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12 May 2023

Ke Personajes, Big One & FMK Rule Billboard Argentina Hot 100 for a Third Week

Ke Personajes, Big One and FMK rule the Billboard Argentina Hot 100 chart for third week, as their first partnership, “Un Finde: Big One Crossover #2,” holds atop the ranking dated May 6.

It’s the third song to rule the tally for at least three weeks in 2023, after Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” (four weeks at the penthouse, starting the Jan. 21-dated list) and another Big One collab, “En La Intimidad,” with Emilia and Calljeron Fino (seven consecutive weeks starting chart dated Feb. 25). The latter rebounds 9-4 on the current tally.

BM’s “M.A (Mejores Amigos)” holds steady at No. 2 for a third week after leading the chart for one week (dated April 15), while Ke Personajes’ “Pobre Corazón,” featuring Onda Sabanera, continues at its No. 3 high for a second week.

Yng Lvcas and Peso Pluma score their first top 10 as “La Bebe” rallies 13-5 in its seventh week. Meanwhile, Grupo Frontera likewise clocks its first top 10 thanks to its Bad Bunny collab, “Un X100to,” which surges 24-7.

Argentinian Milo J nabs the Hot Shot Debut of the week with “Rara Vez” at No. 17. It’s his highest entry among six total chart appearances. He previously secured a top 40 on his first try as “Milagrosa” peaked at No. 36 on the March 25-dated list.

Further, Quevedo and Myke Towers’ “Playa del Inglés” takes home the Greatest Gainer honors of the week with a 36-rank climb, from No. 85 to No. 49.

Five other songs debut this week, starting with Khea and Tiago Pzk’s “Para Amarte a Ti,” at No. 76. Andres Calamaro returns with “Costumbres Argentinas,” his collaboration with Los Auténticos Decadentes, at No. 77. Feid and Sean Paul’s “Niña Bonita” launches at No. 82, while Fito Paez places two simultaneous songs: “El Amor Después del Amor” and “Brillante Sobre el Mic” at No. 89 and No. 93, respectively.

12 May 2023

Trisha Yearwood Reacts to Dolly Parton’s ACM Awards Joke About Threesome With Garth Brooks

There are probably very few women in the world who could get away with joking about a threesome with another woman’s husband, but it’s no surprise that Dolly Parton is one of them. After the beloved country queen quipped about having a ménage à trois with her ACM Awards co-host Garth Brooks and Trisha Yearwood during the ceremony’s opening monologue on Thursday (May 11), the latter artist responded with lots of love for Parton.

“Everybody loves Dolly,” Yearwood told Entertainment Tonight, following her performance with Carly Pearce at the awards show.

“Actually, people think this is Dolce and Gabbana but it’s Dolly and Garth,” she added, referencing the designers of her red-carpet outfit. “Everybody loves Dolly. We love Dolly so much.”

The joke in question happened toward the beginning of the program, with first-time host Brooks praising Parton, an ACM Awards veteran, for being country music’s GOAT, which, of course, stands for “greatest of all time.” To really hit it home, Parton then brought a literal goat on stage with her, before leaving the audience at the Ford Center in Frisco, Texas, breathless by joking, “I know why you are doing that GOAT thing … I think that stands for ‘Garth Organizes a Threesome.’”

Parton had also noted that both Brooks and Yearwood, who’ve been married since 2005, have said that the “9 to 5” singer is their shared “hall pass.”

“I thought I couldn’t love you any more,” a blushing Brooks replied.

That wasn’t Dolly’s only PG-13 joke of the night, though. She also squeezed in a jab at her voluptuousness while complimenting Brooks. “I’ll never forget when Garth came on the scene and just changed the game of country music forever. Like, in a flash, Garth became one of the biggest stars of all time,” she shared. “I remember when I came along, people were saying that I’m two of the biggest stars in music — I’m still milking it.”

12 May 2023

Subway Vigilante Daniel Penny Surrenders To NY Authorities For Killing Jordan Neely

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Former Marine Daniel Penny arrested on felony manslaughter charge in Jordan Neely subway death

Source: Anadolu Agency / Getty

Daniel Penny, the man who choked and killed Jordan Neely on a New York City subway train has turned himself over to authorities.

Penny, a former Marine, arrived at the Fifth Precinct of the New York Police Department in the Chinatown neighborhood of Manhattan at 8 A.M. on Friday (May 12th). He surrendered alongside his attorneys, Steven Raiser & Thomas Kenniff.

Penny faces a charge of second-degree manslaughter, which was announced by the Manhattan District Attorney’s Office on Thursday.

Raiser and Kenniff said in a statement that they were “confident that once all the facts and circumstances surrounding this tragic incident are brought to bear, Mr. Penny will be fully absolved of any wrongdoing.” A second-degree charge of manslaughter in New York is applied when the assailant is accused of recklessly causing the death of another person. If convicted of the charge in a trial, the 24-year-old Penny would face a sentence of up to 15 years in prison. The city medical examiner ruled that Neely died due to compression of the neck on May 3rd.

Penny’s surrender comes after days of sustained but rising outrage expressed by community activists and politicians who were shocked at witnessing the video of Penny restraining Neely, a Black man who was homeless, in a chokehold on a northbound F train. A witness on the same train stated that Neely was yelling at others after boarding the train while in the midst of a mental health crisis. Penny would grab Neely and put him in a chokehold as two other men restrained his arms and legs. Police arrived at the Broadway-Lafayette station, and rushed Neely to a nearby hospital where he died.

Mayor Eric Adams had received heavy criticism from Democratic politicians for not taking a stronger stance on the incident, but after the announcement of charges he said: “I have the utmost faith in the judicial process, and now justice can move forward against Daniel Penny.” Joshua Steinglass, a prosecutor who was part of the team that brought the case by the D.A.’s office against the Trump Organization, has been tasked to lead the investigation.

The family of Jordan Neely held a press conference afterward, blasting media depictions of Neely as excessively violent. Family attorney Lennon Edwards said of the charge, “We’re closer now to justice than we were a week ago because Daniel Penny has been arrested.” They also blasted Penny’s previous statement, claiming that “he’s getting to rewrite the account of what happened”.

12 May 2023

Jonas Brothers, BLACKPINK & More Acts That Released Albums With Very Literal Titles

Sometimes, album titles show a great deal of thought. The 1975’s I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It is a title of great complexity and beauty. The full title of Fiona Apple’s 1999 album When the Pawn… is an eight-line poem that contains a whopping 444 characters.

But sometimes artists just like to keep it simple. Real simple. Led Zeppelin’s first four albums were titled Led Zeppelin, Led Zeppelin II, Led Zeppelin III and Led Zeppelin IV.

Chicago titled a long series of albums with just the band’s name and the number of studio albums they had released at that point. They kept this up, with just a couple of exceptions, from Chicago II in 1970to Chicago 18 in 1986.

Adele kept it as simple as could be with the titles of her albums 19, 21, 25 and 30 – her ages when she wrote and recorded them.

Then there are the album titles that are quite literal – they tell you exactly what the album is, with no flourishes whatsoever. The latest example is Jonas Brothers’ The Album, which was released today (May 12). As you’ll see below, it’s not the first time an act has titled an album The Album. (Here’s a ranking of all 12 tracks on the album by Billboard writer Hannah Dailey, who, in the spirit of literal titles, could have titled this piece, The Ranking.)

There have been many other examples of literal album titles over the years, as you’ll see when you scroll through this sampling of albums where it’s all right there in the title – with no frills added. All of these albums made the Billboard 200, with peak positions shown below.

12 May 2023

Keith Urban to Return to ‘American Idol’ as Season 21 Finale Mentor: Exclusive

Keith Urban is heading back to American Idol. The country superstar, who served as an Idol judge from seasons 12 to 15, is returning to the singing competition show as a mentor for the season finale on Sunday (May 21).

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The “Blue Ain’t Your Color” singer will guide the top three contestants through their performances, leading up to one of them getting the American Idol crown. Urban will also perform his 2022 hit “Wild Hearts” on the Idol stage during the three-hour finale, with other performers to be announced soon.

At the time of publication, 18-year-old Hawaii native Iam Tongi, 20-year-old Georgia native Megan Danielle, 18-year-old Mississippi native Colin Stough, 24-year-old New Yorker Wé Ani and 19-year-old Mississippian Zachariah Smith are in the top five. On Sunday night’s (May 14) episode, the top three will be revealed.

“If you come on the show, you’re part of the American Idol alumni. You are part of our history. This show has changed lives in so many different ways,” executive producer and showrunner Megan Michaels Wolflick recently told Billboard. “I think American Idol is now like the NFL, where people train their [whole] lives to come on the show. It’s now bigger than a TV show. It’s something you can aspire to be a part of — young singers are born every day.”

Catch the American Idol finale, featuring celebrity mentor Keith Urban, on Sunday (May 21) at 8 p.m. ET/5 p.m. PT on ABC.

12 May 2023

Janelle Monáe Has The Internet Parched Over Sultry “Lipstick Lover” Video

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Janelle Monáe has always been a beautiful person and they have long proven that their aims in music were often beyond being superficial. With the release of their new video, Janelle Monáe really hammers home the concept of her new album by way of her racy NSFW video, “Lipstick Lover,” and Twitter’s thirst levels are crazy now.

On Friday (May 12), Janelle Monáe’s name was trending heavily after the release of “Lipstick Lover,” which is a single from her upcoming album, The Age Of Pleasure. The lead-up to the video and single featured clips of Monáe wearing revealing clothing in a pool that barely hid their assets. Further, Monáe is leaning into the sex symbol image and flashed a crowd during a recent concert wearing the same “Pleasure” shirt from the video.

In a recent Apple Music interview, Janelle Monáe, who identifies as nonbinary but uses their own “free ass motherf*cker” pronoun along with they/them and her/she, revealed that The Art Of Pleasure is their attempt to examine through music the things that please her and that she’s ready to experience this side of life by actively chasing.

This mindset is evident throughout the video and reggae-backed groove of “Lipstick Lover,” which features the singer cozying up with a bevy of shapely beauties in bikinis and various stages of undress.

It is a visually arresting video that has sparked tremendous levels of thirst on Twitter, which we’ve captured below. Please sound off in the comments section if we missed any key reactions.

We should also note that while we won’t be posting the age-restricted video in this post, we will urge you to click here and witness “Lipstick Lover” for yourself.

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Photo: Getty

12 May 2023

9 Reasons Why AI and Music Are Worth the Fight (Guest Column)

As a musician, educator, and author, I’ve spent the last few years examining AI’s challenges to the music ecosystem. But recently, after a comical misunderstanding on a U.S. podcast, I ended up playing devil’s advocate for the AI side of the AI and music equation. The experience was thought-provoking as I took on the role of an accidental AI evangelist, and I started to refocus on the question of, “Why are we fighting for ethical use of AI in music in the first place? What are the benefits, and are they worth the time and effort?” 

As we hurtle from the now-quaint AI chatbot ChatGPT, to the expected text-to-video and text-to-music capabilities of GPT 5 (rumoured to drop in December), to Microsoft’s acknowledgment that AGI is feasible (artificial general intelligence, or a sentient AI being, or Skynet to be alarmist), to viral AI-generated hits with vocals in the style of Drake & The Weeknd and Bad Bunny & Rihanna, it can be easy to focus on the doom and gloom of AI. However, doing so does us a disservice, as it shifts the conversation from “how do we harness AI’s benefits ethically” to “how do we stop AI from destroying the world?” There are many, with a cheeky chappie nod to Ian Dury, “Reasons to Be Cheerful” (or at least not fearful) about music and AI. Here are nine reasons why we need to embrace it with guardrails, rather than throwing the baby out with the bathwater.

Fun: Yes, damn the ethics – temporarily. Generative AI technologies, which ingest content and then create new content based on those inputs, are incredibly fun. They tease and capture our curiosity, drawing us in. We might tell our employers that we use text-to-image services like DALL-E and Stable Diffusion or chat and search bots like ChatGPT and Jasper to optimise workflow to stay ahead of the technological curve, but they are also so seductively entertaining. Elementary AI prohibition won’t work; our solutions must be at least as stimulating as our challenges. 

Time-saving: According to a survey by Water & Music, this is what music makers desire most. Many musicians spend countless hours managing social media accounts, wishing they could focus on music-making instead. AI solutions promise to grant that wish, allowing them to auto-generate text for social posts and announcements, and providing inspiration and potential starting points for new tracks, giving them the gift of time and helping them write, record, and release music more quickly. Let’s use automation wisely to free up musicians for their art and their economics.

Education: Despite dwindling funds for music education, technology offers new ways to make music accessible to everyone. Affordable AI tools can help students break through privileged barriers, providing access to personalised learning. I work with Ableton, which makes a variety of music production hardware and software. Successful initiatives such as the Ableton Push 1 campaign, which provided discounts to those who traded in their Push 1 midi controller and then refurbished and provided them for free to schools that needed them, demonstrate how digital tools can empower the economically marginalised, enable them to explore new musical styles and techniques, and nurture their passion for music.

Imperfect charm: AI’s imperfections and quirks make it endearing and relatable. AI’s unpredictable nature can lead to happy accidents and repurposing technologies for new musical uses. The fact that LMMs (large language models), which analyze huge swaths of text and then generate new text based on the patterns it learns, can be flawed retains a touch of human magic and humour in our interactions with them. Let’s enjoy this fleeting VHS fuzziness before it’s gone. 

Affordable: Setting aside the environmental costs for a moment, AI has become exponentially accessible. AI allows creators to produce incredible results with basic tools. Last July, I purchased an expensive GPU-filled MacBook with dreams of making mind-blowing AI musical creations, but by September, I was doing just that using only my old phone’s browser. This so-called “democratisation” of music production can level the playing field for musicians worldwide, allowing more people to pursue their passion. Can we get it to increase their income too?

Tech Stacking: Experimenting with new combinations of generative AI APIs (application programming interfaces) opens up a world of DIY creativity. APIs are essentially pre-made functionality that developers can slot into their code easily, allowing them to focus on innovation rather than spending their time creating generative AI applications from scratch. This collision of technologies can encourage collaboration between musicians and developers, fostering a dynamic and innovative environment that crucially must be aligned with new licensing and rights payment models. 

Elevated Chatter: As AI becomes more prevalent, the quality of conversations surrounding it has improved. People are starting to debate the legality of using copyrighted material to train AI, particularly in the music world, with a variety of strong arguments being made on behalf of human creators. In my research, I tried to address the complexities of AI in the music ecosystem, and now, I find these discussions happening everywhere, from John Oliver to barber shops. This elevated discourse can help us as a global industry make informed and necessarily swift decisions about AI’s role in our lives, better integrating its reasonably cheerful benefits and not being overwhelmed by its many chilling implications.

Inspiring the next generation: Introducing AI to young minds can be inspiring and terrifying. In my undergraduate module at Windmill Studios Dublin, I tasked students with inventing new music IP using existing cutting-edge technologies, with one rule of thumb: they could use a hologram but not bring someone back from the dead. Initially, I felt terrible about presenting such a potentially dystopian vision to young minds. But what happened next amazed me: all 40-odd students (from two classes) came up with outstanding commercial ideas. Their creativity and enthusiasm reminded me that the adage, “no one knows anything,” holds as true for music as it ever did.

Time to adapt: Perhaps the biggest reason to be cheerful at the moment, we still have enough time to address AI’s challenges. As Microsoft announces the “first sparks of AGI” and we face a saturated streaming market, we must work quickly together to ensure an equitable future for music makers. In my book, “Artificial Intelligence and Music Ecosystem,” my fellow contributors and I delve into the pressing issues surrounding AI, and now, more than ever, we need to take action to steer the course of music’s evolution. As AI continues to develop, it’s crucial for musicians, industry professionals, and policymakers to engage in open dialogue, collaborating to create a sustainable and equitable music ecosystem. Otherwise, what looks like Drake and sounds like Drake may not actually be Drake in the future.

The Human Artistry Campaign is the first step in this direction and interlinks with the concerns of MIT’s Max Tegmark’s “Pause Giant AI Experiments Open Letter” (which currently has 27,000+ signatures and called for a pause in the development of AI to give governments the chance to regulate it) for a big-vision picture. As we work together, we can ensure that AI serves as a tool for artistic growth and sustainability. But we must move fast and nurture things as AI’s growth is exponential. Do you remember back when ChatGPT was on the cutting edge of AI? Well, that was only five months ago, and we’re now talking about the possibility of sentience. That’s why I am working with some of the biggest companies in music and big tech to create AI:OK, a system to identify ethical stakeholders and help to create an equitable AI music ecosystem. If you are human and would like to help shape this future, it might be the most significant reason to be cheerful of all.

Dr. Martin Clancy, PhD is a musician, author, artist manager and AI expert. He is a founding member of Irish rock band In Tua Nua, chairs the IEEE Global AI Ethics Arts Committee, serves as an IRC Research Fellow at Trinity College Dublin, and authored the book Artificial Intelligence and Music Ecosystem. He also manages Irish singer Jack Lukeman and is a leading voice in advocating ethical use of AI in music.

12 May 2023

Friday Music Guide: New Music From Jonas Brothers, Lil Durk & J. Cole, Shakira and More

Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

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This week, Jonas Brothers are back for more summer fun, Lil Durk and J. Cole turn contemplative, and Shakira tries to continue her hot streak. Check out all of this week’s picks below:

Jonas Brothers, The Album 

Happiness Begins was, for all intents and purposes, Jonas Brothers’ comeback album, a wildly successful return in 2019 after a 10-year gap between full-lengths that brought the trio to the top of the Hot 100 for the first time and launched a long-running, mega-selling arena tour. Four years later, The Album smartly does not try to recapture lightning in a bottle: instead of trying to manufacture another “Sucker,” the project moves briskly across shared ideas and throwback musical interests, as songs like “Waffle House,” “Summer Baby” and “Montana Sky” function like retro FM radio offerings stuffed with warm harmonies. The JoBros have little to prove at this point in their careers, and the looseness of The Album seems to telegraph: this is where the real fun begins.

Lil Durk feat. J. Cole, “All My Life” 

“All my life, they been trying to keep me down,” a choir of children sings on the new Lil Durk/J. Cole team-up “All My Life,” a nod to the doubt that both rappers faced from hip-hop gatekeepers as they evolved their careers over the past decade-plus. Instead of a straightforward proved-the-haters-wrong anthem, Durk and Cole wisely expand their shared focus on the track, with Durk lamenting the systemic issues that forced him to turn to rap as a form of survival, and Cole sounding haunted by the violence that too often pervades his world.

Shakira, “Acróstico” 

Casual fans might regard “Acróstico,” the tender new single from Shakira, as a heat check from the Colombian superstar, considering the monumental success she’s already achieved this year with her Bizarrap collaboration “BZRP Music Sessions, Vol. 53” and Karol G duet “TQG” both hitting the top 10 of the Hot 100. Yet Shakira has spent her entire mastering this sort of piano ballad as powerhouse vocal display: “Acróstico” shimmers with restrained production and technically dazzling emotion, as Shakira follows a pair of ostentatious team-ups with a gorgeously stripped-down solo showcase.

Bailey Zimmerman, Religiously. The Album 

Bailey Zimmerman’s Leave the Light On EP, featuring his smash hit “Rock and a Hard Place,” is barely six months old at this point, but considering the commercial breakthrough that the country singer-songwriter has experienced since its release, it’s little surprise that his debut album has promptly arrived in time for summer streaming. Fortunately, Religiously. The Album finds cohesion in Zimmerman’s songwriting: the Illinois native supplements his husky drawl with phrases that cut right to the listener’s core, whether he’s asking rhetorical questions (“Fix’n To Break”), setting a dimly lit scene (“You Don’t Want That Smoke”), or asserting the “broken roads that I’m tryin’ to mend” (“Where It Ends”).

BTS, “The Planet” 

A soundtrack single from the action-adventure animated film Bastions, “The Planet” marks a welcome check-in from BTS as the world-conquering K-pop group continues its break from group activities. And while it remains to be seen how much the BTS members can actively promote the new track, “The Planet” sounds like a hit regardless of the marketing plan: a snappy electro-pop track with a pogoing beat and playful vocal performances from all of the members, the song contains the hooks and tempo to highlight several summer playlists.

Lauren Daigle, Lauren Daigle

Nearly five years have elapsed between Lauren Daigle’s 2018 album Look Up Child, which turned the singer-songwriter into one of the most successful artists in contemporary Christian music in recent memory, and this year’s self-titled follow-up, during which Daigle signed a new label deal with Atlantic Records, teamed up with veteran producer Mike Elizondo and generally pushed her artistry into several exciting new directions. Instead of doubling down on the stately balladry of her breakthrough hits, Daigle explores ‘60s pop, folk, jazz and R&B on the project, creating a fantasia of inspiration powered by her mammoth vocal takes.

12 May 2023

Achtung! U2 Adds More Dates Again to Las Vegas Residency

Get ready to rattle and hum if the previously announced run of U2 Las Vegas residency dates didn’t work for you, because the band has added eight more shows to U2:UV Achtung Baby Live At Sphere, which was originally announced in a Super Bowl commercial.

Citing “unprecedented demand,” the band — who have nearly two dozen Grammys under its belt — announced the new batch of residency concerts at The Venetian on Friday (May 12), with the press release noting that there have been more than one million ticket requests to date. The eight addition concerts brings the show total to 25, with the newly added dates happening Dec. 1-16.

This is the second time U2 has extended its residency. The band added seven dates in late April, also citing demand for tickets in its decision to tack on more shows.

Tickets start at $140, which includes taxes and fees. According to the announcement, U2.com paid subscribers may submit a presale ticket request for the newly added shows even if they already have tickets for previous concerts, with presale happening now through 7 a.m. ET on Monday, May 15. General onsale begins May 19 at noon ET via Ticketmaster.

“U2 hasn’t played live since December 2019 and we need to get back on stage and see the faces of our fans again,” Bono, The Edge and bassist Adam Clayton said in a previous statement announcing the Las Vegas residency at the new, state-of-the art theater at The Venetian. “And what a unique stage they’re building for us out there in the desert. We’re the right band, Achtung Baby the right album, and Sphere the right venue to take the live experience of music to the next level. That’s what U2’s been trying to do all along with our satellite stages and video installations, most memorably on the ZOO TV Tour, which ended in Tokyo 30 years ago this fall. Sphere is more than just a venue, it’s a gallery and U2’s music is going to be all over the walls.”

See U2’s newly added dates to its residency:

  • Friday, Dec. 1
  • Saturday, Dec. 2
  • Wednesday, Dec. 6
  • Friday, Dec. 8
  • Saturday, Dec. 9
  • Wednesday, Dec. 13
  • Friday, Dec. 15
  • Saturday, Dec. 16

12 May 2023

Cardi B Seizes $640 From Tasha K’s Pockets As She Continues To Get Her Payback On

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Cardi B is never shy about expressing herself. She recently stated the obvious after a very suspect clip of the Dalai Lama surfaced online. 

Source: Bernard Smalls / @PhotosByBeanz

Cardi B is about her coin and though she’s a multi-millionaire, she’ll take the lint in your pockets if she feels like you owe her any damn thing.

According to Radaronline, Cardi B is coming for any and everything in blogger, Tasha K’s pockets after a court of law awarded her $3 million in a defamation lawsuit that Cardi B won just last year. That includes $640 that Tasha probably doesn’t even have in her purse, but Cardi don’t care. She’s going Fred Goldman on that arse and is taking anything that isn’t nailed to Tasha K’s floor.

Radaronline reports:

As we first reported, Cardi fired off a series of subpoenas to track down Tasha’s assets. She first served JP Morgan Chase where Tasha has a bank account.

The bank said Tasha only had $1,083.02 in her account.

Cardi then served Google — who owns YouTube — to see if Tasha had any advertisement money owed to her.

“YOU ARE HEREBY COMMANDED to immediately hold all money, including wages, and other property, except what is known to be exempt, belonging to the Defendant or obligations owed to the Defendant named above beginning on the day of service of this summons and including the next 1,095 days,” the notice read.

A rep for Google told Cardi that Tasha had $9,304.81 coming to her, which of course Cardi intercepted on 4th and goal. Then Cardi was told that Tasha had another $640 coming her way, and Cardi bogarted that, too.

Daaaaayumn, Cardi! She isn’t even letting Tasha K get her grocery money.

Still though, if someone was to falsely accuse you of being a prostitute, a drug addict and a bearer of STD’s, you’d want your money by any means necessary as well. So we feel Cardi.

What do y’all think of the lengths Cardi B is going to in order to collect her duckets? Let us know in the comment section below.