State Champ Radio Author: djfrosty
Page: 5297
Shania Twain is extending the love to Adele. The “Man! I Feel Like a Woman!” singer attended the 2022 People’s Choice Awards on Tuesday night (Dec. 6), where she received the Music Icon honor, but took some time on the red carpet to share how she felt about Adele shouting her out on instagram after Twain attended the “Easy on Me” singer’s Las Vegas residency.
“That was so special. I only heard about it after. I didn’t want to bother her before the show, and I just wanted to enjoy from the audience so she didn’t realize I was there and that was kind of good,” she told Extra. “It was cute. It was very sweet of her.”
Last month, Adele took to her Instagram Story to share how delighted she was to find out that the country singer was in the audience. “Thank god you had a hat on … I would have self combusted had I seen it was you!! I adore you, I can’t believe you came to my show,” Adele captioned a snap of her performing, with Twain in a white cowboy hat off to the side.
In response, Twain reshared the snap to her own Story and wrote, “Thank god we didn’t make eye contact, all I can think of is the reaction of all those fans to @adele combusting halfway through the show [laughing emoji].”
Twain also took a moment on the People’s Choice carpet to discuss what her forthcoming album Queen of Me means to her. “It’s really just about me coming into my own, you know, just feeling more comfortable in my own skin, she said.”
Watch Twain’s interview in the video above.
Beyoncé, Rihanna and Taylor Swift have each done their fair share of dominating Billboard‘s charts, and now, they’re taking command of Forbes‘ rankings, too. On Tuesday (Dec. 6), the publication unveiled its list of the world’s 100 most powerful women, and all three of the hit-making pop stars earned a spot.
Of the three women, Rihanna placed the highest at No. 73, with Forbes citing her billionaire status and her Fenty Beauty and Savage x Fenty businesses as her major achievements. According to the publication, her net worth is currently $1.4 billion, making her the 2,031st richest person in the world.
Six spots behind Ri is Swift, who ranked No. 79. The success of Midnights and her re-recorded albums Red (Taylor’s Version) and Fearless (Taylor’s Version) were highlighted, along with her political influence and November’s Eras Tour ticket sale meltdown, which has recently been addressed by Congress, and is the subject of a lawsuit leveraged by fans against Ticketmaster. Her net worth in 2022 was $570 million, according to Forbes.
Close behind her at No. 80 is Queen Bey, whose net worth is listed at $450 million. The publication cited her and Jay-Z’s On The Run II stadium tour, which grossed roughly $5 million per night and earned a total of more than $250 million, and her groundbreaking performance at 2018’s Coachella.
Forbes’ 100 Most Powerful Women list is a yearly ranking of high-profile women wielding substantial public influence, and is determined by money, media, impact and spheres of influence, according to the publication. “The result is a collection of women who are fighting the status quo,” this year’s list reads.
Rihanna, Beyoncé and Swift were all featured on last year’s Most Powerful Women roundup as well, ranking at No. 68, 76 and 78, respectively. The three also each hold a spot on this year’s Forbes list of America’s richest self-made women, with Ri at No. 21, Swift at No. 48 and Bey at No. 61.
It was a very good night for Team Blake on The Voice on Tuesday night (Dec. 6). Country star Blake Shelton — who holds the record for the most wins (8) over the show’s 22 seasons — seems poised to usher one of his charges into the winner’s circle again during next week’s finale after three of his team members moved on.
Twitter couldn’t help but notice that the three white country singers from Shelton’s team — Bryce Leatherwood, Brayden Lape and bodie — were joined by another white performer, Team Camila Cabello’s Morgan Myles in the top four. The only non-white singer to make the cut in the top 5 was powerhouse vocalist Omar Jose Cardona, who was saved after landing in the bottom four, which “stunned” his coach John Legend; for the third time in her six seasons on the show, Gwen Stefani will not have a singer in the finals.
Cardona had to compete against Kim Cruse, Justin Aaron and Parijita Bastola for a spot in next week’s championship round, punching his ticket with a strong take on Lady Gaga’s “You and I.” The results had some on Twitter crying foul. “So the voice is really getting blatantly racist,” read one comment on Twitter, where a number of users complained about the poor representation from Legend’s team, which featured a number highly praised vocalists.
“I’m 100% disappointed!! #johnLegend has 3 of the best singer there & this is result,” said another. “If you wanna see how blatantly racist america is just watch #thevoice,” wrote one disgruntled viewer, with a similar sentiments coming in tweets that read, “America is clearly delusional, confused and oh, can’t forget racist” and “All the blacks and browns up for elimination when they are the best ones there? America is never beating the racism allegations. #TheVoice.”
A spokesperson for The Voice had not returned a request for comment at press time.
Yahoo! Entertainment‘s Lyndsey Parker wrote that “the optics were not good as Parijita, Kim, Justin, and Omar stood onstage learning the results, especially considering all the sheer talent among these four.”
It was a refrain heard throughout the Billboard offices in the first half of 2022: Where are the hits? The slow start for new entries really impacting the Billboard Hot 100 had us all looking left and looking right for the sort of songs we usually take for granted — the kind that slowly (or not-so-slowly) spread to all corners of the culture, connecting every kind of music fan and becoming unavoidable parts of a given year’s experience. With 2021’s biggest singles refusing to go away and this year’s listenership seemingly too spread out to elect new consensus hits to replace the incumbents, it was starting to look like we might go the whole calendar subsisting on nothing but reruns.
Luckily for us, the hits showed: first from some of pop’s biggest returning heroes, then from some artists taking the next step towards stardom, some longtime hitmakers we hadn’t heard from in a bit, and some new names we hope to be hearing a lot more from in the years to come. And of course, it wasn’t just the big songs that enraptured us in 2022; we found plenty of smaller favorites to save to our streaming playlists and inspire our vinyl orders in between those. But the year just wouldn’t have felt complete without those late-arriving, chart-crashing smashes, particularly since we ended up getting a handful who proved more than worthy of their position.
Here are our 100 favorite songs of 2022, a year that once again proved that no matter the time or context, pop music always finds a way. (Songs were considered eligible for the list if they either came out in 2022, were first released as an official single in 2022, or peaked on the Billboard Hot 100 in 2022 — though sorry, Stranger Things heads, we still couldn’t quite justify including “Running Up That Hill” or “Master of Puppets.”)
Journey‘s new manager, Mike Kobayashi, confirmed late Tuesday he was “just hired,” taking over from player-managers Neal Schon and Jonathan Cain after a roller-coaster year.
The classic-rock fixture sold 296,000 tickets and grossed $31.9 million on its 2022 arena tour, according to Billboard Boxscore, doubling the revenue pace of its previous headlining tour, in 2017, which grossed $31.7 million over 67 shows.
But the band ended 2022 with an internal squabble over an American Express card: Lead guitarist Schon sued keyboardist Cain last month for refusing to give Cain access to an account representing “millions in Journey funds”; Cain responded that Schon was “running up enormous personal charges” on the account.
The lawsuit, pending in California Superior Court, is one of several legal disputes involving Cain and Schon, one of the band’s founders, and other Journey members in recent years. In 2020, the two musicians sued drummer Steve Smith and bassist Ross Valory, accusing them of improperly trying to take control of the band name; Valory filed a counter-complaint, and the lawsuit ended with a 2021 settlement in which Smith and Valory left the band.
And after Schon and Cain trademarked names of many of the band’s hits, such as “Wheel In the Sky,” former frontman Steve Perry filed an action in U.S. Trademark Court in September to stop the process. Perry cited a long-running band partnership agreement that requires Schon and Cain to get his permission to make these kinds of trademark moves.
Kobayashi, who also manages fellow road warriors Def Leppard, did not respond to requests for further comment on his new position with Journey.
Journey hasn’t had a new hit in decades, but the band remains a top-tier touring act and occasionally scores high-profile synchs in shows like The Sopranos and, last spring, Stranger Things, the Netflix series that revived Kate Bush‘s “Running Up That Hill” on the charts.
The audience at Sunday night’s (Dec. 4) Broadway opening of A Beautiful Noise: the Neil Diamond Musical showed up to hear their favorite hits from the legendary 81-year-old singer. But they went home with much more. According to CNN, Diamond surprised theatergoers when he popped up in the balcony during the curtain call to help lead the audience in a singalong of his beloved 1969 hit “Sweet Caroline.”
The singer, who retired from touring in 2018 after receiving a Parkinson’s disease diagnosis, sang the song’s opening lines before encouraging the packed house at the Broadhurst Theatre to join in on the iconic chorus as the house band played along. The pop-in at the jukebox musical that pays homage to his long, hit-filled musical career was New Yorker Diamond’s first appearance in his hometown since 2017 and one of the few times he’s appeared in public since his diagnosis.
According to People, before the surprise, Diamond walked the red carpet with his wife, Katie McNeil, and received a standing ovation from the audience upon entering the theater. While Diamond has kept a low profile since 2018, he did show up for a rare public appearance during a Boston Red Sox game at Fenway Park in June to sing “Caroline.”
Diamond stepped out during the 8th inning of the Red Sox’s game against the St. Louis Cardinals to deliver a rousing rendition of his 1969 hit; the singer had last performed at Fenway Park in 2013, just days after the Boston Marathon bombing. “Sweet Caroline” has been an 8th inning tradition at the ballpark since 1997. Standing alongside Diamond at Fenway was Broadway veteran Will Swenson, who plays the lead role in A Beautiful Noise.
Check out footage of the impromptu “Caroline” singalong below.
I don’t know who needs to hear this but Neil Diamond, who retired from performing five years ago because of Parkinsons, just had a Broadway show of him open and it at the opening night he did this pic.twitter.com/eJ02YUAzr5— Ben Phillips (@benphillips76) December 6, 2022
Fox’s The Masked Singer will pay tribute to late actress Kirstie Alley on Wednesday night’s (Dec. 7) holiday-themed Masked Singer Seasonal Sing-a-Long Spectacular! special. According to Deadline, the homage will come just two days after the Emmy-winning star died after a private battle with colon cancer.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Alley, 71, starred in season 7 of Masked Singer — also known as The Masked Singer: The Good, The Bad and the Cuddly — which aired in the spring of this year. The Cheers and Fat Actress alum only lasted on episode, performing Patsy Cline’s “Walkin’ After Midnight” and Betty Everett/Cher’s “The Shoop Shoop Song (It’s in His Kiss),” as well as a “cuddle duel” with teammate Space Bunny (Shaggy) on Meghan Trainor’s “Me Too.”
Tonight’s tribute will come with a card that will flash on-screen during the episode, which airs at 9 p.m. ET. The Masked run was Alley’s final TV appearance and after host Nick Cannon revealed her identity, the Dancing With the Stars and Celebrity Big Brother veteran told him why it was the perfect final reality TV run for her.
“I’ve done a lot of things in my career, but I’ve never gotten to be in the circus,” Alley said in her exit interview. “I have grandchildren, and they’re really young, so they are going to think this is good… I came on Masked Singer because about 10 years ago I realized I always had to keep mixing my career, mixing my life up, or it was going to get really mundane, it was going to get really boring fast. So I finally got up the nerve to do it.”
In addition to the many celebrity tributes to the beloved actress, Masked Singer panelist Ken Jeong offered some kind words, tweeting, “Rest in peace, Kirstie. #TheMaskedSinger.”
KPOP, which broke ground on Broadway for its casting and representation of Korean culture, is closing just a few weeks after opening at the Circle in the Square.
The musical, which originally premiered off-Broadway in 2017, will end its run on Dec. 11, the producers announced Tuesday (Dec. 6). Written by Jason Kim and directed by Teddy Bergman with music and lyrics by Helen Park and Max Vernon and choreography by Jennifer Weber, KPOP‘s closure follows 44 previews and 17 regular performances.
The final performance will feature a panel discussion celebrating and reflecting on AAPI representation on Broadway. Those panelists include David Henry Hwang, the first Asian American playwright to win a Tony; KPOP‘s Park the first Asian female composer in Broadway history; Korean playwright Hansol Jung; and actor Pun Bandhu. In support of that final performance, 200 complimentary tickets are being offered to AAPI community members and youth.
The show, which announced last week that a Broadway cast recording would release on Feb. 24, stars Luna, Julia Abueva, BoHyung, Major Curda, Jinwoo Jung, Jiho Kang, Amy Keum, James Kho, Marina Kondo, Eddy Lee, Joshua Lee, Jully Lee, Lina Rose Lee, Timothy H. Lee, Abraham Lim, Min, Kate Mina Lin, Aubie Merrylees, Patrick Park, Zachary Noah Piser, Kevin Woo and John Yi.
The story presents a behind-the-scenes look at various K-pop groups and a massive solo star who have come together to film for a special one-night-only concert. In the process, they find themselves unpacking both cultural and personal issues that threaten to dismantle one of the industry’s hottest labels and their sense of self as artists.
Speaking with The Hollywood Reporter in early November, producer Joey Parnes acknowledged that the show had struggled to attract early audiences, saying that it has been challenging for producers to attract theatergoers to new or unknown work when some may still be nervous to return. “It’s not surprising that if they’re having to be discerning, they’re going to choose something that is more certain,” Parnes said.
Since it began previews in October, the new musical has often made less than $200,000 a week, ranking among the lowest-grossing in weekly industry tallies. Capacity has remained fairly healthy but alongside a low average weekly ticket price. The quick closing means KPOP will not be able to benefit from the traditional boost in ticket sales that comes around the holidays and for which many shows hold out for.
Beyond its box office, the musical’s presence on Broadway was historically significant, marking firsts in terms of its subject, its cast and creative team. As the first musical ever about Korean culture on Broadway, KPOP featured Korean representation in the creative team and onstage, including 18 Broadway debuts and only one non-Asian actor in the principal cast. It also featured lyrics for the songs and lines in Korean, with Park not only making history as a first for Asian women but joining just a handful of Asian composers to work on any Broadway show.
Earlier this week, producers Parnes and fellow producer Tim Forbes addressed these milestones while responding to a New York Times review of the show which both called an “insensitive and frankly offensive” take on the musical. In a lengthy Instagram statement addressing the critic Jesse Greene, along with the paper’s theater editor Nicole Herrington and chairman Arthur Gregg Sulzberger, the duo addressed a “cultural insensitivity, underlying ignorance of and distaste for K-pop” present in the review, which they cited with a number of examples as statements that come “across as casual racism.”
They wrote that from the headline to the review itself, specific word choices about the script, choreography, costuming, lighting design and score — coupled with the review’s decision to leave out both audience reaction to the show’s Korean language elements and a lack of discussion about the performers themselves — denied the production’s K-pop performance elements “very legitimacy as part of a Broadway musical” and offered an “implicit assertion of traditional white cultural supremacy.”
“The job of theater critics is to dissect, analyze and ultimately judge work,” the producers’ statement concluded. “We also contend that they have a responsibility to meet a show on its own terms and to be informed enough to know what that even means. Above all, in these troubled times, they have an obligation to do so with cultural sensitivity and absolutely without the casual racist tropes Mr. Green wittingly or not perpetuates.”
In a statement shared with Playbill on Tuesday, a spokesperson for the Times noted that after the open letter, the publication “quickly convened a discussion among editors and members of our standards department.” It found that the publication was “in agreement that Jesse’s review was fair” and disagreed “with the argument that Jesse’s criticism is somehow racist.”
This story originally appeared on The Hollywood Reporter.
After launching the “Hanukkah Sessions” project during the pandemic, Foo Fighters leader Dave Grohl and producer Greg Kurstin brought their festival of lights celebration to life on Monday night (Dec. 5) at Los Angeles’ famed club Largo with an all-star cast of supporters.
According to Variety, the show — presented by director Judd Apatow — at the 250-capacity club featured a long list of stars singing songs by Jewish artists, with Grohl playing drums and Kurstin on keyboards. The night started off with Apatow singing Blood Sweat and Tears’ “Spinning Wheel,” which was reportedly inspired by a karaoke night in Hawaii with Grohl’s family.
In the midst of a concerning rise in antisemitic incidents and hate speech in the U.S., proceeds from the night went to the Anti-Defamation League. P!nk was on hand, proudly proclaiming, “my name’s Alecia. I’m a Jew” as the intro to her performance of “Get This Party Started,” followed by Kurstin’s The Bird and the Bee collaborator Inara George singings 10cc’s “The Things We Do For Love.”
Grohl’s 16-year-old daughter Violet strummed an acoustic guitar for Janis Ian’s “Edge of Seventeen,” with Beck performing his tune “E-Pro,” the Yeah Yeah Yeahs’ Karen O singing her band’s “Heads Will Roll” and Jack Black ripping through Rush’s “The Spirit of Radio.” The night ended with Grohl on the mic singing Randy Newman’s “I Love L.A.,” followed by an encore of David Lee Roth’s “Just a Gigolo.”
The inaugural 2020 “Sessions” featured covers of songs by he Beastie Boys, Drake, Mountain, Peaches, Bob Dylan, Elastica, The Knack and the Velvet Underground, while last year’s edition brought eight crazy nights of covers, including a black metal take on Lisa Loeb’s “Stay (I Missed You),” as well as the Ramones’ “Blitzkrieg Bop,” Barry Manilow’s “Copacabana,” the Clash’s “Train in Vain,” Kiss’ “Rock and Roll All Night,” Van Halen’s “Jump,” Amy Winehouse’s “Take the Box” and Billy Joel’s “Big Shot.”
BRISBANE, Australia — Australian dance music fans have two new charts to add to their weekly diet.
The fresh surveys, the Australian Dance Singles Chart, a countdown of the top 20 dance singles, and the Australian Dance Albums Chart, a tally of the top 10 dance albums, will publish each Friday starting this week.
Both charts will sit alongside ARIA’s other Australia-focused albums and singles charts, which include Australian Hip- Hop/R&B, Country, and Top 20 Singles and Albums, and more.
“ARIA is determined to find ways to showcase Australian music from all who create it, this is another step in the right direction as we endeavor to provide a transparent scoreboard for our industry and music fans alike to understand how local music is being streamed, purchased and engaged with,” explains the trade body’s CEO Annabelle Herd.
ARIA’s suite of charts are calculated with a combination of streams, physical and digital sales, with the exception of the ARIA Club Chart, which is based on reports by working DJs across Australia. None of those “official” tallies collate radio airplay information.
“It makes total sense to have Australian Dance Charts in addition to our regular Dance Charts, you only have to look at this year’s ARIA Awards featuring Rüfüs Du Sol, Luude and Flume to see that dance music plays such an important role in Australian music culture,” comments Herd.
“It represents many of our most-loved acts across the globe and countless DJs filling clubs across the country on a nightly basis. We’re determined to work with the dance music community to find ways to ensure established and up-and-coming producers are recognized for their contribution to this culture, and provide a greater spotlight as nightlife across Australia continues to recover.”
In June, the labels body and charts compiler rolled out its first new survey in three years — the New Release Chart, a weekly examination of the most popular new local and international singles on a four-month cycle. Earlier in the year, ARIA’s main charts began incorporating data on music consumption from YouTube.
Next year, 2023, marks the 40th anniversary of the ARIA Singles and Albums Charts.
