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Ed Sheeran Announces G-Shock Collaboration With John Mayer: ‘Super Excited to Launch My First Watch’

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Ed Sheeran has a new collaboration on the way, and it’s unlike anything he’s ever done before. Sheeran is teaming with John Mayer to release his very first G-Shock watch with Hodinkee, the Grammy winner announced via Instagram on Thursday (Oct. 12).

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The G-SHOCK Ref. 6900 – Subtract by Ed Sheeran ($185) is bright yellow with specs of black around the band and bezel. The design is inspired by Sheeran’s sixth studio album – (Subtract), which was released in May.

Fans may have noticed the watch before. Sheeran revealed that he’s been wearing the limited-edition timpiece for the last several months.

“Super excited to launch my first watch with @hodinkee,” he captioned an Instagram post showcasing the watch. “If you’ve spotted a yellow G Shock on me for the last 6 months this is it! I got a call from @johnmayer around a year ago asking me if I wanted to make a G Shock with them and I couldn’t have said yes fast enough. [I’ve] loved watches since I can remember but never thought about making my own one, but this is the perfect way to start. Head to Hodinkee shop for more info on them, and hope you enjoy wearing it as much as I do.”

Sheeran’s watch is the first in a three-part collaboration, curated by Mayer. The remaining two artist collaborations have yet to be revealed.

“Ed Sheeran has long been a friend,” Mayer said in a statement on the Hodinkee website. “As a fellow musician and watch collector, we have bonded over our love of things that take time. The G-Shock Ref. 6900 – Subtract is bright, bold, and completely Ed Sheeran.”

The partnership with Sheeran expands on Mayer’s successful collaboration with Hodinkee. Mayer previously teamed with Hodinkee for a sold-out collection of Casio G-Shock 6900 watches released in powder blue, off-white and black.

The G-Shock Ref. 6900 – Subtract by Ed Sheeran will be released on Oct. 18 via shop.hoodinkee.com.

Click the link below to score early access to the limited release.

G-Shock

G-Shock Ref. 6900 -Subtract Watch by Ed Sheeran

After Fake Drake, New Federal Bill Would Ban AI-Generated Deepfakes Vocals

A bipartisan group of U.S. senators released draft legislation Thursday (Oct. 12) aimed at protecting musical artists and others from artificial intelligence-generated deepfakes and other replicas of their likeness, like this year’s infamous “Fake Drake” song.

The draft bill – labelled the “Nurture Originals, Foster Art, and Keep Entertainment Safe Act, or NO FAKES Act — would create a federal right for artists, actors and others to sue those who create “digital replicas” of their image, voice, or visual likeness without permission.

In announcing the bill, Sen. Chris Coons (D-Del.) specifically cited the April release of “Heart On My Sleeve,” an unauthorized song that featured AI-generated fake vocals from Drake and The Weeknd.

“Generative AI has opened doors to exciting new artistic possibilities, but it also presents unique challenges that make it easier than ever to use someone’s voice, image, or likeness without their consent,” Coons said in a statement. “Creators around the nation are calling on Congress to lay out clear policies regulating the use and impact of generative AI.”

The draft bill quickly drew applause from music industry groups. The RIAA said it would push for a final version that “effectively protects against this illegal and immoral misappropriation of fundamental rights that protect human achievement.”

“Our industry has long embraced technology and innovation, including AI, but many of the recent generative AI models infringe on rights — essentially instruments of theft rather than constructive tools aiding human creativity,” the group wrote in the statement.

The American Association of Independent Music offered similar praise: “Independent record labels and the artists they work with are excited about the promise of AI to transform how music is made and how consumers enjoy art, but there must be guardrails to ensure that artists can make a living and that labels can recoup their investments.” The group said it would push to make sure that the final bill’s provisions were “accessible to small labels and working-class musicians, not just the megastars.”

A person’s name and likeness — including their distinctive voice — are already protected in most states by the so-called right of publicity, which allows control how your individual identity is commercially exploited by others. But those rights are currently governed by a patchwork of state statutes and common law systems.

The NO FAKES Act would create a nationwide property right in your image, voice, or visual likeness, allowing an individual to sue anyone the produced a “newly-created, computer-generated, electronic representation” of it. Unlike many state-law systems, that right would not expire at death and could be controlled by a person’s heirs for 70 years after their passing.

A tricky balancing act for any publicity rights legislation is the First Amendment and its protections for free speech. In Thursday’s announcementthe NO FAKES Act’s authors said the bill would include specific carveouts for replicas used in news coverage, parody, historical works or criticism.

“Congress must strike the right balance to defend individual rights, abide by the First Amendment, and foster AI innovation and creativity,” Coons said.

The draft was co-authored by Sen. Marsha Blackburn (R-Tenn.), Sen. Amy Klobuchar (D-Minn.), and Sen. Thom Tillis (R-N.C.).

Earth, Wind & Fire Rule Top TV Songs Chart After ‘Virgin River’ Synch

The No. 1 song on Billboard’s Top TV Songs chart, powered by Tunefind, for September 2023 is fitting: it’s “September,” by Earth, Wind & Fire.

Rankings for the Top TV Songs chart are based on song and show data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of September 2023.

“September” sported a synch in the latest season of Netflix’s Virgin River. The entire fifth season premiered Sept. 7, and the Earth, Wind & Fire classic was heard in the third episode.

In all, “September” received 19 million official on-demand U.S. streams and 8,000 downloads in September 2023, according to Luminate. Some of its metrics are also due to annual gains for the song (No. 8 on the Billboard Hot 100 in February 1979) each September around Sept. 21, corresponding with the track’s opening lyric.

Virgin River boasts three entries on Top TV Songs this month, with fellow third episode song “In the Shadows,” by Amy Stroup, bowing at No. 3, while Lily Allen’s cover of Keane’s “Somewhere Only We Know,” heard in episode 10, appears at No. 8.

The top non-Virgin River entry, meanwhile, belongs to Gerry Rafferty’s “Baker Street,” which ranks at No. 2. Rafferty’s top-charting song on the Hot 100 (No. 2, June 1978), it appears in the second episode (Sept. 29) of new show The Continental, from Peacock, which is a newly released spinoff of the John Wick franchise.

Thanks to its The Continental synch, “Baker Street” earned 2.9 million streams and 1,000 downloads in September 2023.

Like Virgin River, The Continental also has three tracks on the latest Top TV Songs tally, with “Baker Street” followed by ZZ Top’s “La Grange” at No. 5 and Tommy James and the Shondells’ “Crimson and Clover” at No. 10.

Back to Earth, Wind & Fire: the group charts two songs on two different shows in September, as “Let’s Groove,” which appears at No. 6, was heard in HBO’s Winning Time: The Rise of the Lakers Dynasty.

See the full top 10, also featuring music from Wilderness and The Walking Dead: Daryl Dixon, below.

Rank, Song, Artist, Series (Network)
1. “September,” Earth, Wind & Fire, Virgin River (Netflix)
2. “Baker Street,” Gerry Rafferty, The Continental (Peacock)
3. “In the Shadows,” Amy Stroup, Virgin River (Netflix)
4. “Gold,” Kiiara, Wilderness (Amazon Prime Video)
5. “La Grange,” ZZ Top, The Continental (Peacock)
6. “Let’s Groove,” Earth, Wind & Fire, Winning Time: The Rise of the Lakers Dynasty (HBO)
7. “Blue Monday,” New Order, The Walking Dead: Daryl Dixon (AMC)
8. “Somewhere Only We Know,” Lily Allen, Virgin River (Netflix)
9. “Sacrilege,” Yeah Yeah Yeahs, Wilderness (Amazon Prime Video)
10. “Crimson and Clover,” Tommy James and the Shondells, The Continental (Peacock)

AT&T Dream In Black Celebrates 50 Years of Hip-Hop

AT&T Dream In Black

Source: iOne / iOne

In celebration of hip-hop’s 50th anniversary, AT&T Dream in Black gathered a diverse panel of artists and unique voices to discuss the genre’s global impact and the importance of connection in moving the culture forward.

The AT&T Dream in Black platform celebrates the achievements and aspirations of the Black community, rooted in the mindset that success can look like anything we can dream.

Host and celebrated lyricist Rapsody is joined by Bronx legend Fat Joe, artist King Combs, and Rayna Bass, co-president of 300 Entertainment, to talk about the evolution of hip-hop.

Impact on the Culture

As we celebrate hip-hop’s golden anniversary, the genre’s global impact on music, style and culture is undeniable. “I remember when I first got into hip-hop. It gave me a voice, it gave me style, it was something I could relate to,” says Rapsody.

The internet and social media have transformed the landscape and changed how artists reach audiences today. “You gotta do the groundwork, you gotta go to the station, you gotta meet the fans, you gotta thank the DJs—but you also can’t really be successful without having that presence on the internet,” says Bass. “Every big record in the last 10 years had some sort of viral moment.”

Hip-hop was born in the Bronx, New York, on August 11, 1973—as immortalized by the handwritten invitation to DJ Kool Herc’s “Back To School Jam.” Ladies paid 25 cents to get in. Fifty cents for the fellas.

Today, hip-hop is a multi-billion dollar industry. “The biggest thing is hip-hop’s influence,” says rapper Fat Joe, who lists artists-turned-moguls like 50 Cent, Diddy and Jay-Z who developed their careers into lucrative business enterprises.

“We have somebody to aspire to be,” he adds. “So when I see my brothers who come up from nothing and become billionaires, I just know that the next generation is going to be so much brighter, so much better.”

AT&T Dream in Black Presents Hip-Hop: The 50 Year Evolution

AT&T Dream in Black celebrates the culture and the creators who are shaping it. Marking 50 years of hip-hop, the panel shares what “Dream in Black” means to them.

“Another 50 years of excellence. More entrepreneurs, more billionaires coming from hip-hop,” says Bass.

“I want to see more success and I want to see more people give back to the community,” says Joe. “Don’t forget your people who made you.”

“Stay true to yourself and stay on your path,” says Combs, son of entertainment mogul and Bad Boy Records founder, Sean ‘Diddy’ Combs. “Everybody has different paths. People may blow up before you, but you can’t let that discourage you. Because you may be the person that changes the game in a bigger way.”

Rapsody closes out the discussion with her own vision. “Dream in Black means continuing to show up as myself, continuing to open doors, especially for more women in hip-hop to show up and tell their authentic story,” she says.

Britney Spears Cuddles With J Balvin in Maluma’s New Instagram Post

Britney Spears spent a night out with two Latin superstars this week, and the trio seemed to have a ton of fun posing for Instagram photos.

Maluma took to the social media platform on Thursday (Oct. 12) to share a picture alongside the “Piece of Me” singer and J Balvin, in which Spears and the Colombian superstar are seen in a sweet embrace while Maluma stares dead-eyed into the camera. “Who else is like me in love?” he joked in the caption.

While there are currently no plans for a collaboration between the trio, the comments were flooded with requests for Spears to foray into the Latin music world.

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In the meantime, Spears is gearing up to release her highly anticipated memoir The Woman in Me on Oct. 24. The debut memoir is a “brave and astonishingly moving story about freedom, fame, motherhood, survival, faith, and hope,” according to a press release from publisher Gallery Books, an imprint of Simon & Schuster.

The book — and Maluma’s Instagram post — comes amid a new chapter in Spears’ life, ollowing her split from husband Sam Asghari after one year of marriage and six years together. Asghari filed for divorce in August citing “irreconcilable differences.”

The Woman in Me will be available as a hardcover, e-book and audio book. You can pre-order the memoir at various retailers including Amazon (also available on Kindle), Barnes & NobleTargetWalmart and Bookshop.

See Maluma’s post below.

Who Are HEY-SMITH? Meet the Japanese Punk Band Heard in the Latest ‘Tokyo Revengers’ Arc

Japanese punk band HEY-SMITH has announced that they were tapped to perform the ending theme for the Tenjiku Arc of the TV anime Tokyo Revengers. The song, “Say My Name,” is the band’s first new song in a year and its first anime tie-in.

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Formed in 2006, the six-piece band has undergone several changes in membership before settling on its current lineup in 2015: guitarist and vocalist Shuhei Igari, bassist and vocalist YUJI, saxophonist Mitsuru, drummer Task-n, trombonist Kanasu, and trumpeter Ken Iikawa. In 2020, it signed with veteran American punk label ASIAN MAN RECORDS and began streaming its album Life In The Sun World Edition around the world. HEY-SMITH is a melodic punk band with its own horn section. Their most famous songs include “Endless Sorrow,” which riffs on the melody of the Farandole from Georges Bizet’s “The Girl from Arles,” “Be the One,” which combines the heavy sound of metal with an energetic melody, and “NOT a TV show,” which they played on their first appearance on a music TV program in 2018. HEY-SMITH’s leader, Igari, is responsible for both the band’s lyrics and music. Through their music, the band has always shared the core ethos of punk, that people need to speak up and make themselves heard so they can continue to live free and have fun.



HEY-SMITH performs almost 150 shows a year and is known as a dyed-in-the-wool live band. In 2022, despite the pandemic, they did a tour of all 47 Japanese prefectures. During the summer, they’re invited to play in festivals and shows with other bands across the country, performing almost every week. They also organize their own outdoor festival, “OSAKA HAZIKETEMAZARE FESTIVAL,” spearheading their own movement.

In 2017, they only played two solo shows. Even in their own tours, they almost always play with opening acts. The members of the band decide on their openers themselves, reaching out to bands that they’ve seen in shows and been impressed by. They choose bands that put on good shows, regardless of how long they’ve been playing or how well-known they are. This inspires HEY-SMITH and livens up the music scene.

Listeners aren’t the only ones supporting their blistering live performances and other activities. They also enjoy solid support from other bands, and there are countless episodes that show how they are truly a “band loved by bands.” For example, in 2019, while Igari was hospitalized for pneumothorax surgery, the rest of the band performed in a show called “Kyoto Daisakusen 2019.” The members of SiM, coldrain, dustbox, and 04 Limited Sazabys came together to help the band through this pinch. The show featured a tremendous on-stage collaboration of different artists.

HEY-JUMP is a powerhouse, a name familiar to everyone who is into Japanese bands, especially those who go to see live music. Now, they’ve created the ending theme to the TV anime Tokyo Revengers. This must have come as a surprise to a lot of people. When the announcement was made, the jacket of their new single, “Say My Name,” was also unveiled. The jacket features the members of HEY-SMITH replaced with Tokyo Revengers characters. People must also have been surprised by the new jacket — yet, at the same time, found it a perfect fit.

“Say My Name” was released on the same day as the second episode of the anime was broadcast. The song begins with YUJI’s high-pitched vocals, a driving rhythm, and a melody played by the horn section. Igari then leaps in with a shouted vocal line. Listening to the song, it’s easy to imagine the scene of an audience going wild at a live show, kicking up a cloud of dust as the heavy sound of the music washes over them. The song’s theme of fighting for hope and freedom reflects HEY-SMITH’s own punk spirit. But, at the same time, the lyrics “You are my hero and you cry/I know I know I know I know/we defeat everything” evoke the story of Tokyo Revengers and its characters, such as Takemichi Hanagaki, who leaps back in time over and over to change a bleak future, and his girlfriend Hinata Tachibana, who maintains an unswerving faith in Takemichi. The song is perfect as a new HEY-SMITH song and as the ending theme of the Tenjiku Arc of the TV anime Tokyo Revengers. Clocking in at just 1 minute and 48 seconds, it’s a short tune without a moment of fat, an electrifying demonstration of the band’s talents.

On October 11, HEY-SMITH released the single “Say My Name.” This will also mark the major debut of HEY-SMITH on Pony Canyon. What’s more, they’ve announced that on November 1, they’ll be releasing a new album, Rest In Punk. This will be their 6th full album and the first in almost 5 years. Following their album release, on November 16, they will be starting their largest tour ever, the nation-spanning Rest In Punk Tour. They’ve already announced show dates up to April 10 of next year, but their tour schedule ends with “And more…” so new dates are likely to be added. Here’s hoping that the band’s major label debut will usher in an even more active period in the band’s history.

–This article by Chinami Hachisuka first appeared on Billboard Japan

Ado’s ‘Show’ Scores Third Week at No. 1 on Japan Hot 100

Ado’s “Show” logs its third week at No. 1 on the Billboard Japan Hot 100, dated Oct. 11, continuing to improve in various metrics in a balanced way.

On the chart tallying the week ending Oct. 8, the Halloween event theme for Universal Studios Japan holds at No. 2 for downloads for the second week with 16,486 units, increasing by 0.9 percent from the week before. The track also continues to rule streaming for the third week in a row with 14,258,058 weekly streams, also an 0.9 percent increase. In other metrics of the chart’s methodology, “Show” rises 2-1 for video views and comes in at No. 7 for radio and No. 48 for karaoke.

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YOASOBI dominate the next two slots this week, with the hit-making duo’s latest track “The Brave” rising 9-2 and former No. 1 hit “Idol” holding at No. 3. The former, the opener for the high fantasy anime Frieren, continues to rule downloads with 21,267 units. Streaming for the track soared by about three times the previous week to hit 8,139,175 streams, leaping 49-4 for the metric. The music video has currently racked up over 9 million views to rise 7-4 for video, and the song also soars 51-5 for radio.



The latter, the 21-week record-holder for longest stay at No. 1 on the Japan Hot 100, is currently at No. 3 for streaming, No. 10 for downloads, No. 3 for video, No. 46 for radio, and logs its 20th week at No. 1 for karaoke.

NMB48‘s “Nagisa Saiko!” debuts at No. 5 this week. The girl group’s 28th single sold 262,542 copies in the first week — 67,657 more copies than its predecessor, “Sukidamushi” to rule physical sales. It’s a fitting send-off to popular member Nagisa Shibuya, who will be leaving the group after being featured in center position for the last time.



Two tracks by BTS’s Jung Kook charts in the top 10 this week. His collaboration with Jack Harlow, “3D,” debuted on the Japan Hot 100 on the chart dated Oct. 4 at No. 17 after the single dropped Sept. 29, and climbs to No. 7 this week. The track is at No. 9 for downloads, No. 12 for streaming, No. 20 for radio, and No. 8 for video. His hit collab with Latto, “Seven,” is at No. 10 this week on its 13th week on the chart, coming in at No. 7 for streaming with 6,337,765 weekly streams, maintaining a higher count than “3D,” which logged 4,955,275 streams this week.



Three-man band shy taupe reached a new career-high on the Japan Hot 100, with “Rendez-vous” breaking into the top 10 at No. 8. This song bowed on the chart dated Aug. 23 at No. 66, then made its way to No. 14 two weeks later. It spent the next five weeks in the top 20 and hit its current position this week. The track is powered by streaming, which increased by about 0.9 percent from the previous week at 7,235,586 weekly streams, coming in No. 6. It’s still rising in other metrics, with downloads moving 67-54, video 50-33, and karaoke 56-52 on its 10th week on the chart.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 2 to 8, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

Dembow ‘King’ El Alfa Signs Multi-Million Deal With Sound Royalties

Dominican rapper and dembow star El Alfa has signed a multi-million deal in the eight figures with music industry finance firm Sound Royalties.

After evaluating El Alfa’s revenue streams, Sound Royalties will advance El Alfa the sum of money ahead of his upcoming tour and album, El Rey Del Dembow — set for release Oct. 19 on his own El Jefe Records. The advance contemplates the full range of El Alfa’s income, including his catalog, his upcoming recordings, his streaming numbers and his tour income.

“I’ve been speaking with Sound Royalties for years, and the time finally made sense for us to work together. The best advice I ever received was from [Sound Royalties CEO/founder] Alex Heiche and his team, telling me to register and organize my royalty streams and that whatever I do – don’t sell,” El Alfa said in a statement. “It was because I didn’t sell that I am now able to leverage my back catalog to invest in my future. This multi-million-dollar funding will be instrumental in continuing to build my legacy and cement my influence in the Latin music space.”

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Founded in 2014, Sound Royalties specializes in royalty financing for music creatives, independent labels, publishers and distributors. The company is a subsidiary of GoDigital Media Group, the company founded by Jason Peterson that also includes indie label and distributor Cinq Music Group and social media rights manager AdShare.

Sound Royalties’ business model isn’t predicated on projections of revenue, but rather, based on what an artist already has generated. The company gives creatives an advance and sets a set fee to be paid back in addition to the original advance. That set fee, says Heiche, does not change.

“There is no penalty and we don’t take copyright or ownership,” he says. “At first it [some thought it] was too good to be true, and now they realize it is true. It is a good model.”

Currently, the company works with music creatives in 16 countries across all genres, and has partnered or worked with artists like Pitbull, Alejandra Guzman and DJ Khaled.

In El Alfa’s case, Sound Royalties is financing what Heiche describes as “existing income streams. It’s not a projection. It’s what he’s already doing. We did an analysis of what his revenue streams are generating and they’re very impressive. His numbers justify the advance we’re giving him.”

“Alfa has carved out a legacy of his own in the Latin music community, pioneering his own style of Dembow music[…] It’s an honor to be the financial partner that he has chosen to fund his continued growth for years to come.”

Rudolph Isley, Iconic Member of The Isley Brothers, Dead at 84

Rudolph Isley, a founding member of the iconic trio The Isley Brothers, died on Wednesday (Oct. 11). He was 84 years old.

The cause of death is currently unknown, but a rep for the singer confirmed the news in a statement to Billboard: “There are no words to express my feelings and the love I have for my brother. Our family will miss him. But I know he’s in a better place.”

After years of singing gospel in the church, Rudolph formed The Isley Brothers with his siblings Ronnie, O’Kelly and Vernon in 1954 when he was just a teenager. A year later, the group temporarily disbanded after 13-year-old Vernon was killed after getting hit by a car.

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In 1957, the group rebanded with Ronnie as the lead vocalist, and the trio left their hometown of Cincinnati, Ohio, for New York City. There, they recorded their first tracks including “Angels Cried” and “The Cow Jumped Over the Moon,” and signed a deal with RCA Records in 1959. They release their first album, Shout!, that same year. The trio added their younger brothers Ernie and Marvin and Rudolph’s brother-in-law Chris Jasper into the band in 1971.

Rudolph left The Isley Brothers in 1989 to pursue becoming a Christian minister. However, he has often reunited with his brothers over the years, including when they were inducted into the Rock and Roll Hall of Fame in 1992, an honor that was presented to them by Little Richard.

On the Billboard charts, The Isley Brothers have had two albums top the all-genre Billboard 200 chart: The Heat Is On in 1975 and Body Kiss in 2003. Over on the Hot R&B/Hip-Hop Songs chart, the group has six No. 1 hits, including “Fight the Power Part 1,” “Take Me to the Next Phase,” “I Wanna Be With You,” “Don’t Say Goodnight,” “The Pride (Part 1)” and “It’s Your Thing.”

Drake’s Highs and Lows at the Grammy Awards

Drake has known both success and more than his share of disappointment at the Grammys over the years.

The Canadian-born superstar, one of the most commercially successful recording artists of all time, could be headed for Grammy success this year. Her Loss, his Billboard 200-topping collaborative project with 21 Savage, is entered for both album of the year and best rap album, and has a good chance of being nominated in both categories. Her Loss won album of the year at the recent BET Hip Hop Awards.

Drake has received 51 career Grammy nominations. Only two rappers have received more – Jay-Z with 88 and Kanye West (who now goes by Ye) with 75. But Drake has had a hard time translating those nominations in to wins. He has won just five Grammys, far fewer than Jay and Ye, who have won 24 each.

Another issue: All five of Drake’s wins have come in rap categories – best rap album (Take Care, 2012), best rap/sung performance and best rap song (“Hotline Bling,” 2016), best rap song (“God’s Plan,” 2018) and best melodic rap performance (as a featured artist, along with Tems, on Future’s “Wait For U,” 2023).

There’s nothing wrong with winning a rap Grammy, but artists crave recognition in the all-genre “Big Four” categories – album, record and song of the year plus best new artist. In those categories, Drake has gone 0-10. And four of his six album of the year nominations have been as a featured artist on other artists’ albums. Again, nothing wrong with that, but most artists would rather be honored for their own projects.

Drake has voiced his displeasure in no uncertain terms, as you’ll see as we review his Grammy highs and lows. The years shown are the years of the ceremony.

Additional reporting by Gil Kaufman