News

Judge Rules Young Thug’s Lyrics Can Be Used In YSL RICO Case: ‘The First Amendment Is Not On Trial’

An Atlanta judge ruled Thursday that he would allow many of Young Thug’s rap lyrics to be used as evidence against him and other alleged gang members in their upcoming criminal trial, rejecting arguments that doing so would violate the First Amendment.

The ruling came a day after Fulton County Superior Court Judge Ural Glanville held a hotly-anticipated hearing about the use of lyrics as evidence – a controversial practice that has drawn backlash from the music industry and efforts by lawmakers to stop it.

The lyrics could play a key role in the trial, which will kick off later this month. Prosecutors allege that Thug (Jeffery Williams) and his “YSL” were not really a popular music collective called “Young Stoner Life,” but a violent Atlanta gang called “Young Slime Life” that committed murders, carjackings, drug dealing and other crimes over the course of a decade.

Representing the superstar artist, attorney Brian Steel blasted prosecutors for attempting to use creative expression to convict his client. “They are targeting the right to free speech, and that’s wrong,” Steel said. “They are saying that just because he his singing about it, he is now part of a crime.”

But after an hours-long hearing that ran until nearly 9 pm on Wednesday evening, Judge Glanville largely rejected those arguments. “They’re not prosecuting your clients because of the songs they wrote,” Glanville said from the bench. “They’re using the songs to prove other things your clients may have been involved in. I don’t think it’s an attack on free speech.”

In a formal ruling on Thursday morning, the judge denied Thug’s request to ban the lyrics entirely, and granted a motion by prosecutors to preliminarily admit them. Though Judge Glanville said prosecutors would still need to establish why they were using them and that Steel could object during the trial, the judge repeatedly suggested at Wednesday’s hearing that he would allow lyrics to be admitted as evidence and that it would be up to jurors to decide how much weight to give them.

At the hearing, prosecutor Michael Carlson urged Judge Glanville to avoid sweeping questions about free speech. He said the actual issue before the court was not rap lyrics but rather “proclamations of violence” by alleged gang members that are “highly relevant in this case.”

“The issue here is not rap,” Carlson said. “This is not randomly the state attempting to bring in Run DMC from the 80s. This is specific. These are party admissions. They just happen come in the form of lyrics.”

Near the end of the hearing, Carlson sharply criticized the suggestion that the rap lyrics in question were simply works of art without a direct link to real events. “People can look at that indictment and see one thing that’s for sure not fantasy: People are dead. Murdered.”

“That’s not fantasy, your honor,” Carlson said. “That’s tragically real.”

Earlier on Wednesday, prosecutor Symone Hylton highlighted specific lyrics that the state plans to play for jurors during the trial and explained why they were relevant enough to be admitted. They included lines from Thug’s 2016 song “Slime Shit,” in which he raps about “killin’ 12 shit” and “hundred rounds in a Tahoe.”

Hylton argued that “12” is a well-known euphemism for police officers, and that the lyric referred to a specific incident in which an officer was shot by a YSL member. And she said that the “Tahoe” lyric was a boast about the 2015 murder of Donovan Thomas – a key allegation in the indictment.

“Not only did Donovan Thomas drive a Tahoe, there were multiple rounds of shell casings laid out on the ground where he was killed in front of his barber shop,” Hylton said. “While [the lyric] may on the surface seem irrelevant, when you put it to the facts that are going to come out in this case, that particular verse becomes very relevant.”

Among other songs, she also referenced the 2018 track “Anybody,” in which Thug raps “I never killed anybody/ But I got somethin’ to do with that body”; and the song “Really Be Slime,” a 2021 compilation track released by Young Stoner Life Records that features the line “You wanna be slime? Go catch you a body.”

“It’s the state’s contention that [the lyric] means you go out and you go murder someone,” Hylton said. “That’s how you become ‘slime’.”

Young Thug, Gunna and dozens of other alleged YSL members were indicted in May 2022. Gunna and several other defendants eventually reached plea deals, and other defendants were separated from the main case, leaving just Thug and five others to face a jury. If fully convicted, he could face a life sentence.

After months of delays, a jury was finally seated last week, clearing the way for the trial to kick off on Nov. 27 – proceedings that are expected to last well into 2024. But before then, Judge Ural Glanville must decide on whether the jury can hear his lyrics as part of the prosecution’s case.

Civil liberties activists and defense attorneys have long criticized the use of rap lyrics to win criminal convictions. They argue that it unfairly targets constitutionally protected speech, treating hyperbolic verse as literal confessions; they also say it can unfairly sway juries by tapping into racial biases.

Lawmakers in California enacted legislation last year restricting the use of creative expression as evidence in criminal cases, and a federal bill in Congress that would impose similar restrictions has been widely supported by the music industry. But absent such statutes, courts around the country have mostly upheld the right of prosecutors to cite rap lyrics, particularly in gang-related cases.

In his arguments Wednesday, Thug’s lawyer Steel echoed such concerns in pushing to exclude the lyrics from the case. He noted that many other artists had used similar phrases – he name-dropped Rick Ross, Meek Mill and Cardi B — and that rap lyrics are often exaggerated or wholly fictional. Steel argued that individual lyrics should only be admitted when prosecutors have linked them much more specifically to actual alleged actions – an analysis he said the DA’s office had failed to perform.

But Steel’s main message for Judge Glanville was that using the lyrics would violate the First Amendment and its protections for free speech, arguing that it would effectively criminalize the output of a “prolific songwriter.”

“A person in America can say I hate Brian Steel, I hate criminal defense lawyers, I hate prosecutors, I hate judges,” Steel said. “We believe that we flourish when we can share ideas even when they’re repugnant, even when you don’t agree with them.”

“If you allow this evidence,” Steel said, “it’s going to have a chilling effect.”

But Judge Glanville was skeptical of Steel’s arguments from the beginning, repeatedly suggesting that he believed some of the lyrics were relevant enough to be admitted in the case — and occasionally showing frustration with Steel’s arguments to the contrary. At one point, he interrupted Steel to say that “the First Amendment is not on trial.”

Later, Steel said that prosecutors were using Thug’s “words” to convince jurors that he was “a bad man” — the kind of improper “character” evidence that is typically rejected. But Judge Glanville again had a quick retort: “No they’re not. They’re using his words to show that he’s involved in a gang.”

Latin Alternative Music Conference 2024 Dates Announced, Celebrating 25 Years

It’s a silver jubilee for Latin alternative music.

The Latin Alternative Music Conference has set dates for both its 2024 virtual and in-person events, Billboard Español can exclusively announce, and will celebrate 25 years.

The LAMC, known for showcasing Spanish-language alternative music, alongside a roster of rock, hip-hop and electronic acts, is slated to make its virtual return from April 24 to 26. The in-person conference, spanning five days, is slated for July 9 to 13 at the Intercontinental New York Times Square.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

“It’s been gratifying to see the overall Latin music industry come together with a deeper sense of community year after year, and especially as the industry continues to grow and reach new global heights,” LAMC and Nacional Records founder Tomas Cookman tells Billboard Español.

He continues: “The LAMC was founded 25 years ago with that very idea — creating a sense of community, learning and growing together — and we are happy to once again bring the industry together in 2024 with our virtual and in-person conferences. We hit record attendance numbers this year and look forward to a bigger and better conference experience in 2024.”

Last year, the multi-day event featured performances by Trueno, Juanes, Pedro Capó, Gale, Villano Antillano and more. Previous acts have included a luminary roster such as Ana Tijoux, Pitbull, Calle 13, Manu Chao, Nortec’s Bostich + Fusible, Café Tacvba and the beat goes on.

Both the virtual and in-person events will feature panels, workshops, showcases, and networking opportunities for attendees. According to figures provided to Billboard Español, about 681,000 unique viewers tuned in online last year.

Registration for the in-person July conference begins at $99. Registration for the virtual event is free via LatinAlternative.com, where the latest updates, option to contact the LAMC team with questions, and reserve a hotel for the in-person event are available.

Kim Kardashian Reveals She Got a Tattoo in the Ouchiest Place Possible After Hosting ‘SNL’

Kim Kardashian once explained her reason for never inking her body by telling Wendy Williams in 2009 that she would never “put a bumper sticker on a Bentley.” As it turns out, though, she did slap one on years ago, but we just didn’t know it because it’s in an intimate place.

On the latest episode of Hulu’s The Kardashians, Kim revealed that she broke the seal on body art after she hosted Saturday Night Live in October 2021, the night she famously first kissed (on camera) her brief boyfriend comedian Pete Davidson. The blessed event took place at the best time to get your first body mod, 4:30 a.m., after Kardashian’s crew convinced her to go for it.

So, what does a fabulously wealthy reality star and entrepreneur get when she’s finally ready to slap a sticker on it? An infinity symbol on the inside of her lip, naturally. “The night I hosted SNL me and all my friends got matching tattoos and everyone got them on their hands and I was like, ‘There’s not a shot I will get a tattoo’,” she said on the new episode of the family reality show, which featured footage of her lip trip.

While the inside of the smacker is one of the most painful places to get inked, in a home video of the tat she brushes off the hurt, saying, “This is nothing,” while flipping the bird to the camera as celeb body artist JonBoy does his duty. “I finally put a bumper sticker on a Bentley, she added. “No one knows, no one sees it. I forget [about it], but every once in a while I’ll be flossing my teeth and I’ll see black and I’ll go, ‘What’s this black in my mouth?!’”

According to Page Six, the heavily inked Davidson has a matching infinity symbol that he got the same night, along with the names “Jasmine” and “Aladdin” on his collarbone, a reference to the Aladdin sketch on that night’s show that marked the couple’s first kiss; he also got the initials of Kardashian’s four children with ex Kanye West, the phrase “my girl is a lawyer” and “Kim” tattoos during their brief dalliance before reportedly erasing them after their break-up.

New Documentary Confirms Garland Jeffreys’ Legacy as ‘One of The American Greats’

The music documentary Garland Jeffreys: The King Of In Between, which premiered Wednesday (Nov. 8) during the DOC NYC film festival, reintroduces audiences to a masterful musician whose commercial success may never have matched his critical acclaim — but whose rich legacy is worth celebrating.

Explore

See latest videos, charts and news

See latest videos, charts and news

“People that know him cannot believe that other people don’t know him,” says documentary director Claire Jeffreys, the singer’s longtime manager and spouse, speaking in the opening moments of the film over the backdrop of the Brooklyn-born singer’s performance of “Coney Island Winter.”  The documentary can be viewed online via DOC NYC through Nov. 26 and is seeking distribution.

Despite the director’s close connection to her subject, Claire Jeffreys has maintained a filmmaker’s distance — while letting a cast of sources speak to her husband’s long history of musically adventurous, socially aware songwriting.

Among those who offer testimony here are the music critics Robert Christgau and David Hajdu, longtime friend and actor Harvey Keitel, and fellow musicians including Graham Parker, Alejandro Escovedo, Vernon Reid, Laurie Anderson—and Bruce Springsteen.

“He’s in the great singer/songwriter tradition of Dylan and Neil Young; one of the American greats,” says Springsteen.

Garland Jeffreys, 80, raised in Sheepshead Bay, Brooklyn, was shaped by his Black, white and Puerto Rican heritage — “father of coal, mother of pearl,” he once sang — absorbing early musical influences from doo-wop to jazz to 1950s rock’n’roll. “My background, my racial mixture, my past, the music that went through my house, it all comes out in my music,” says Garland in the film.

The documentary takes its title from Garland’s 2011 album The King of In Between. “It’s Garland’s phrase and he really related to it because of his growing up biracial,” Claire Jeffreys told Billboard in a conversation before the premiere. “His way of relating to the world was shaped by being neither fish nor fowl, black nor white. He mentions in the film that radio wouldn’t play him on the white stations and he wasn’t being played on the Black stations. [But by] saying `the king,’ he was claiming that he was still standing and still feeling like he had something to offer.”

What Garland Jeffreys had to offer, with all his charm and intensity, was clear from the start. Laurie Anderson appears in the film because, when Garland left Brooklyn to attend Syracuse University, he became fast friends with Anderson’s husband-to-be, Lou Reed.

“Lou really admired Garland, as well as loved him,” says Anderson. (On his 2017 album 14 Steps to Harlem, Garland covered the Velvet Underground’s “Waiting For the Man” in tribute to his longtime friend.) 

In 1970, Garland made his recording debut as part of the group Grinder’s Switch, with its musical echoes of The Band. But it was his own self-titled solo debut album on Atlantic Records three years later that signaled the arrival of a singular musical force.

Writing in The Village Voice, Robert Christgau described the debut album’s musical ambitions (“Stonesy blues shuffles rubbing elbows with reggae from Kingston”) and declared that “this man should be given the keys to every city whose streets he walks — ours first.”

The film captures the edginess of New York in the 1970s, an era that defined Garland’s songwriting, from the “heat of the summer” threat of “Wild In The Streets” (arranged and recorded with Dr. John) to the hometown romanticism of “New York Skyline.” Both came from Garland’s 1977 album Ghost Writer, a collection that prompted Rolling Stone to name him the most promising artist of that year.

Two years later, American Boy & Girl contained the enchanting, reggae-tinged single “Matador,” which became a top five hit in several European markets but failed to crack the Billboard Hot 100. Success abroad, however, planted the seed for support Garland needed for a landmark album he released in the early 1990s.

As Garland tells the story in the film, he was at a New York Mets game at Shea Stadium. “I was in left field, absorbed in the game, and a guy from behind me said, `Hey, buckwheat! Get the f–k outa here!’ It was a shock. It was very personal. And I really said to myself, `Don’t call me buckwheat.’”

Don’t Call Me Buckwheat arrived from Garland Jeffreys in the U.S. in April 1992, heralded in a Billboard feature as “a significant concept album that musically crosses gospel, doo-wop, rock, reggae and rap, in songs that describe a lifelong struggle with crossing color lines.”

Notably, the album had been released the previous fall in Europe by BMG International (a corporate precursor to the BMG of today) after Garland was signed and championed by a German executive, the company’s senior vp of A&R, Heinz Henn.

Don’t Call Me Buckwheat “came out 30 years ago, it could have come out 30 minutes ago,” says Springsteen in the film. “I don’t know of anybody who was writing about race as directly as Garland was in the early 90s.”

Told by an interviewer at the time that the record could make listeners uncomfortable, Garland replied: “This to me is an album of hope, it’s a vision of hope.”

But Don’t Call Me Buckwheat from failed to chart in America. Musical “categorization is the reality and tyranny of the music business,” critic David Hajdu says in the film, “and he’s been a victim of it.” Beginning with The King Of In Between in 2011, Garland began self-releasing his albums, but the documentary does not depict this journeyman artist as a victim of the music industry, nor of life.

The film is, in part, a love story. In a charming scene filmed in the hallway of their New York apartment, Claire and Garland Jeffreys describe their first meeting after one of his shows. Claire describes their mutual goal of achieving sobriety. And their daughter Savannah is featured both as a teenager, resisting her father’s invitation to sing with him, and then in a beautiful duet in the studio with her dad, recording “Time Goes Away.”

In 2019, Garland Jeffreys announced he would stop touring. The documentary includes the celebration of his career which took place on June 29, 2019, at the original City Winery on Varick Street in Manhattan’s Hudson Square neighborhood. The night’s performers included, among others, Laurie Anderson, David Johansen, Chuck Prophet, Vernon Reid, Willie Nile, Suzanne Vega, and Savannah Jeffreys, who took the mic and deadpanned, “So I met Garland in 1996…“

“I wanted to show other people’s affection and respect for him,” says Claire Jeffreys of that night. “So it was overwhelming.” Now her documentary has succeeded, in part, by redefining what it means to be a successful musician. “In today’s world, we’re so caught up in mega success or failure, there’s no humility, there’s no just being a working artist,” she says, reflecting on her husband’s rich body of work, created over nearly five decades.

“Sometimes Garland would get very discouraged about where he stood, so to speak, in the pantheon of the music business. And I would say, `Garland, you’ve made a living as a performer and a songwriter. You’ve raised a family. That’s a huge accomplishment.’ I said, `I think you’ve gotta claim that and own that.’ And he really did get to that place in the end. And that was what I was hoping.”

Megan Thee Stallion Cranks ‘Cobra’ Up to 11 With Rocking Spiritbox-Assisted Remix

Megan Thee Stallion‘s new single, “Cobra,” already hits pretty hard. With its chunky guitar riff and ominous beat, the latest song from the “Bongos” MC — which dropped last week — came locked-and-loaded with a slamming surfeit of grit and gravity in lyrics about stress, anxiety, pain and determination.

So it makes perfect sense that Meg would take all that angst and roiling emotion, turn it up to 11 and break off the knob on a metal-edged remix. Which is exactly what she did on Wednesday (Nov. 8), when the Houston spitter dropped a face-melting rock re-do of the track featuring Canadian alt-metal band Spiritbox.

The 2.0 version opens with the same big guitars, but then explodes into a booming, reverb-drenched cascade of arena rock attitude as Megan’s voice is joined by yearning/screamo vocals from Spiritbox singer Courtney LaPlante and guitarist Mike Stringer’s sonic boom strumming, giving the song a Linkin Park/Evanescence-like vibe.

LaPlante thanked Megan for roping her band into the remix, writing on Instagram, “Thank you Megan for allowing us the opportunity to collaborate on your already iconic new song ‘Cobra.’ I am beyond grateful to you.” Guitarist Stringer added, “Thank you to Megan for trusting us to mash up both of our worlds. Nothing but respect, and gratitude. It’s an absolute honor.”

After dropping the song last week as the first single on her own label, Megan said the song about losing her grandmother, a rough breakup and the trauma of two court cases was a track that exemplifies the fierce, hooded snakes that exemplify “courage and self-reliance. They stand tall and fierce in the face of challenges, teaching one to tap into their inner strength and rely on oneself to conquer their threats. Emulating the cobra helps one be more confident in the person they are within.” 

The three-time Grammy winner revealed last month that she wasn’t signed to a label anymore. “This part of my album is very much so funded by Megan Thee Stallion because we’re trying to get off … Y’all know what’s the tea. But I have no label right now,” she explained of her decision to go it alone after recently settling a yearslong legal battle with her former record label, 1501 Certified Entertainment. “We’re doing everything funded straight out of Megan Thee Stallion’s pockets. So, the budget is coming from me. Motherf—ing Hot Girl Productions! The next s— y’all about to see is all straight from Megan Thee Stallion’s brain and Megan Thee Stallion’s wallet. We are in my pockets, hotties, so let’s do our big one.”

Listen to the “Cobra” remix below.



Frank Ocean Posts One-Minute Snippet of Moody New Song

Frank Ocean‘s resting pulse for most of his career has been elusiveness. The singer who has never followed any of the traditional music industry rules releases music, or not, on his own, often erratic schedule, typically with no advance notice and with little commentary.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

Which is why it was no surprise that his latest musical missive arrived with no fanfare in his Instagram Story on Wednesday (Nov. 8) in the form of a minute-long, unnamed moody track. In audio captured here, Ocean can be heard crooning in his hazy manner over a droning keyboard, with the lyrics coming through only in brief, intelligible bits as the words often slide together in a blur.

“Way more laid back than I did when I was my younger [unintelligible]/ … assumptions but they were educated guesses/ that’s why I … trying to see all your sides/ but your heart’s been tangled in barbed wires/ If you hand it to me, I can’t handle it,” he sings. “You got boundaries, but they’re just obstacles you’re putting in between us/ Pick and choose but we both got options.”

The rest of the lyrics that appear to be about love confusion are hard to decipher, but fans were typically psyched to get anything new from Ocean, who has not issued any new music since he surprise-dropped two singles, “Dear April” and “Cayendo” in 2020, which was followed by a never-released untitled nine-minute song on the Christmas special on his Apple Music 1 Blonded Radio show in December 2021. Ocean has not released a proper album since 2016’s Blonde.

At press time no additional information was available about the song or whether it will be officially released.

Ocean once again receded from public view after his confusion, glitchy appearance at the Coachella Festival in April, which was his first public show since 2017. During the headlining set that began an hour late, Ocean didn’t perform any new songs (but did play radically reworked versions of his familiar tracks), was sometimes hard to spot on the cavernous stage and then was was cut off due to curfew, which ended the set whose livestream on the festival’s official YouTube broadcast was scrapped at the last minute.

It later emerged that Ocean reportedly performed with a serious ankle injury and that his planned elaborate stage set-up — which was to feature a giant ice rink and professional hockey players and olympic skaters doing choreography during the show — was scrapped at the 11th hour after weeks of rehearsals; Ocean later dropped out of a planned second weekend headlining slot due to the injury, costing the festival millions of dollars.

In classic Ocean fashion, he peeked back out in June with the announcement of his 48-page Mutations photo book, which a release said would be printed on “tissue-weight paper.”

Maluma, Shakira, Andrea Bocelli & More to Perform at the 2023 Latin Grammys

Maluma, Milo J, Rosalía, Shakira, Sebastián Yatra, Andrea Bocelli and DJ Premier are all set to perform at the 24th annual Latin Grammy Awards. The Latin Recording Academy announced the new round of performers on Thursday (Nov. 9) for the upcoming ceremony, which will broadcast from FIBES in Seville, Spain, on Thursday, Nov. 16.

Additionally, Majo Aguilar, Anitta, Pedro Capó, Jorge Drexler, Luis Figueroa, Fonseca, Tiago Iorc, Mon Laferte, Natalia Lafourcade, John Leguizamo, Nicki Nicole, Carlos Ponce, Carlos Vives and Yandel join as presenters throughout the ceremony.

The newly announced artists join previously unveiled performers, including Maria Becerra, Bizarrap, Feid, Kany GarcíaCarin LeónChristian Nodal, Rauw Alejandro, Alejandro Sanz, Pablo Alborán, Edgar Barrera, Camilo, Manuel Carrasco, Iza, Juanes, Ozuna, Eslabon Armado and Peso Pluma.

For the first time held outside the United States, the annual Latin Grammys will be broadcast from the Conference and Exhibition Centre in Seville, Spain. It will air Nov. 16 on Univision starting at 8 p.m. ET, UniMás and Galavisión in the U.S., and at 10:30 p.m. CET on Radiotelevisión Española (RTVE) in Spain.

Danna PaolaSebastián Yatra, Roselyn Sánchez and Paz Vega will serve as co-hosts.

This year, Mexican hitmaker Edgar Barrera leads the list of nominees with 13 nods, including songwriter of the year, producer of the year and song of the year. Barrera is followed by Colombian stars Camilo, Karol G, Shakira and composer Kevyn Mauricio Cruz (also known as Keityn), each with seven nominations.

The Latin Grammy Week will include the person of the year gala — honoring Laura Pausini — and the special awards ceremony, the leading ladies of entertainment luncheon, the best new artist showcase and a reception for the nominees, among other events.

Sony Music Revenue Jumps 14% to New Quarterly High

Releases by Travis Scott, SZA, Harry Styles and Luke Combs, along with continued paid subscription growth, helped Sony Music Entertainment revenues hit a record 408 billion yen ($2.83 billion at the quarter’s average exchange rate) in its fiscal second quarter ended Sept. 30, up 13.7% from the prior-year period, parent company Sony Corp. announced Thursday.

The company’s previous high for quarterly revenue was 363.7 billion yen ($2.57 billion) in the third quarter of fiscal 2022 (the quarter ended Dec. 31, 2022).

Adjusted operating income grew 10.9% to 97 billion ($672 million). Adjusted OI excludes the impact of a $41.2 million one-time benefit recognized in the prior-year quarter related to settlements of copyright infringement lawsuits. The appreciation of the yen contributed some of the revenue growth in the quarter. Of the 49.4 billion yen ($342 million) revenue increase, foreign exchange accounted for a 12.7 billion yen ($88 million) gain — about a quarter of the improvement. 

Recorded music revenues grew 13.3% to 253.8 billion yen ($1.76 billion) on the strength of subscription streaming services such as Spotify, Apple Music and YouTube Music. Streaming revenue grew 14.4% to 173.9 billion yen ($1.2 billion), accounting for 69% of recorded music revenues. Other revenues, which encompass merchandise, licensing and live performances, jumped 51.6% to 50.9 billion yen ($352 million). Physical revenues dropped 14.4% to 20.8 billion yen and download sales fell 42.2% to 8.2 billion yen ($57 million), although the two categories combined accounted for only 11.4% of recorded music sales. 

Miley Cyrus’s Endless Summer Vacation, Beyoncé’s Renaissance, Lil Durk’s Almost Healed, Doja Cat’s Scarlet and Luke Comb’s This One’s For You were also among Sony Music’s top ten recorded music releases ranked by revenue. In Japan, Sony Music Entertainment’s top title was Social Path, a Japanese-language EP by K-pop group Stray Kids released with JYP Entertainment. Social Path hit No. 1 on the Billboard Japan Hot Albums chart for two weeks in September. 

In the music publishing division, a 14.8% increase in streaming revenue helped total publishing revenue increase 12.6% to 82.7 billion yen ($573 million). Other publishing revenue, which includes mechanical, performance royalties and synch licensing, grew 9.6% to 34.3 billion yen ($237 million). 

The visual media and platform division rose 5.7% to 62.9 billion yen ($436 million) and accounted for 15.7% of Sony Music’s total revenue. The division includes mobile games, software for PCs and game consoles, and sales related to software development contracts.

Sony Music increased its full-year guidance for revenue by 5%, or 70 billion yen ($485 million), and adjusted operating income before depreciation and amortization by 4%, or 15 billion yen ($104 million). The upward revisions were due to the impact of foreign exchange, increased streaming revenues in the music publishing division and higher mobile game sales in the visual media and platform division. 

Financial metrics for Sony Music’s second fiscal quarter ended Sept. 30, 2023:

  • Revenue of 408.7 billion yen ($2.83 billion), up 13.7% year over year.
  • Adjusted operating income of 97 billion yen ($672 million), up 10.9% year over year.
  • Recorded music revenue of 253.7 billion yen ($1.76 billion), up 13.3% year over year.
  • Music publishing revenues of 82.7 billion yen ($573 million), up 12.6% year over year.
  • Visual media and platform revenue of 62.9 billion yen ($436 million), up 5.7% year over year.

Hibiscus Eliminated From ‘The Masked Singer’

It’s that time of year again, the fall, when the flowers drop ahead of the dark, colder months.

Appropriately it was Hibiscus that fell on The Masked Singer on Wednesday night (Nov. 8), and the U.S. reality TV star behind the mask was eliminated from the 2023 competition.

“One-Hit Wonders” was the theme of Fox’s kooky singing contest, as Anteater (singing “Walking in Memphis” by Marc Cohn), Candelabra (singing “1 Thing” by Amerie), Donut (performing “Hooked on a Feeling” by Blue Swede) and Hibiscus (performing “It’s Raining Men by the Weather Girls”) put on a show.
Hibiscus and Anteater came off second best, and went into the Smackdown with a rendition of Toni Basil’s “Hey Mickey.”

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

Only one could stay. Anteater had it licked.

Under the Hibiscus mask was Real Housewife of New York City and cabaret singer Luann De Lesseps, also known as “The Countess.”

“So much fun,” she said before heading for the exit. “I had the best time”. A parting message, “I’ll see you all at my cabaret show.” And a simple request to keep Hibiscus outfit with her impressive collection.

De Lesseps as Hibiscus departs the competition, joining the likes of Posey as Hawk, Billie Jean King as Royal Hen, Michael Rapaport as Pickle, Tom Sandoval as Diver, Anthony Anderson as Rubber Ducky and Demi Lovato as Anonymouse as this season’s unmasked celebrities.

Robin Thicke, Nicole Scherzinger, Ken Jeong and Jenny McCarthy return as judges for the latest season, which airs Wednesdays on Fox at 8 p.m.

Hosted by Nick Cannon, a wide variety of stars have competed in their ridiculous outfits since the show debuted in 2019, from sports superstars to comedians, actors and more, but the standouts are typically musicians. The very first winner was hip-hop artist T-Pain, who left his trademark Auto-Tune behind to show off his pipes au naturel.

Watch Hibiscus’ final acts below.


https://youtube.com/watch?v=CxHRytvzE70&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent


https://youtube.com/watch?v=3PqTKIL-To0&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent



Snubs & Surprises at the 2023 CMAs

The 2023 CMA Awards are in the books. Lainey Wilson was the big winner, with wins in five categories. That ties the one-year record, first set by Johnny Cash in 1969 and later matched by Vince Gill (1993) and Alan Jackson (2002). This also sets a new, one-year record for a female artist.

Just one year after winning new artist of the year, Wilson won entertainer of the year. That ties Garth Brooks’ quick sprint from the horizon award (as new artist of the year was then called) in 1990 to his first entertainer of the year award in 1991. Wilson also won album of the year, female vocalist of the year and two awards she shared with HARDY – musical event of the year and music video of the year.

The show, co-hosted for the second year in a row by Luke Bryan and Peyton Manning, was held at Bridgestone Arena in Nashville on Wednesday (Nov. 8).

Many of the awards went as expected. Chris Stapleton won male vocalist of the year for a record seventh time. Wilson won female vocalist of the year for the second year in a row. Old Dominion won vocal group of the year for the sixth year in a row. Brothers Osborne won vocal duo of the year for the sixth time in the past eight years.

Luke Combs’ “Fast Car,” which topped Billboard’s Hot Country Songs chart for four weeks, took single of the year, while the song, a pop hit in 1988 for its writer, Tracy Chapman, took song of the year.

But there were a few snubs and surprises, too. Take a look.