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25 Oct 2022

John Legend Reflects on His First Vegas Residency: ‘It’s Kind of Liberating’

This past April, John Legend launched his first-ever Las Vegas residency, Love in Las Vegas, at Planet Hollywood’s Zappos Theater. In the process, the multi-talented EGOT-winner joined the ever-growing ranks of vital, younger artists increasingly redefining what such shows can be — and like his contemporaries in the residency space, he’s found that such spectacles offer myriad and unique creative opportunities.

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“Vegas is such a fun canvas to paint on,” says Legend. “It’s kind of liberating.”

When it came to conceptualizing the show, Legend turned to a long-trusted collaborator: creative director Rob English. The two met around 2014, when Legend was signed to Troy Carter’s management company at the time, Atom Factory, and English was on its creative team; later, when Legend’s current manager Ty Stiklorius left Atom Factory to start her own firm, English came along, and they’ve worked together ever since. “He’s just got great taste and knows me very well,” says Legend of English. “He’s able to translate his understanding of me and what I represent to people and put that on the stage visually.”

The result is a dynamic show that perfectly encapsulates Legend’s essence — capturing his appeal as a refined performer, blending technical skill with raw emotion, and employing his extensive catalog to tell the story of his artistic journey and influences. “I think the understanding of Vegas residencies has changed,” English reflects. “Once upon a time it was a death sentence, a signal your career was over. Now, it’s got a completely different color to it. It’s a sign of legitimacy and icon status.”

Ahead of its closing performance on October 29, Legend and English spoke (in separate conversations) about making Love in Las Vegas come together.

What was the appeal of doing a Vegas residency now for both of you?

John Legend: I think Vegas is a fun canvas to paint on; there’s already so much tradition, so much allowance to go big, and kind of the expectation that you’ll go big. It’s kind of liberating; it makes you feel like you can do things you may not have done on a normal tour.

Rob English: The real challenge was, “How do you do Vegas and get a tasteful outcome?” It’s its own beast. Going into our show, we knew from very early on that we had to approach this differently, turn it on its head. How do we bring John Legend’s culture into a show and have it make sense?

What was the starting concept for the show?

Legend: We wanted to tell my story — and a lot of that was about going back to my beginnings in church, where I learned to play music, music that influenced me. We also wanted to be sure it was retrospective on my entire career so far, so music from all of my albums. We spent a lot of time thinking about the sets we’d have; we have a church set at the beginning of the show, a city block party scene that’s more about my time in Philly and New York, we have a piano bar where we get more intimate and I do a lot more solo moments, and then the Vegas celebration at the end fully embracing the spirit of Vegas and a throwback to a lot of the ‘70s references that inspired us. I think it starts from knowing who you are as an artist, basing it in who you are, the music you’ve created, your story and what makes you unique.

English: We basically set out to make like, a movie — loosely based on John’s life, but with this ‘70s flair. The goal was to give a nod to a certain era — in this show to this very Black ‘70s Vegas theme — but it’s gotta be new. You can be inspired by an era, but what you do has to feel contemporary. If you veer too deeply into nostalgia, it can feel camp, almost like a parody of the thing, vs. a fashionable take on a thing.

I think the best Vegas residencies really remind the audience of the totality of who an artist is as a performer – and Love in Las Vegas does that.

English: That’s John. The same guy who plays these love songs everyone wants at their weddings is also super funny on The Voice and with Chrissy [Teigen]…. we wanted to showcase all of that. We’re able to remind people of the full personality he is who they can connect with. A few of the industry people I know who’ve been to the show, they say they feel connected to him in a way they haven’t in awhile. Because we have this canvas of a 90 minute-plus experience, you can really take them on that ride.

John, did you look to other recent artist residencies for inspiration at all?

Legend: I went to see several of my friends here, and every artist who plays here has a different story. I saw Usher, Bruno and Anderson [of Silk Sonic], Gwen [Stefani]. I loved seeing Gwen’s show, reminiscing through different looks and styles she’s gone through over the years; part of what’s cool about a Vegas residency is that it’s a chance to look back and celebrate all the stories in your life that brought you where you are.

All of them are wonderful. And my show is not like any of their shows. You see things you’d never do yourself, because it’s not you, but you love it for them. And it’s just fun to see other people’s take.

John Legend rehearses for his ‘Love In Las Vegas’ residency.

Jen Rosenstein

What informed putting together the playlist for the show?

English: The hits that end up in the show, it’s based on streaming data, the things that fans really love — and it’s a combo of that and individual things we personally felt would be really fresh and interesting and new. We took some twists and turns here and there. One of the big wins that was very intentional was starting the show off with the way people were introduced to John, with “Used to Love U.”

Is there a hope that the residency will be a springboard to certain other things in John’s career?

English: John’s manager Ty and I discuss these things, and to be honest, this was not about anything else. It was not something he had to do; it wasn’t a vehicle to promote the new album necessarily. Going into it, it was just a way to create an important part of John’s legacy. Doing a Vegas residency was something he’d always dreamed to do. It was a benchmark life achievement moment. The goal I think is that it will play on in different iterations in the coming years — maybe as an opportunity for people to get access to John who don’t necessarily get out to the tours and who want to connect with him.

Legend: It’s a great mid-career thing – you have enough of a repertoire to sustain a residency, but you’re definitely not retiring. [Laughs.] There’s so much ahead of us. It’s a good time to look back and celebrate, but to show people what’s next as well. Mostly, I just want to be proud of the work we do onstage; are we creating a beautiful experience for people, are we making them feel connected and loved? We wanted it to be truly uplifting and celebratory. I think we were certainly able to do that.

25 Oct 2022

Kanye West Loses Billionaire Status After Adidas Cuts Ties Over His Antisemitic Comments

Kanye West is no longer a billionaire, according to Forbes. The publication reported Oct. 25 that the rapper lost his spot on its list of billionaires after being dropped by Adidas for his string of antisemitic rhetoric.

The athletic company had stated earlier this month that its collaboration with Ye was “under review” after he claimed on a now-removed episode of the Drink Champs podcast that “the thing about it being Adidas is, like, I can literally say antisemitic s–t and they can’t drop me … I can antisemitic things and Adidas can’t drop me. Now what?”

According to the financial magazine, Ye’s multi-year partnership with Adidas was valued at $1.5 billion and without it, he’s reportedly worth just $400 million. However, the controversy-courting star will likely dispute Forbes‘ valuation of his net worth much like he’s done in the past. “It’s not a billion,” he texted the outlet when he was first named to the list back in 2020. “It’s $3.3 billion since no one at Forbes knows how to count.”

What remains of Kanye’s financial empire in the wake of losing his Adidas deal stems from “real estate, cash, his music catalog, and a 5% stake in ex-wife Kim Kardashian’s shapewear firm, Skims,” per reporting by Forbes.

Other brands who’ve ceased working with Ye over his antisemitic diatribes include Balenciaga, production company MRC and Creative Artists Agency. Gap is also removing Yeezy products from shelves and production, and closed the rapper’s Yeezy Gap online store. Meanwhile, Kardashian and her sister Khloé Kardashian have both spoken out publicly in support of the Jewish community without naming Kanye or directly addressing his comments.

25 Oct 2022

Anitta, Burna Boy & More to Perform at Rihanna’s Savage x Fenty Show Vol. 4

Rihanna is gearing up for the fourth installment of her Savage x Fenty fashion show, and the star-studded lineup for the event was announced on Tuesday (Oct. 25).

The annual fashion experience airing on Nov. 9 via Prime Video will feature performances by Anitta, Burna Boy, Don Toliver and Maxwell. In addition, there will be special appearances by Ángela Aguilar, Avani Gregg, Bella Poarch, Cara Delevingne, Damson Idris, Irina Shayk, Joan Smalls, Kornbread, Lara Stone, Lilly Singh, Marsai Martin, Precious Lee, Rickey Thompson, Sheryl Lee Ralph, Simu Liu, Taraji P. Henson, Taylour Paige, Winston Duke, Zach Miko and more.

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RiRi also shared the official teaser for the show to her Instagram page.

The follow-up to the Emmy-winning Vol. 3 iteration of the fashion show will feature the latest Savage X Fenty styles from the music icon, and will stream exclusively on Prime Video in more than 240 countries and territories.

In addition to the show airing on Prime Video, the entire Savage X Fenty Show Vol. 4 collection, which pays tribute to self-expression and personal empowerment, will also be available to shop in the Amazon store and at Savage X Fenty’s website. on November 9.

Prime Video lets users access countless hours of content including action and adventure movies, dramas, comedies, documentaries, sci-fi, mysteries and thrillers, and kid-friendly programs. Not signed up for Amazon Prime? Join today under a free 30-day trial ($14.99 a month after the trial ends) and enjoy tons of great perks such as fast and free shipping, exclusive deals on millions of items and a free one-year subscription to GrubHub+.

25 Oct 2022

Kodak Black Is Headed to Capitol — He Just Has to Release Some More Records With Atlantic First

Kodak Black is headed for Capitol Records — he just has to fulfill his obligations to his current label, Atlantic Records, first. That’s according to sources familiar with the situation, who note that Black still has two releases left under his agreement with Atlantic.

The rapper’s eventual move follows last month’s announcement that Orlando Wharton — who previously signed Black to Atlantic — had joined Capitol as executive vp and president of the relaunched Priority Records. Wharton starts the new role early next year.

Representatives for Atlantic and Capitol declined to comment.

Black released his major-label debut album through Atlantic Records in 2017, and has scored 34 entries on the Billboard Hot 100 to date, including “Super Gremlin,” a solo cut that climbed to No. 3 last year. When he moves to Capitol, he will be one of the biggest active artists on the label’s roster.

While Black has enjoyed commercial success, he has also faced a series of charges for sexual assault, drugs, robbery and weapons. The rapper was sentenced to 46 months in prison on federal weapons charges in 2019; former president Donald Trump later commuted that sentence on his last day in office. During a sexual misconduct case last year — Black was accused of sexually assaulting a high school student following a 2016 show — the rapper pleaded guilty to first-degree assault and battery.

While Black’s decision to eventually leave the label where he built his career is notable, entertainment attorneys say it’s not unusual for artists to start having conversations with potential new label partners once they enter into the final stretch of their current recording contract. Recording agreements are typically structured so that an artist is required to deliver a certain amount of music during an initial contract period. Labels can then usually choose to pick up an “option” (they have a set amount of months to mull over the decision), which triggers the release of another advance payment and recording budget for the artist to put towards the next project for that company. If the label decides not to pick up the option, it ends its relationship with the artist.

Historically, managers note, it was common for artists to sign longer-term deals — what the industry likes to call a “one plus four” or “one plus five,” meaning that the label was able to exercise four or five options and potentially keep the artist under contract for many years. Recently, in a world where acts are increasingly able to generate streams on their own without help from a label, the balance of power in some deals has shifted.

It’s more common now to hear about buzzing artists signing a “one plus one,” or even a deal for one album with no options attached, if an act has a lot of streaming momentum. Fewer options means that acts who are unhappy with their record company don’t need to stay with that partner for long if the relationship sours. Matt Buser, a music industry lawyer, says “it’s rough when an artist gets locked in with a team that has lost its appeal, or if the artist loses their champion in the building due to lateral movement or termination — that’s one reason why we try to keep the option number low in negotiations.”

When artists start to search for a new partner while still working with an old one, managers and lawyers alike say they usually try to keep these conversations discreet. If an artist still has music to deliver under his current agreement, but he’s flaunting the fact that he’s hunting for a fresh deal, “depending on the circumstances, it might undermine the enthusiasm of his current label to market and promote that last project,” according to Larry Katz, a veteran entertainment attorney.

There are other political reasons for an artist not to upset a record company before his or her contract is up. A label that feels spurned, for example, might decide to classify an artist’s project as a mixtape rather than an album, according to one manager. That seemingly small decision around nomenclature could mean that the act then has to turn in another entire project, depending on the terms of his or her contract, to fulfill recording obligations. (Debates over what constitutes an album and what constitutes a mixtape are more prevalent in hip-hop than in other genres.)

In addition, lawyers say that some artists make another mistake when they are gearing up to switch labels: They turn in the final album required by their contract and then immediately begin to record music in anticipation of a new deal elsewhere. But many exclusive recording agreements extend for nine to 12 months past the date that the last album was delivered or released — meaning songs that artists cut during this period still belong to their previous label partner. (Contract terms vary, of course, and stars have a lot of negotiating power, which gives them more latitude.)

“Artists may not be aware that in most record deals, the recording services remain exclusive during the entire term, and there’s often a period of time in between the release of the last project and the end of that exclusive term,” Katz says. “If you’re not careful, anything you record during that period is owned by the old label.”

Black released his fourth official album under his Atlantic deal, Back for Everything, in February. According to the rapper’s Instagram posts, he is now planning to release a follow-up, Kutthroat Bill: Vol 1, on Oct. 28.

25 Oct 2022

Five Burning Questions: Lil Baby Debuts at No. 1 on Billboard 200 With ‘It’s Only Me’

Few rappers have made the jump to popular music’s A-list as successfully this decade as Atlanta rapper Lil Baby, whose 2020 album My Turn topped the Billboard 200 albums chart for five weeks and spawned major hits like “Emotionally Scarred,” “Woah,” and (from its deluxe edition) “We Paid” and “The Bigger Picture.”

This month, Lil Baby returns with that set’s proper follow-up, It’s Only Me — which was preceded with a slow trickle of one- and two-off single releases. The set bows atop the Billboard 200 this week with 216,000 equivalent album units moved and all 23 tracks appearing on the Billboard Hot 100, making it one of the year’s most dominant streaming releases.

Is the album a step up for Lil Baby? And where would we have him go next? Billboard staffers discuss these questions and more below.

1. It’s been two years since My Turn officially introduced Lil Baby as a solo superstar — does this reception for It’s Only Me tell you that his status has grown, fallen, or maintained in the years since?

Rania Aniftos: Grown! A second album as a solo star topping the Billboard 200 is an impressive feat, proving that it wasn’t just hype that launched My Turn to the top of the chart. It’s the fact that he’s a full-blown artist with fans that love his music, and this confirms his staying power in the music world.

Carl Lamarre: For someone who amassed superstar success in 2020, I think Baby’s appeal has grown since then, especially knowing he doesn’t have a traditional hit record behind this album. When Baby trucked his way into rap supremacy, he was armed with a bevy of singles like “We Paid,” “The Bigger Picture,” and “Emotionally Scarred.” This time around, he doesn’t have any surefire hits, but his consistency post My Turn has garnered loyalty from his core fanbase, along with new fans he’s picked up on the road.

Jason Lipshutz: Grown. Lil Baby has a much bigger profile than he did two-and-a-half years ago, with more hits, high-wattage collaborations, larger performance venues, and now, an even bigger No. 1 album debut on the Billboard 200. My Turn was the project that lit the fuse for Lil Baby as a modern hip-hop superstar, and It’s Only Me continues his prolonged explosion.

Andrew Unterberger: Maintained — which is hard enough to do, especially when nothing you’ve released in the last two years has really cut through in a major way, and the streaming ecosystem is constantly shifting behind you. Lil Baby appears to be established enough now to not really have to worry about pushing back against the tides; an enviable spot for 99% of rappers right now.

Christine Werthman: Grown. 2020 was a banner year for Lil Baby, as My Turn debuted at the top of the Billboard 200 with 197,000 equivalent album units earned — and then he just kept going, as “The Bigger Picture” turned into an anthem for those marching in Black Lives Matter protests in the summer of 2020, and was nominated for two awards at the 2021 Grammys. Luminate named My Turn the biggest album of the year in 2020, and this year, it was certified quadruple platinum on Feb. 28, exactly two years from its release. The new set, It’s Only Me, once again debuts at No. 1, this time with 216,000 equivalent album units earned, exceeding his 2021 No. 1 with Lil Durk, The Voice of the Heroes, by 66,000. The new album’s numbers also surpass those from 2020, and considering he’s now got 25 songs on the Hot 100, it’s clear that demand has only increased for Lil Baby.

2. While Lil Baby has slow-released a number of new songs in the past year (“Right On,” “Frozen,” “Detox,” etc.), only “In a Minute” and the just-released “Heyy” appear on It’s Only Me. Do you think this has proven an effective promo strategy — or see it as an effective release strategy in general?

Rania Aniftos: Definitely, especially in the hip-hop scene, with new rappers budding up in the game all the time. I think the consistent rollout of tracks keeps Lil Baby relevant in the press and among hip-hop fans, while giving him time to work on his full album. Hence, when It’s Only Me dropped, fans knew what to expect and hadn’t forgotten about him, so they flocked to stream the album.

Carl Lamarre: If you couple Baby’s features with his slow-churning output, this is a smart recipe to success: If you feed your fans, they won’t yearn for more music. Like I previously said, despite his singles not having the same luster as his previous ones, Baby remained a formidable contender in-between releases because of his consistency. Thanks to that formula, his fans stood by him and showed up on his big day.

Jason Lipshutz: In this case, the release strategy was half-effective — those new songs didn’t become hit, or at least, hits of the stature of Baby’s most effective crossover singles — but they did keep him top of mind ahead of the It’s Only Me release, and that may have helped deliver the best Billboard 200 debut of his career. Perhaps It’s Only Me bows with an even bigger equivalent album unit total had one of those pre-release singles caught fire, but even without it, Lil Baby dominated this chart week.

Andrew Unterberger: Effective for maintaining, but not necessarily effective for growing. If Lil Baby wanted to make the jump to the Kendrick/Bad Bunny/Harry Styles level of stardom (and accompanying first-week numbers), he could probably stand to pull back on the regular releases and maybe turn his albums into more discrete projects and eras, building a more pronounced sense of anticipation for each new song when it arrives. But he’s doing quite fine as is, so I can’t really blame him for sticking with his current strategy.

Christine Werthman: Considering all those songs currently on the Hot 100, I’d say this strategy worked just fine. As a listener, it’s never that exciting to get an album that’s packed with singles you’ve already heard, so I appreciate that he kept dropping new music this year while still managing to have enough in the can for a full album. And it seems like lots of other listeners felt the same way — with the singles, whether or not they appeared on the album, building anticipation for this new project.

3. While all the songs Lil Baby has released this year have been decently successful, only “In a Minute” has really verged on being a major multi-platform success. Do you think see any of the new tracks on It’s Only Me going to a higher commercial level? (See list of his current Hot 100 entries at bottom of e-mail.)

Rania Aniftos: I’m thinking “Heyy” is going to have a commercial moment, especially because it jumped from No. 77 to No. 21 on the Hot 100 this week, which is a pretty big leap. The trap-infused hook makes it a really great party hit too. “California Breeze” is also a contender for a hit, because it’s fun and catchy, and it’s the only song currently in the top 5 on the Hot 100.

Carl Lamarre: I think “Heyy” has the most pull to become a quality single for Baby and Co. The bars are steely, the hook is sticky and the song itself boasts enough TikTok flavor to attract a whole new movement and trend on the popular app. I also am a fan of Fridayy’s hook capabilities, as the pairing of him and Baby on “Forever,” is a winner for me.

Jason Lipshutz: I’m all in on “Pop Out,” the team-up with Nardo Wick that perfectly balances Lil Baby’s floating, elastic wordplay and Wick’s deep, sinister murmurs. Love the singsong intro, the subtle strings in the production, the beat switch-up — “Pop Out” is one of the best hip-hop collaborations of the year, and deserves to be unavoidable.

Andrew Unterberger: “Pop Out” also seems like the one for me — TikTok could certainly have a field day with the mid-song switch-up — though Future collab “From Now On” is also up there for me for a lot of the same reasons.

Christine Werthman: The moody and melodic “California Breeze,” currently the No. 4 song on the Hot 100, is a standout track, and I see it sticking around, though I don’t know if it will surpass No. 4. The background sample comes from Danish artist Coco O., who is half of Quadron, the electronic duo with Robin Hannibal, who is one of the founders of the equally chill and vibe-y Rhye. Coco O.’s song “Gwen” is pitched down and stretched out, creating a soft atmosphere around Lil Baby’s lines about mistrusting some, protecting others and keeping his bookings up. Lil Baby dropped a video along with this one, so it seems like he has confidence in it as well.

That said, this doesn’t sound like a hits-generating album. It’s best absorbed in one complete go — if you’ve got an hour and five minutes to spare — so you can fully feel the weight of the dark clouds overhead.

4. Do you have any deeper favorites on It’s Only Me? Anything that you think pushes him into new or interesting territory?

Rania Aniftos: While I think sound-wise, “Russian Roulette” follows a similar feel to the rest of the tracks on the album, the lyrics are super vulnerable for Lil Baby. Talking about how he grew up, friends who have died along the way and how he feels about his music career gives him an added layer of depth, which I personally always appreciate.

Carl Lamarre: “Not Finished” is prime Baby, where he exudes feline agility without losing his lyrical verve. When Baby is dialed in, no rapper can keep up, as we have previously seen with Drake (“Wants & Needs”) and J. Cole (“Pride Is The Devil”). Also, Baby’s penchant for samples this outing was gold, as he floated on the album standout “California Breeze.”

Jason Lipshutz: A song like “Danger” only slightly tweaks the proven Lil Baby formula, but he spits with such wild-eyed conviction over that racing piano line that the song functions as a jolt of adrenaline on It’s Only Me, and an interesting change-up of Baby’s approach in the second half of the album. A project that leans toward this type of urgency would be a different lane for Baby, but a rewarding one.

Andrew Unterberger: Not really.

Christine Werthman: Instead of pushing Lil Baby into new territory, these songs find him staking out his zone, characterized by a haze of anxiety and the pursuit of revenue. What better rapper to welcome back to that bleak, hedonistic party than Future, who joins Lil Baby on “From Now On”? While Baby says his image revamp requires “no more pictures with my Styrofoam,” Future is contentedly “drinkin’ out Styrofoam,” unbothered or numb or both, his apathy making Lil Baby sound like a hopeful youth by comparison.

5. While there are some differences, It’s Only Me does seem largely patterned after My Turn in terms of its sound and structure. If Lil Baby was to go in a different direction on his next LP, how would you recommend he switch it up?

Rania Aniftos: I’d love to see him play with a little more R&B. There are incredible female R&B singers out there, and it would be so fun to see him have some collaborations with SZA or Jessie Reyez.

Carl Lamarre: I like the idea of Baby leaning more into samples. He does a great job in being introspective and I can honestly see him own that lane a la Drake with the right production. I also believe a tighter and more concise album — 14 tracks max — would bode well for Baby going forward.

Jason Lipshutz: I’d go slightly shorter and more uptempo — It’s Only Me is a highly satisfying listen that requires the listener to sink into its charms for 65 minutes, but I also believe Baby is capable of a 40-minute project that’s wall-to-wall bangers. He doesn’t need to drop something like that to stay on top, but damn if I wouldn’t enjoy it.

Andrew Unterberger: I’d love to see him explore a one-rapper, one-producer team-up project, a la 21 Savage and Metro Boomin’s pair of Savage Mode full-lengths. Baby’s one of the best rappers of his generation, but his production tastes can sometimes drift towards the indistinct — so for him to find a musical collaborator with a strong signature sound and see what kind of chemistry they could build over 12-15 tracks would be a really, really exciting prospect to me.

Christine Werthman: The sound and structure might be generally similar across the two albums, but the beats on It’s Only Me are less varied, and he seemed more charged up on My Turn. I like that he brought on a lot of guests that comfortably fit his vibe and support but don’t outshine him, but he gets more amped when paired with someone less similar, like Nicki Minaj on “Do We Have a Problem?” or J. Cole on “pride.is.the.devil.” It’s Only Me shows that Lil Baby knows his lane, but it’d be fun to see him step out of it.

25 Oct 2022

Billboard Announces A Big Update for Hot Trending Songs Chart, Powered By Twitter | Billboard News

25 Oct 2022

Drake Celebrated 36th Birthday With Star-studded Bash In Miami | Billboard News

25 Oct 2022

Apple Music’s Price Hike Boosts Music Stocks

Universal Music Group, Hipgnosis Songs Fund and other music stocks got a much-needed boost on Tuesday (Oct. 25) following news of Apple Music’s price hike, as investors bet it would trigger a wave of streaming subscription cost increases.

Universal Music Group’s stock closed 11.6% higher, Hipgnosis Songs Fund Ltd ended up 7.8% and Korean music companies SM Entertainment and HYBE finished the trading day 4.8% and 4.4% higher, respectfully, on Tuesday. On Monday, Apple announced that it was raising the standard U.S. and U.K. individual plan price to $10.99 from $9.99.

This 10% price hike — Apple’s first — comes amid high inflation and a darkening economic environment in many global markets. If Apple can raise prices at a time like this, that is a sign the music industry can charge more without turning off consumers, Wall Street analysts said.

“We see this as a further signal of the stickiness of music streaming subscriptions even in a weaker macro environment and believe the major markets will be able to absorb higher prices without leading to meaningfully higher churn,” Lisa Yang, Goldman Sachs’s head of European media & internet technology equity research, wrote in a note to investors on Tuesday.

“We believe that other major DSPs will likely follow suit with similar price increases in the near future, implying further potential upside to our music industry forecasts.”

Competitors Spotify and Amazon Music have already raised prices in some markets. Amazon Music raised the price of its unlimited individual plan for Prime members to $8.99 from $7.99 earlier this year.

Spotify, which will report earnings later Tuesday, raised the cost of its individual plans in the Nordics in 2021, although its standard plan for U.S. subscribers remains at $9.99.

“Despite positive management commentary around churn (with regards to recent price increases on certain plans/regions) as well as management’s views on pricing power over the long term, Spotify has highlighted the broader macro environment as a key consideration in terms of implementing price increases in the near term,” Yang wrote.

Apple’s price increase could also have positive impacts on the majors because companies like UMG and Warner Music Group typically get 65% of music-related revenues from streaming companies with a “high incremental margin,” Goldman estimates.

Music stocks have suffered in 2022 as the major U.S. market indices have fallen around 20% so far this year.

UMG’s share price of 21.10 EUR ($21.01 US) is down nearly 14% year to date, Hipngosis Songs Fund Ltd traded at 91.06 penny sterling ($1.03 US) and is down 28% so far this year. Meanwhile, Warner Music Group’s stock traded at $27.16 US, off almost 37% year to date.

25 Oct 2022

How to Watch ‘Bachelor in Paradise’ Online for Free

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The Bachelor franchise’s favorites are in Mexico on a quest to find love. A new episode of Bachelor in Paradise will air on ABC on Tuesday night (Oct. 28).

The new season premiered on Sept. 27 with Jesse Palmer as host, while Wells Adams holds down the bar.

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See below for details on how to watch this year’s season of Bachelor in Paradise.

How to Watch Bachelor in Paradise

The latest season of Bachelor in Paradise episodes premiere on Monday and Tuesdays at 8 p.m. ET/PT on ABC and will be available to stream on Hulu the following day.

If you have cable, satellite (or a digital TV antenna like this one from Amazon), you can watch Bachelor in Paradise on TV through your local ABC affiliate. For those without a TV, ABC shows can be streamed online via ABC.com.

Signing up for free trials or discounted plans through fuboTV, Direct TV Stream, Hulu + Live TV or SlingTV will give you access to ABC as well, to watch Bachelor in Paradise live on TV or stream Bachelor in Paradise from your laptop, tablet or phone.

Fans can also watch Bachelor in Paradise on Hulu, as the show is available to stream free with a subscription to the platform (use ExpressVPN to stream Hulu from outside of the U.S.).

The streaming service ($7.99/month) is currently offering a 30-day free trial which you can use to watch Bachelor in Paradise online free.

How to Watch Past Seasons of The Bachelor and The Bachelorette

All seasons of The Bachelor and The Bachelorette, including Rachel Recchia/Gabby Windey’s recent season, along with Katie Thurston, Matt James, Peter Weber and Clare Crawley/Tayshia Adams’ seasons, are available to purchase on Amazon Prime Video here. You can stream some previous seasons of The Bachelor and The Bachelorette with your Hulu subscription or free trial.

Who Is on This Season of Bachelor in Paradise?

The previous season of Bachelor in Paradise was the first post-pandemic iteration, and featured rotating guests host and a cast mixed with contestants from the previous four seasons of The Bachelor and Bachelorette. This season will include contestants from seven previous season.

Bachelor in Paradise cast members include Jacob Rapini and Logan Palmer, from season 19 of The Bachelorette, along with Romeo Alexander, Casey Woods and Brandon Jones, from season 18, and Michael Allio, Justin Glaze and Andrew Spencer from The Bachelorette season 17.

Nine contestants from Season 26 of The Bachelor are among the Bachelor Paradise cast including Teddi Wright, Shanae Ankney, Serene Russell, Jill Chin, Hailey Malles, Genevieve Parisi, Sierra Jackson, Kira Mengistu, and Hunter Haag. Also included in the cast, Brittany Galvin from season 25 of The Bachelor, and Lace Morris from season 20.

Bachelor and Bachelorette alums, Ashley Iaconetti and Jared Haibon, who fell in love on Bachelor in Paradise and tied the knot in 2019, made an appearance this season, plus fan’s will see a new group of singles shaking things up in paradise.

Watch the trailer for Bachelor in Paradise season 8 below.

25 Oct 2022

The 10 Best Early Black Friday Deals on TVs, Laptops & Other Must-Have Electronics

Black Friday deals are kicking off earlier than usual. Best Buy launched a selection of early Black Friday deals on Monday (Oct. 24), joining Walmart, Target and Amazon in offering deep discounts before Black Friday takes place on Nov. 25.

Starting your holiday shopping? Right now, Best Buy shoppers can find deals on tons must-have electronics, including TVs and projectors, cell phones, headphones, appliances, laptops, computers, tablets, sound bars, speakers, streaming devices, gaming gear and video games, cameras, camcorders, and wearable tech, in addition to sales on Blu-rays and DVDs, toys, games, streaming platforms, furniture, beauty/personal care items, fitness equipment and more.

This isn’t the first time that Best Buy has served up early Black Friday sales. The retail giant rolled out Black Friday deals in July, as an alternative to Prime Day, and again in early October to rival Amazon’s Prime Day Early Access sale.

Earlier this month, Best Buy launched Member Mondays, which gives Totaltech and My Best Buy members exclusive access to some of our hottest deals of the season. Member Mondays debuted with a 48-hour flash sale featuring hundreds of deals on fan favorite tech, like TVs, headphones, smartphones and other essentials.

And the early Black Friday deals are back in rotation! To make things easier for you, we dug through some of the big-ticket sale items to find 10 of the best early Black Friday deals on TVs, computers and other electronics.

See more below.