.
This Is About Humanity has launched a fund supporting front and second-line migrant farm workers, day laborers, and other essential workers and their families severely impacted by the recent fires in Los Angeles. Through Jan. 31, TIAH is matching up to $50,000 in donations to provide critical relief, housing support, food assistance and essential resources.
The LAUSD Education Emergency Relief Fund is providing immediate assistance to families and Los Angeles Unified School District (LAUSD) employees affected by the devastating fires. The fund will offer direct cash assistance and support to families and employees affected by the fires; support teachers and in-class resources for students at impacted schools, ensuring continuity of learning to the greatest extent possible; provide flexible assistance for mental health support; and offer support for other immediate and long-term needs for students, families and teachers.
Support for First Responders
Donations to the LA Fire Department Foundation will go to supporting the heroic firefighters responding in real-time to protect lives, homes and communities.
The CA Fire Foundation is working with local fire agencies and community-based organizations to provide direct financial support to impacted residents as details of the damage emerge. The California Fire Foundation also provides critical support to surviving families of fallen firefighters, firefighters and the communities they serve.
Essential Items for Families in Need
Baby2Baby is providing essential supplies like diapers, clothing, hygiene products and emergency kits to families in need through hundreds of their community partners.
World Central Kitchen is supporting first responders and families impacted by wildfires in the Los Angeles area with sandwiches and warm meals.
Mutual Aid LA Network is continually working to compile an extensive list of organizations offering assistance and accepting donations through this spreadsheet.
Support for Music Professionals
The Recording Academy and MusiCares have launched the Los Angeles Fire Relief Effort to support music professionals impacted by the crisis and made a combined pledge of $1 million to kick off a fundraising effort. You can donate here.
The Sweet Relief Musicians Fund has launched a natural disaster relief fund for music professionals in Los Angeles County and the surrounding areas. Funds raised will go to help those recoup the loss of music-related equipment as well as medical bills related to the fires and other vital living expenses. Head here to donate or fill out an application.
The We Are Moving the NeedleMicrogrants Wildfire Relief Fund is designed to support “early and mid-career producers, engineers, and creators who have lost studio space or gear” in the wildfires. Those wishing to donate can go here.
The 100 Percenters has launched an LA Wildfire Relief Fundraiser to benefit professional songwriters, producers, artists and music professionals “with verifiable industry contributions” who reside “in wildfire-impacted areas” in Los Angeles County and “can demonstrate wildfire-related loss and financial need.” The fund will provide immediate financial assistance with grants up to $2,500 for housing, transportation and essentials; support rebuilding efforts with grants of up to $10,000 to replace equipment and “restore creative spaces”; and offer mental health support with grants of up to $2,000 for counseling and wellness services. Donate here.
Mid/Long-Term Relief
California Community Foundation‘s Wildlife Recovery Fund focuses on mid-term and long-term recovery efforts for those affected by the fires.
Pasadena Community Foundation‘s Eaton Canyon Fire Recovery and Relief Fund is mobilizing local resources to support resilience and immediate and long-term recovery initiatives in the L.A. County cities of Pasadena and Altadena.
The PLUS1LAFires Fund will help local nonprofits offering shelter and care to those who have lost their homes, including PPE to prevent smoke inhalation, food, clothing, diapers, formula, hygiene items and mental health support to help those coping with trauma. Over the long term, it will support efforts to help individuals, families, communities and the environment recover from the destruction.
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.pngYveto2025-01-11 03:01:092025-01-11 03:01:09How to Help Those Impacted by the L.A. Wildfires (Updating)
Since Tuesday (Jan. 7), ferocious wildfires have been blazing through the greater Los Angeles region, causing extensive damage to life and property, including those of many individuals working in the music business. With nearly 180,000 residents impacted by evacuation orders, at least five dead and thousands of structures damaged or destroyed, music industry organizations are finding ways to provide relief for impacted music workers.
Below, find a list of some of the music organizations offering relief for L.A. industry workers. We will continue to update this list as more announcements are made.
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(For health alerts, evacuation updates and shelter information, check out L.A. County’s emergency website here.)
MusiCares
The Recording Academy’s philanthropic arm MusiCares is offering financial assistance. A representative from MusiCares stated, “MusiCares is a resource to music professionals impacted by the fires in the Los Angeles area. MusiCares provides short-term disaster relief, including $1,500 in financial assistance and a $500 grocery card, to music professionals impacted. MusiCares disaster relief is intended to cover short-term costs, should you incur costs from evacuating (hotel, food, supplies). MusiCares is also able to provide additional support for individuals with considerable impact, including damage to their homes, medical issues, damaged music equipment or longer-term relocation needs. MusiCares support is available to music professionals (in any capacity) with 5 years employment or credit on 6 commercially-released recordings. If you would like to request support from MusiCares, please reach out to musicaresrelief@musicares.org.”
Along with The Recording Academy, MusiCares announced Thursday (Jan. 9) that it had launched a Los Angeles Fire Relief Effort to support music professionals impacted by the crisis. The organizations kicked off the fund with a joint $1 million donation.
We Are Moving the Needle Microgrants Wildfire Relief Fund
Launched on Thursday (Jan. 9), the fund is designed to support “early and mid-career producers, engineers, and creators who have lost studio space or gear” in the wildfires. Those looking to apply (or those wishing to donate) can go here.
Entertainment Community Fund
Emergency financial assistance from the Entertainment Community Fund is open to “eligible performing arts and entertainment professionals” who are “in times of unexpected critical need.” It can help with “basic living expenses” including health care and housing. On its website, the fund notes that applicants impacted by the L.A. wildfires will be asked “to upload a list of documents. If you do not have access to these documents, upload a blank file. Once we receive the application, we will work with you to complete the application.” You can apply for relief here.
Backline
Mental health non-profit Backline is sharing resources for musicians in Los Angeles via social media and offering its own services. “Know that Backline is here for you and that you are not alone,” the organization wrote on Instagram. “You can reach out to us via our case submission form and a Case Manager will contact you to help you get the long-term support you need. If you need immediate assistance, please reach out to the Disaster Distress Hotline for free 24/7 support by calling 1-800-985-5990.”
Sweet Relief Musicians Fund
Sweet Relief Musicians Fund, the non-profit helping musicians and music industry workers in need, has launched a natural disaster relief fund for those in Los Angeles County and the surrounding areas. Applications are also open for those seeking relief, with funds raised going toward loss of music-related equipment, medical bills related to the fires and other vital living expenses.
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.pngYveto2025-01-11 03:01:092025-01-11 03:01:09L.A. Wildfire Relief: Organizations Providing Assistance for Music Industry Workers (Updating)
HYBE and JYP Entertainment were among the few music stocks to make gains this week as markets stumbled globally. HYBE, home to BTS and its members’ solo projects, rose 7.2% to 215,500 won ($146.19), its best closing price since Nov. 20, thanks to Friday’s news that BTS member J-Hope willsoon release new music and commence a world tour starting in Seoul on Feb. 28. JYP Entertainment, which has had global success with Stray Kids and ITZY, rose 5.6% to 71,600 won ($48.57) after the company announced it will launch a new boy band, Kickflip, on Jan. 20.
The 20-company Billboard Global Music Index (BGMI) slipped 1.4% to 2,126.33, marketing the fourth time in five weeks the index has lost value. Only five of the 20 stocks finished the week in positive territory. Other than HYBE and JYP Entertainment, only CTS Eventim (up 3.4%), Believe (up 3.2%) and Universal Music Group (up 1.1%) posted gains. Three stocks (Cumulus Media, Deezer and Anghami) were unchanged while 12 stocks had losing weeks.
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Music stocks were dragged down by numerous market forces this week. Stocks fell sharply on Friday (Jan. 10) following healthy employment numbers that investors likely interpreted to mean the U.S. Federal Reserve would not seek to lower interest rates at its meetings in January or March. Also, data from the University of Michigan released Friday showed consumers’ expectations for future inflation rose to 3.3% from 2.8%. In the United States, the Nasdaq composite fell 2.3% to 19,161.63 and the S&P 500 dropped 1.9% to 5,827.04. In the United Kingdom, the FTSE 100 rose 0.3% to 8,248.49. China’s Shanghai Composite Index dipped 1.3% to 3,168.52. South Korea was an outlier as the KOSPI composite index rose 3.0%.
Warner Music Group (WMG) shares dropped 5.4% to $29.33 after three analysts lowered their price targets ahead of WMG’s quarterly earnings release on Feb. 6. Guggenheim lowered its WMG price target to $40 from $44 after taking into account an expected 1.5% foreign exchange impact on the latest quarter’s revenue and a 1.7% impact on revenue for the full fiscal year ended Sept. 30, 2025. Guggenheim also dropped its recorded music licensing estimate while maintaining its recorded music subscription revenue growth forecast in the “high single-digit” range. Evercore lowered WMG shares to $35 from $36. UBS lowered WMG to $41 from $43 and maintained its “neutral” rating.
Spotify, which announces fourth-quarter earnings on Feb. 4, fell 1.5% to $459.53. Goldman Sachs raised its Spotify price target this week to $550 from $490. Spotify shares have fallen in five of the last six weeks and are 9.3% below the all-time high of $506.47 set on Dec. 4.
Music streaming company LiveOne had the index’s biggest decline, dropping 12.4% to $1.20. Radio broadcaster iHeartMedia fell 11.7% to $1.88. SiriusXM continued its losing streak, sinking 6.8% to $20.83. SiriusXM shares fell 58.3% in 2024 and have dropped 16.4% in the last three months. K-pop company SM Entertainment sank 5.1% to 68,900 won ($46.74).
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.pngYveto2025-01-11 03:01:082025-01-11 03:01:08HYBE and JYP Entertainment Shares Rise on J-Hope News, Boy Band Launch Announcement
Mandy Moore, one of the thousands of people who lost their homes as catastrophic fires continue to blaze across Los Angeles, is hitting back at critics who shamed her for posting a GoFundMe page for her in-laws whose home was also destroyed.
“Yesterday, my brother-in-law and sister-in-law Griff & Kit lost their home and everything they own in the Eaton Fire,” Moore explained in the caption. “With their first baby on the way in a matter of weeks, they need our support now more than ever. Griff is a touring musician and also lost his entire arsenal of drums/percussion he uses to make a living. It’s all so much. So many have asked how to help during this unimaginable and stressful time…Please consider donating and sharing to help them rebuild.”
She then responded to people who indicated that she should just donate her own money to her in-laws, citing a Celebrity Net Worth statistic found online. “People questioning whether we’re helping out our own family or attributing some arbitrary amount of money Google says someone has is NOT helpful or empathetic,” Moore added. “Of course we are. Our buddy Matt started this GoFundMe and I’m sharing because people have asked how they can help them. We just lost most of our life in a fire too. Kindly F OFF. No one is forcing you to do anything.”
The campaign initially sought to raise $60,000 but has since raised $176,000 and counting.
Moore has been sharing her personal experience amid the fires over the past week. “I love you, Altadena. Grateful for my family and pets getting out last night before it was too late (and endless gratitude to friends for taking us in and bringing us clothes and blankets),” she wrote on Wednesday (Jan. 8) alongside videos of her neighborhood, engulfed in smoke and flames. “Honestly, I’m in shock and feeling numb for all so many have lost, including my family. My children’s school is gone. Our favorite restaurants, leveled. So many friends and loved ones have lost everything too. Our community is broken but we will be here to rebuild together. Sending love to all affected and on the front lines trying to get this under control.”
She posted another series of photos the next day, this time from her property, much of which destroyed. “We were able to park and walk up our street to bear witness to all the loss. Miraculously, the main part of our house is still standing,” she wrote. “For now. It’s not livable but mostly intact.”
Moore continued, “Everyone we know lost everything. Every house on our street is gone. My in laws. My brother and sister in law- 6 weeks from welcoming their first baby. Our best friends. Feeling weird survivors guilt. We love this community and will do everything we can to help rebuild and support.”
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.pngYveto2025-01-11 03:01:072025-01-11 03:01:07Mandy Moore Tells Haters to ‘Kindly F Off’ After Sharing In-Laws’ GoFundMe for Fire Losses
Rosé and Bruno Mars’ are making chart history with their duet “APT.,” which continues its reign at No. 1 on the ARIA Singles Charts for its ninth non-consecutive week. The track now holds the title of the longest-running No. 1 duet since Elton John and Dua Lipa’s “Cold Heart (PNAU Remix)” dominated for 10 weeks back in 2020-21.
The milestone cements “APT.” as one of the most iconic duets of the decade, holding its own amidst fierce competition from Gracie Abrams’ emotional anthem “That’s So True” and Mariah Carey’s holiday staple “All I Want For Christmas Is You,” which had a brief resurgence during the festive season.
Sabrina Carpenter is also celebrating a landmark moment with her album Short n’ Sweet. The record has now notched nine non-consecutive weeks at the top of the ARIA Albums Chart, making it the longest-running No. 1 album by a female artist since Taylor Swift’s 1989 (Taylor’s Version) held the spot for 14 weeks in 2023-24. Excluding Taylor’s catalog, Carpenter’s achievement is unmatched by a solo female artist since Adele’s 21, which spent an incredible 32 weeks at No. 1 in 2010-11. The only longer recent run by a female artist was Lady Gaga’s A Star Is Born soundtrack, credited alongside Bradley Cooper, which logged 11 weeks at No. 1 in 2018-19. Carpenter’s success with Short n’ Sweet is a testament to her growing dominance in the global pop scene.
The ARIA Singles Chart is also spotlighting emerging talent this week. British DJ Chrystal has broken into the top 10 for the first time with her remix of “The Days (Notion Remix),” which leaps from No. 18 to No. 7. Meanwhile, SZA continues to thrive with “BMF,” a fresh track from the new Lana edition of her 2022 album SOS. The song rises from No. 27 to No. 17 as the SOS album itself holds strong at No. 2 on the Albums Chart.
Morgan Wallen makes waves on the Singles Chart with his newest release “Smile,” which debuts at No. 36. The track, his third single from his upcoming fourth album, marks Wallen’s seventh top 50 hit in Australia and adds to his growing country-pop repertoire, which includes chart-toppers like “Last Night” and “I Had Some Help” featuring Post Malone.
Over on the Albums Chart, Lil Baby’s Wham debuts at No. 42, becoming his third solo album to chart in Australia. Previous entries include My Turn (No. 20 in 2020) and It’s Only Me (No. 7 in 2022), along with his collaborative effort with Lil Durk, The Voice Of The Heroes (No. 20 in 2021).
The top albums of the week are led by Sabrina Carpenter’s Short n’ Sweet in first place, followed by SZA’s SOS, Billie Eilish’s Hit Me Hard And Soft, the Wicked movie soundtrack featuring Cynthia Erivo and Ariana Grande, and Taylor Swift’s The Tortured Poets Department.
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.pngYveto2025-01-10 07:39:462025-01-10 07:39:46Rosé and Bruno Mars Dominate ARIA Singles Chart for Another Week
Rosé and Bruno Mars’ are making chart history with their duet “APT.,” which continues its reign at No. 1 on the ARIA Singles Charts for its ninth non-consecutive week. The track now holds the title of the longest-running No. 1 duet since Elton John and Dua Lipa’s “Cold Heart (PNAU Remix)” dominated for 10 weeks back in 2020-21.
The milestone cements “APT.” as one of the most iconic duets of the decade, holding its own amidst fierce competition from Gracie Abrams’ emotional anthem “That’s So True” and Mariah Carey’s holiday staple “All I Want For Christmas Is You,” which had a brief resurgence during the festive season.
Sabrina Carpenter is also celebrating a landmark moment with her album Short n’ Sweet. The record has now notched nine non-consecutive weeks at the top of the ARIA Albums Chart, making it the longest-running No. 1 album by a female artist since Taylor Swift’s 1989 (Taylor’s Version) held the spot for 14 weeks in 2023-24. Excluding Taylor’s catalog, Carpenter’s achievement is unmatched by a solo female artist since Adele’s 21, which spent an incredible 32 weeks at No. 1 in 2010-11. The only longer recent run by a female artist was Lady Gaga’s A Star Is Born soundtrack, credited alongside Bradley Cooper, which logged 11 weeks at No. 1 in 2018-19. Carpenter’s success with Short n’ Sweet is a testament to her growing dominance in the global pop scene.
The ARIA Singles Chart is also spotlighting emerging talent this week. British DJ Chrystal has broken into the top 10 for the first time with her remix of “The Days (Notion Remix),” which leaps from No. 18 to No. 7. Meanwhile, SZA continues to thrive with “BMF,” a fresh track from the new Lana edition of her 2022 album SOS. The song rises from No. 27 to No. 17 as the SOS album itself holds strong at No. 2 on the Albums Chart.
Morgan Wallen makes waves on the Singles Chart with his newest release “Smile,” which debuts at No. 36. The track, his third single from his upcoming fourth album, marks Wallen’s seventh top 50 hit in Australia and adds to his growing country-pop repertoire, which includes chart-toppers like “Last Night” and “I Had Some Help” featuring Post Malone.
Over on the Albums Chart, Lil Baby’s Wham debuts at No. 42, becoming his third solo album to chart in Australia. Previous entries include My Turn (No. 20 in 2020) and It’s Only Me (No. 7 in 2022), along with his collaborative effort with Lil Durk, The Voice Of The Heroes (No. 20 in 2021).
The top albums of the week are led by Sabrina Carpenter’s Short n’ Sweet in first place, followed by SZA’s SOS, Billie Eilish’s Hit Me Hard And Soft, the Wicked movie soundtrack featuring Cynthia Erivo and Ariana Grande, and Taylor Swift’s The Tortured Poets Department.
Veteran actor Rob Lowe has used a recent episode of his podcast to reflect on how he almost embarked upon a music career thanks to Toto.
Lowe made the claim during a discussion withjournalist, author, and fellow podcaster Bill Simmons as part of the latest episode of SiriusXM’s Literally! With Rob Lowe. During their chat, the pair switched their focus onto the world of ’80s music and nascent documentary Yacht Rock: A Dockumentary, for which Simmons is an executive producer.
“That’s the other thing about yacht rock,” Simmons said during a focus on the somewhat negative attitudes to the genre in recent years. “These songs were some of – literally – the biggest songs of the year; songs that won Grammys.
“[The Doobie Brothers’] ‘Minute by Minute’ won a Grammy, Christopher Cross won, like, four Grammys. Toto crushed at the Grammys. Toto crushed at the Grammys to the point that people got pissed about it. Like, there was a Grammys backlash. They were like, ‘Who the fuck are these guys?’”
Lowe countered Simmons’ claims about Toto’s success at the 1983 Grammy Awards (in which they won six awards due to the success of Toto IV and lead single “Rosanna”) by recalling how he too had a brush with the Los Angeles rockers.
“I got one for ya. There was a minute in the ’80s where I was definitely doing too much Bolivian marching powder and just being a fucking lunatic,” Lowe remembered. “And [it was] also coming at the time in a young actor’s career where they’re too old to play the roles they’ve been playing, but they’re too young to play the roles that will last you the rest of your life, which are really the great ones. And you can kind of feel it.
“I love music so much, as evidenced by this talk and all of that, that I got it into my head that maybe I should think more about music and I cut a demo with Toto.”
“Wow, this is one of the reasons you’re the world’s most interesting man,” Simmons responded. “You were partying with the Showtime Lakers as they were winning titles during the Magic’s shots scenario. Who weren’t you involved with in L.A. in the ’80s?”
“Probably nobody, because I also took having fun very seriously,” Lowe added.
Lower did not elaborate on the track further, and it’s unclear what happened to the demo that he recorded with Toto, or if it may ever see a potential release – ideally on a future sequel to the Yacht Rock documentary.
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.pngYveto2025-01-10 04:36:432025-01-10 04:36:43Row Lowe Reflects on Recording a Demo with Toto in the ‘80s
