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The resentment against Elon Musk and Tesla continues to increase. Arsonists have set fire to the vehicles in both Las Vegas and Kansas City.
As spotted on The Verge, Tesla facilities are now being targeted as part of protests against its polarizing CEO. On Tuesday (March 18), an unidentified individual wearing all black threw several Molotov cocktails at Tesla cars at a Tesla collision center in Las Vegas. Each of the automobiles immediately caught fire prompting local first responder teams to arrive on the scene. Thankfully, the fire department was able to extinguish the fire before any of the batteries exploded. According to The Las Vegas Review-Journal, bullet casings were also found as well as graffiti that read âRESIST.â
A similar incident occurred in Kansas City where someone set fire to a Cybertruck in a Tesla parking lot. A local police officer responded and attempted to put the fire out with an extinguisher but was unable to. Soon, the fire spread to another vehicle parked next to the Cybertruck. Kansas City Police Captain Jacob Becchina says that the âcircumstances are under investigation, but preliminarily, the fire is being investigated for the potential of being an Arson.â
As expected these incidents are not being taken lightly by the United States government. Attorney General Pamela Bondi released a statement calling both acts ânothing short of domestic terrorism.â She added that the Department of Justice would âcontinue investigations that impose severe consequences on those involved in these attacks, including those operating behind the scenes to coordinate and fund these crimes.â
Elon Musk commented on the matter saying these are terrorist attacks. He doubled down adding that Tesla âjust makes electric cars and has done nothing to deserve these evil attacks.â
You can see footage of the fires below.
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The reelection campaign for New York City Mayor Eric Adams is facing challenges after a low fundraising total, leaving doubts about his chances.
The most recent fundraising reports for the Democratic candidates for the New York City mayoral race are in, and incumbent Mayor Eric Adamsâ numbers are strikingly low. In a campaign finance document submitted on Monday (March 17), Adamsâ campaign brought in $18,697. The amount was in contrast to what the campaign spent over the period between Jan. 12 to March 13, which was $160,000 â more than eight times what it raked in.
Further details for that period showed that only 43 donors contributed to Adamsâ reelection campaign, and 16 donors were issued refunds. By comparison, former New York Governor Andrew Cuomoâs campaign netted $1.5 million in donations in just about two weeks. Another primary opponent, Assemblyman Zohran Mamdani, has obtained $850,000 in campaign donations from 16,000 reported donors.
Mayor Adamsâ bid for reelection has been damaged by the legal drama concerning his federal corruption case. While the Department of Justice under the administration of President Donald Trump has declared intent to drop the charges, a federal judge is still needed to sign off on the decision. In the interim, many have speculated that Adams and his legal team have acquiesced to Trumpâs agenda regarding immigration in New York City. He had gotten out to an early lead in fundraising, bringing in $4.4 million last year before the New York City Campaign Finance Board decided to not offer matching funds citing the case.
When asked about the shortfall at his weekly press conference, Adams dismissed concerns. âEveryone is catching up to me,â he said. âI started raising early.â The news also connects to speculation that Adams could run as an independent. When queried about that, he responded: âWhen Iâm ready to roll out my official reannouncement and my plan, I will do so. âWhen Iâm ready to roll out my official reannouncement and my plan, I will do so,â Adams said. âAnd you, Iâm going to make sure all of you are invited to it.â
The Sea.Hear.Now festival will be back in Asbury Park, N.J. this fall with a lineup including headliners Blink-182, Hozier, LCD Soundsystem and Lenny Kravitz. The Sept. 13-14 event will also feature sets from Alabama Shakes, ZZ Top, Remi Wolf, Royel Otis, De La Soul, UB40, Gigi Perez, Sublime, Public Enemy, TV on the Radio, Spoon, Phantogram, 4 Non Blondes, Hot Mulligan and Mannequin Pussy, among others.
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The seaside event will once host some of the worldâs greatest surfers and emerging stars, who will ride the waves throughout the weekend in team contests held between the Surf and Sand stages. Among the scheduled participants are: Landon McNamara, Cam Richards, Balaram Stack, Sam Hammer, Rob Kelly, Cassidy McClain, Pat Schmidt, Mike Gleason and many more.
A pre-sale for the event will kick off on Friday (March 21) at 10 a.m. ET, with a public on-sale to follow if any tickets remain; click here to sign up for a pre-sale passcode.
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Among the other musical acts on the roster for this year are: Trombone Shorty & Orleans Avenue, Inhaler, Mondo Cozmo, Bumpin Uglies, Not Yer Baby, Grace Bowers & the Hodge Podge, Landon McNamara, Neal Francis, Surfing for Daisy and The Tide Bends.
Last yearâs fest got a major boost when Jersey legend Bruce Springsteen and the E Street Band ripped off a three-hour-plus throwdown for a massive crowd that was full of hometown stories and a mix of beloved classics and deep-cut tracks. The epic show was later released on CD and for streaming via nugs.net.
Check out the 2025 Sea.Hear.Now announcement below.
Dolly Parton said sheâs doing her best following the death earlier this month of her beloved husband of nearly six decades, Carl Thomas Dean. After a surprise appearance at the 40th season celebration at her Dollywood resort in Pigeon Forge, TN, last week, the singer spoke to Knox News about how she managing life without Dean, who died on March 3 at age 82.
âIâm doing better than I thought I would,â Parton said. âIâve been with him 60 year. So, Iâm going to have to relearn some of the things that weâve done. But Iâll keep him always close.â Parton added that Dean â who was publicity-shy and more than happy to let his famous wife take all the spotlight over their long marriage â suffered âa great dealâ near the end. âIâm at peace that heâs at peace,â she said of the love of her life, who she met when she was 18 and he was 23. âBut that donât keep me from missing and loving him.â
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Parton, of course, poured her grief out in the only way she knows how days after Deanâs death, releasing the moving ballad, âIf You Hadnât Been There,â an homage to the stoic support her husband offered her throughout their life together. âIf you hadnât been there/ Where would I be?/ Without your trust/ Love and belief/ The ups and downs/ Weâve always shared/ And I wouldnât be here/ If you hadnât been there,â Parton sings on the track.
âIf you hadnât been there/ Well, who would I be?/ You always see the best in me/ Youâre loving arms have cradled me/ You held me close, and I believe,â she adds on the song before leaning into the loving chorus: âI wouldnât be here/ If you hadnât been there/ Holding my hand/ Showing you care/ You made me dream/ More than I dared/ And I wouldnât be here/ If you hadnât been there.â
In her trademark chin-up style, Parton told Knox that there is a âhole in my heart⊠but weâll fill that up with good stuff and heâll still always be with me.â
Though Dean was happy to stay off the radar, Parton also talked about how he loved visiting Dollywood, often standing in line to purchase his own ticket because âhe didnât want somebody giving him a ticket âcause he was Dollyâs husband. Everybody thinks thatâs the funniest thing.â In fact, heâd go alone, snack on funnel cakes and give his wife notes on improvements, saying things like, ââYou need more bathroomsâ⊠or he would say, âYou need to tell them this or that. Itâs crowded over in that area. You might want to tell them they ought to do this or that.â
In his honor, Parton said she plans to hit up Dollywood and âdo like Carlâ and âwalk around, look at everything.â The interview came after Parton made her first public appearance since Deanâs death on March 14, where she thanked Dollywood guests for their love and support.
Hours into their Billboard Women in Music photo shoot, the members of aespa are goofing off. High-pitched giggles reverberate through the studio as Winter, Karina, Ningning and Giselle tickle one anotherâs sides, talk in silly voices and play with the straps on their leathery stage outfits.
Itâs mesmerizing to watch the four early-20-somethings be so, well, real, not just because theyâre one of K-popâs most polished acts â which they demonstrate by immediately snapping back into place once the photographer is ready again â but also because Âaespa has a particular penchant for the surreal. The SM Entertainment group debuted in 2020 with K-popâs first lineup to feature both human and virtual members, pairing each girl with an artificial intelligence (AI) avatar as part of a cyberpunk musical metaverse marked by dark, 808-laced hyperpop and edgy-chic outfits.
Join us at Billboard Women in Music 2025 â get your tickets here.
Ever since, the act has leveraged its niche into unprecedented crossover success â in November, mini-album Whiplash made it the first K-pop girl group to have six projects reach the Billboard 200 top 50, and it just wrapped its second global arena tour â and a reputation for being one of the genreâs âmost adventurous and contemporaryâ groups, as its âOver Youâ collaborator Jacob Collier put it to Billboard in January.
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But going forward, 2025âs Billboard Women in Music Group of the Year also wants to focus on something potentially even more subversive: showing that beneath the personas, its members are just those real-life girls blowing off steam between camera flashes. âWeâre not actual AI; we do have days where we donât feel the best,â Giselle says once the foursome has squeezed together on a couch. âOur storyline can be fun to keep up with, but I want fans to look up to aespa for our human traits, too.â
Karina
Abi Polinsky
Why do you think aespa has made a name as trendsetters?
Giselle: Thereâs always going to be trends, but we donât follow them because we canât. We have our own story to tell that was set from the start.
Winter: We usually talk about ourselves more than love [in our lyrics]. Weâre the main characters of our stories.
Karina: Weâre honest. Of course, you have to be professional and present your best self, but we also try to show the not-perfect side. Weâre not trying to filter everything or over-mask ourselves.
Giselle
Abi Polinsky
Whatâs next in aespaâs evolution?
Ningning: We did start out with our avatar concept, but now weâre also trying really hard to explore different concepts and themes. In the future, there may be moments where the fans donât see the avatars.
Karina: We want aespa to be a really stylish group, not only in fashion and music, but also in terms of versatility and excelling in every genre. I also want all our members to shine individually when weâre together and even when weâre not together.
From left: Ningning, Karina, Giselle, and Winter of aespa photographed on February 10, 2025 in New York.
Abi Polinsky
Who are your favorite artists/dream collaborators at the moment?
Ningning: Doechii. Iâd just really like to meet her.
Winter: Billie Eilish. Sheâs so good at expressing her honest feelings through her music.
Karina: Olivia Dean. Whenever I need to find composure, I listen to her.
Giselle: SZA. Her music is so hard to get sick of â and very relatable.
Winter
Abi Polinsky
As a girl group, how do you support one another?
Ningning: Weâre all from different countries and environments, but weâve been doing this for five years. Theyâre always there for me. Working with this mindset that weâre in this together makes it easier to handle challenging situations and emotions.
Winter: I donât think we couldâve made it through this alone. Weâve had to overcome certain obstacles, but with each otherâs support, we were able to move forward. (Karina giggles as Giselle starts poking her Âaffectionately.) These girls are all very precious to me.
Ningning
Abi Polinsky
This story appears in the March 22, 2025, issue of Billboard.
Hours into their Billboard Women in Music photo shoot, the members of aespa are goofing off. High-pitched giggles reverberate through the studio as Winter, Karina, Ningning and Giselle tickle one anotherâs sides, talk in silly voices and play with the straps on their leathery stage outfits. Itâs mesmerizing to watch the four early-20-somethings be so, […]
Beyoncé is doubling down on Sin City. The singer announced on Wednesday (March 19) that she is going to play a second show at Allegiant Stadium on July 26, with tickets slated to go on sale on March 25 at 12 p.m. local time. A BeyHive pre-sale will kick off on Thursday (March 20) at 12 p.m. local, followed by the artist pre-sale on March 24 at 12 p.m. local and additional pre-sales for Citi cardmembers, Verizon Up and Mastercard ahead of the general on-sale.
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The new date comes after Bey added a July 25 stop in Las Vegas following the initial announcement of the Cowboy Carter & the Rodeo Chitlinâ Circuit tour last month. Before a single note is sung, the outing is already off to a blazing start. Earlier this week, Billboard reported that barely a month after pre-sales kicked off and six weeks from opening night the global outing is already at 94% capacity across all dates according to figures from promoter Live Nation.
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The tour was first announced on Feb. 3 with a roster of 22 shows in eight cities in the U.S. and Europe, with high demand forcing additional dates to be added in six of the eight markets on the tour celebrating Queen Beyâs Cowboy Carter album, which won album of the year at this yearâs Grammy Awards.
When the tour was initially announced, Billboard projected that final earnings of $294 million on sales of 1.1-1.2 million tickets, with the additional dates â not counting the second Vegas show â potentially boosting that figure to more than $325 million.
Check out the announcement and updated full list of Cowboy Carter dates below.
April 28 â Inglewood, CA @ SoFi Stadium
May 1 â Inglewood, CA @ SoFi Stadium
May 4 â Inglewood, CA @ SoFi Stadium
May 7 â Inglewood, CA @ SoFi Stadium
May 9 â Inglewood, CA â SoFi Stadium
May 15 â Chicago, IL @ Soldier Field
May 17 â Chicago, IL @ Soldier Field
May 18 â Chicago, IL @ Soldier Field
May 22 â East Rutherford, NJ @ MetLife Stadium
May 24 â East Rutherford, NJ @ MetLife Stadium
May 25 â East Rutherford, NJ @ MetLife Stadium
May 28 â East Rutherford, NJ @ MetLife Stadium
May 29 â East Rutherford, NJ â MetLife Stadium
June 5 â London, UK @ Tottenham Hotspur Stadium
June 7 â London, UK @ Tottenham Hotspur Stadium
June 10 â London, UK @ Tottenham Hotspur Stadium
June 12 â London, UK @ Tottenham Hotspur Stadium
June 14 â London, UK @ Tottenham Hotspur Stadium
June 16 â London, UK @ Tottenham Hotspur Stadium
June 19 â Paris, France @ Stade de France
June 21 â Paris, France @ Stade de France
June 22 â Paris, France @ Stade de France
June 28 â Houston, TX @ NRG Stadium
June 29 â Houston, TX @ NRG Stadium
July 4 â Washington, D.C. @ Northwest Stadium
July 7 â Washington, D.C. @ Northwest Stadium
July 10 â Atlanta, GA @ Mercedes-Benz Stadium
July 11 â Atlanta, GA @ Mercedes-Benz Stadium
July 13 â Atlanta, GA @ Mercedes-Benz Stadium
July 14 â Atlanta, GA @ Mercedes-Benz Stadium
July 25 â Las Vegas, NV @ Allegiant Stadium
July 26 â Las Vegas, NV @ Allegiant Stadium
Smashing Pumpkins leader Billy Corgan and wife ChloĂ© Mendel welcomed their third child on Tuesday (March 18). The couple shared the news with People magazine, revealing that Juno Corgan was born during the âwee hoursâ at the coupleâs Highland, Park, IL home and weighed 9.9 lbs. and was 22 inches long. âMy wife, ChloĂ© is […]
In a first for a music streaming company, Paris-based Qobuz has publicly released the per-stream royalty rate it pays to rights holders. Qobuz tells Billboard it paid out an average per-stream royalty rate of $0.018732, or 1.8782 cents, in the 12 months ended March 31, 2024. That all-in rate, which covers both recorded music and publishing, works out to $18.73 for every 1,000 streams.Â
âToday, we are taking this step for greater transparency,â Qobuz deputy CEO Georges Fornay said in a statement. âOur payout rates are now public. This unprecedented move in our industry is a necessary first step toward promoting a fairer and more sustainable streaming model. Choosing Qobuz means taking concrete action for fairer compensation for all artists and supporting musical diversity, values that our customers cherish.âÂ
One reason streaming companies havenât released their per-stream royalty rates is because royalties arenât paid on a simple, per-stream basis. Rather, royalties are the result of complex calculations based on such factors as market share and guaranteed minimums. Qobuz admits as much in the press release announcing its first-of-its-kind calculation, which was conducted by a major accounting firm. âIt should be noted that the methods of payment to labels and publishers are not systematically based on remuneration per stream,â it reads. âCalculation methods may vary from one contract to another.â Â
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Nevertheless, the per-stream royalty rate has persisted as a popular metric for gauging streaming servicesâ value to artists and rights holders. And although Qobuz is often mentioned as the platform with the highest per-stream rate, there are no official numbers to show its place in the royalty hierarchy. Companies have disclosed the amounts of royalties paid annually and cumulatively, but never, until now, on a per-stream basis.
At approximately $0.0187 cents per stream, Qobuz ranks well ahead of its peers, based on the limited, imperfect information available. The best comparisons come from music catalog investor Duetti, which released its own calculations in January for per-stream rates paid to independent artists. That report said the average royalty for master recordingsâexcluding the publishing component that Qobuz includedâwas $0.00341 per stream in 2024, though Qobuz wasnât included in those rankings. Publishing typically accounts for approximately 20% of music streaming content costs, which would put Qobuzâs recorded music per-stream royalty at approximately $0.015â4.4 times the average on Duettiâs list.Â
Amazon ranked first on Duettiâs list at $0.0088 per stream and was followed by TIDAL at $0.0068, Apple Music at $0.0062 and YouTube at $0.0048. Spotifyâs $0.003 per-stream payout was lower than its peers because of high usage, geographical mix, reliance on free and discounted plans and Discovery Mode, through which artists accept a lower royalty in exchange for in-app promotion. Â
One reason Qobuz pays relatively well is because it charges a relatively high price. Average revenue per user (ARPU) at Qobuz is $121.13 annually or $22.38 per month, while Spotifyâs latest ARPU (for the quarter ended December 31, 2024) was 4.85 euros ($5.29). In the U.S., Qobuz charges $12.99 per monthâ$1 more than Spotifyâs music-and-audiobook tierâor $129.99 per month when purchased annually. In its home country of France, Qobuz charges 14.99 euros ($16.35) per month or 149.99 euros ($163.55) annually. Thatâs 34% higher than the 11.12 euros ($12.13) per month Spotify charges.Â
The company cited other aspects of its business that result in the relatively high royalty rate. Qobuz does not have an ad-supported tier that would pay less than subscriptions. Additionally, the platform provides greater valued through uncompressed files and high-resolution audio, which, along with âexclusive editorial content,â merit a higher price, the company says. And Qobuz highlights artists and genresâjazz and classical, for exampleâthat are underrepresented at other streaming platforms. As a result, the company argues, more revenue is generated for a wider range of artists. Â
Geography also plays an important role in the size of Qobuzâs royalties. In the 26 markets where where Qobuz is availableâincluding the U.S., Japan, U.K., Germany, France, Sweden and Canadaâconsumers tend to spend money on music subscriptions. The service is not available in many emerging countries such as India where subscription prices are low and listeners overwhelmingly opt for free, ad-supported options. And while Qobuz available in places like Mexico and Brazil where subscription costs are lower, it costs more than its competitors in those markets. In Mexico, for example, Qobuzâs monthly price is 150 pesos ($7.49) to Spotifyâs 129 pesos ($6.44). In Brazil, Qobuz costs R$25.90 ($4.59) to Spotifyâs R$21.90 ($3.88).Â
The difference between Qobuz and its peers may narrow over time as royalty rates improveâslightlyâin the coming years. Spotify, according to reports, plans to launch a higher-priced plan that includes high-quality audio. Various companies are taking measures to marginally improve payouts. Deezer, for example, has changed its royalty scheme by demoting AI-created tracks, removing ânon-artist noise contentâ and provide better payouts to what it terms âprofessional artists.â Spotify changed its royalty payout scheme in 2023. As more platforms follow suit, average royalty rates should inch upward.
King Stingray has announced the departure of lead vocalist YirrĆa YunupiĆu just as the band prepares to embark on their massive For The Dreams national tour.
The announcement was shared via the bandâs social media on March 19, confirming that YunupiĆu, who co-founded the band in 2020, will no longer be part of the lineup. Stepping into the role is Ngalakan Wanambi, who has already performed with King Stingray on their recent U.S. tour.
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âHey everyone, weâve got some news to share â King Stingray and YirrĆa have parted ways,â the band wrote. âTo keep the fire burning, weâre stoked to introduce the deadly Ngalakan Wanambi stepping up on vocals. He absolutely smashed it with us on our recent U.S. tour, and as always, our main man, Dima Burarrwanga, will be bringing the energy as he always does.â
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Formed in Yirrkala, a remote community in Arnhem Land, King Stingray quickly made a name for themselves with their blend of YolĆu rock, seamlessly fusing Indigenous sounds with surf-rock and alternative influences. YunupiĆu, the nephew of the late Dr. M. YunupiĆu of Yothu Yindi, co-founded the group with guitarist Roy Kellaway, the son of Yothu Yindi bassist Stuart Kellaway.
With YunupiĆu as lead singer, King Stingray released their self-titled debut album in 2022, followed by For The Dreams in November 2024. The band has since been at the forefront of Australiaâs contemporary music scene, winning critical acclaim and multiple awards, including an ARIA for Best Independent Release.
Their For The Dreams national tour kicks off March 21 at Sydneyâs Hordern Pavilion, followed by stops in Brisbane, Adelaide, Melbourne, and Fremantle. Special guests Beddy Rays and The Belair Lip Bombs will join them on select dates.
Despite the lineup change, the band assured fans that the tour will retain the signature King Stingray energy. âThis For The Dreams tour is gonna be something really special â same King Stingray spirit, same unstoppable YolĆu rock and a whole lotta love,â they wrote.
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