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Ariana Grande Extends Chart Reign In Australia With ‘Eternal Sunshine’

Ariana Grande holds at No. 1 in Australia with Eternal Sunshine and, again, narrowly misses the chart double. As Eternal Sunshine (via Universal) enters a third week atop the ARIA Albums Chart, Ariana’s album cut “We Can’t Be Friends (Wait For Your Love)” enters a second week at No. 2 on the national singles tally. Coming in at No. 2 on the album list is Future and Metro Boomin’s We Don’t Trust You (Universal/Sony), their first collaborative collection. It’s Future’s 10th title on the albums chart, including a No. 1 with 2022’s I Never Liked You. Metro Boomin landed at No. 4 in 2020 with Savage Mode II, a collaboration with 21 Savage, and solo LP Heroes & Villains peaked at No. 5 in 2022. Three tracks from We Don’t Trust You appear on the ARIA Singles Chart, led by “Like That” at No .8. Explore See latest videos, charts and news See latest videos, charts and news Closing out the top three on the ARIA Albums Chart, published Friday, March 29, is Olivia Rodrigo’s sophomore LP Guts (Geffen/Universal), which benefits from the release of the Spilled edition, which includes one new track and four songs that were previously only available on wax. One of those new releases “Obsessed,” arrives at No. 16 on the singles chart, for her 16th top 20 appearance, ARIA reports. Three of those have climbed the chart mountain: “Drivers Licence,” “Good 4 U” and “Vampire.” Following its release in September 2023, Guts debuted at No. 1 in in Australia and logged two weeks at the summit. Trending on Billboard Meanwhile, Australian pop duo the Veronicas bag a top 10 debut with Gothic Summer (Virgin Music Australia/Universal). Produced by Goldfinger’s John Feldmann and featuring a cast of top-flight collaborators, including Travis Barker, Gothic Summer is new at No. 6. The Brisbane sisters (Jessica and Lisa Origliasso) have cracked the top 10 with all six of their studio albums, the first three of which peaked No. 2: The Secret Life Of… (2005), Hook Me Up (2007) and The Veronicas (2014). Over on the ARIA Singles Chart, also published Friday, Benson Boone bags a fourth week at No. 1 with “Beautiful Things,” atop an unchanged top three. Finally, Irish singer and songwriter Hozier returns to the top 10 with “Too Sweet” (Columbia/Sony), new at No. 10. That’s his first solo top 40 hit since 2015, when “Someone New” peaked at No. 24. His career best in these parts came with his 2013’s “Take Me To Church,” which sailed to No. 2.

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AEG Presents’ Jay Marciano to Receive City of Hope 2024 Spirit of Life Award

AEG Presents chairman and CEO Jay Marciano will be honored with the City of Hope’s 2024 Spirit of Life Award, the cancer research and treatment organization has announced. Explore See latest videos, charts and news See latest videos, charts and news “It’s deeply meaningful to be honored for this recognition,” says Marciano, a regular entry in Billboard’s Power 100 list. “Our industry’s work contributes to bringing the brightest minds in the world to make breakthrough medical discoveries — discoveries that give back the gift of time to people.” The award is the charitable organization’s most prestigious honor and is presented those industry leaders who have made notable contributions to their community and profession. Trending on Billboard Previous recipients from the music industry include Lyor Cohen, Shelli and Irving Azoff, Edgar Bronfman Jr., Coran Capshaw, Eddy Cue, Clive Davis, Sir Lucian Grainge, Sylvia Rhone and more. “I am honored to join this admirable group of Spirit of Life recipients,” Marciano adds, “and look forward to continuing the tradition of leaning on music, film and the arts to raise awareness of and funding for City of Hope’s important work against cancer, diabetes and other life-threatening diseases.” City of Hope’s Music, Film and Entertainment Industry fundraising group will present Marciano with the award during a gala dinner this fall in Los Angeles. A leader in the live entertainment business, Marciano began presenting shows in his 20s, before taking on senior leadership roles at Universal Concerts, AEG Europe and Madison Square Garden Entertainment, then returning to the AEG fold in 2011. With Marciano at the helm, AEG Presents has promoted tours from many of the music industry’s biggest artists, including stadium juggernauts Elton John, the Rolling Stones, Taylor Swift and Ed Sheeran, and overseen a festival portfolio upwards of 30 brands from Coachella Valley Music and Arts Festival to Stagecoach, Electric Forest, British Summertime Hyde Park and more. Marciano has also overseen the company’s global growth with the opening of several international offices and an expansion into Australia, Singapore, Japan and France. In its 50-plus-year history, City of Hope’s MFEI group has raised over $150 million for good causes, specifically cancer research. Marciano has a reputation “as an industry leader who is eager to accelerate City of Hope’s mission and focus on making breakthrough discoveries that move us closer to putting an end to cancer,” said Kristin Bertell, chief philanthropy officer at City of Hope. “We look forward to partnering with him and the larger music community to develop new cures, save patient lives and ensure that everyone has an equal opportunity to secure their highest level of health.” The announcement launches City of Hope’s year-long fundraising initiatives that include the Taste of Hope in NYC in April, Future Hope Poker Tournament and Songs of Hope. To contribute or learn more visit jaymarcianospiritoflife.com and cityofhope.org.

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Beyoncé’s ‘Jolene’ Lyrics vs. Dolly Parton’s Original: What’s New & What’s the Same?

While Beyoncé fans found out on Wednesday when the Cowboy Carter tracklist was unveiled that there would be a song called “Jolene” on the album, the finished product is not exactly a Dolly Parton cover. In fact, Bey keeps the simple string-plucking production almost identical to Parton’s 1973 original on her new “Jolene,” but she’s updated almost all the lyrics to tell a brand-new story of the infamous other woman. We discover the lyrical changes almost immediately, when Beyoncé sings in the second line, “I’m warning you, don’t come for my man,” in place of Parton’s “I’m beggin’ of you, please don’t take my man.” The biggest musical shift comes in Beyoncé’s new bridge, which has a melody that isn’t used in Dolly’s song and includes a choir of voices backing up Queen B. The bridge switches from the song’s minor key to an optimistic major as Beyoncé confidently sings: “I sleep good happy, ’cause you can’t dig up our planted seeds.” Trending on Billboard Below, find the new lyrics to Beyoncé’s “Jolene,” as well as her lyric video, and Parton’s original “Jolene” lyrics. BEYONCÉ’S NEW “JOLENE LYRICS” Jolene, Jolene, Jolene, JoleneI’m warning you, don’t come for my manJolene, Jolene, Jolene, JoleneDon’t take the chance because you think you can You’re beautiful beyond compareTakes more than beauty and seductive staresTo come between a family and a happy manJolene, I’m a woman tooThе games you play are nothing newSo you don’t want no hеat with me, JoleneWe’ve been deep in love for 20 yearsI raised that man, I raised his kidsI know my man better than he knows himself (what)I can easily understand why you’re attracted to my manBut you don’t want this smoke, so shoot your shot with someone else (you heard me) Jolene, Jolene, Jolene, JoleneI’m warning you, woman, find you your own manJolene, I know I’m a queen, JoleneI’m still a Creole banjee bitch from Louisianne (don’t try me) There’s a thousand girls in every roomThat act as desperate as you doYou a bird, go on and sing your tune, Jolene (what)I had to have this talk with you‘Cause I hate to have to act a foolYour peace depends on how you move, Jolene Me and my man crossed those valleysHighs and lows and everything betweenYou did roll in like tumbling weedsI sleep good happy, ’cause you can’t dig up our planted seedsI know my man’s gonna stand by me breathing in my gentle breeze I crossed those valleysHighs and lows and everything betweenGood deeds roll in like tumbling weedsGood and happy, ’cause you can’t dig up them planted seedsJolene, Jolene, Jolene, Jolene, JoleneI’ma stand by her, she gon’ stand by me, Jolene I’ma stand by him, he gon’ stand by meI’ma stand by her, she gon’ stand by meI’ma stand by him, he gon’ stand by me, Jolene [embedded content] DOLLY PARTON’S ORIGINAL “JOLENE” LYRICS Jolene, Jolene, Jolene, JoleneI’m beggin’ of you, please don’t take my man(Jolene)Jolene, Jolene, Jolene, JolenePlease don’t take him just because you can Your beauty is beyond compareWith flaming locks of auburn hairWith ivory skin and eyes of emerald green(Jolene)Your smile is like a breath of springYour voice is soft like summer rainAnd I cannot compete with you, Jolene (Jolene) He talks about you in his sleepAnd there’s nothing I can do to keep from cryingWhen he calls your name, Jolene (Jolene)And I can easily understandHow you could easily take my manBut you don’t know what he means to me, Jolene (don’t take him) Jolene, Jolene, Jolene, JoleneI’m begging of you, please don’t take my manOh, Jolene, Jolene, Jolene, JoleneOh, please don’t take him just because you can (don’t take him) You could have your choice of menBut I could never love againHe’s the only one for me, Jolene (he’s the only one)I had to have this talk with youMy happiness depends on youWhatever you decide to do, Jolene Jolene, Jolene, Jolene, JoleneI’m begging of you, please don’t take my man(Don’t take him, don’t take him, don’t take him)Jolene, Jolene, Jolene, JolenePlease don’t take him just because you can (just because you can)Jolene, Jolene (please don’t take him, please don’t take him, Jolene)Jolene Jolene He’s the only one for meJoleneJolene, JoleneJolenePlease don’t take him just because you can Lyrics licensed & provided by LyricFind Lyrics © Sony/ATV Music Publishing LLC Written by: Dolly Parton [embedded content]

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Beyoncé ‘Cowboy Carter’ Declared a GOAT By Social Media 10 Minutes Into 1 Hour Album

HipHopWired Featured Video CLOSE It’s here. Beyoncé’s latest album, Cowboy Carter, dropped at midnight (ET) on Thursday night, Friday morning (March 29) and had social media users basically christening it a greatest of all time project before actually finishing the project. Seriously. At 12:15 people were acting like Bey save music itself dispute their. being a whole hour of music left if you hit play on the album exactly at midnight. But such hyperbole should have been expected since the moment Mrs. Carter announced the new project in viral form during the Super Bowl. What we get was a 27-track album that runs for an hour and 17 minutes and the guests, featured on the tracklisting, include Willie Nelson, Miley Cyrus, Post Malone, Linda Martell and, wait for it, Rumi Carter. The Carters always make sure their seeds get those publishing credits, early. Oh yeah, she’s reportedly in Japan. Check out some of the more audacious reactions to Cowboy Carter in the gallery.

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Machine Gun Kelly & Trippie Redd Bring the Emo-Raps for ‘Genre : Sadboy’ Project: Stream It Now

Machine Gun Kelly and Trippie Redd have teamed up for their Genre : Sadboy EP, which hit streaming services on Friday (March 29). The EP is free of guest features outside of the Ohio duo and boasts 10 tracks in total including their pensive “lost boys” single. If Drake made For All the Dogs, this […]

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Jumbo Returns to U.S. Stage After 10-Year Hiatus: ‘It’s a Great Reason to Celebrate’

After a decade-long absence, Jumbo, a cornerstone of Latin alternative rock, are making their return to the U.S. stage, joining forces with genre peers División Minúscula. Their much-anticipated comeback follows years of setbacks due to a “critical error” that led to visa complications, preventing them from touring stateside despite the release of three albums brimming with tour-worthy material. Explore Explore See latest videos, charts and news See latest videos, charts and news Now, armed with renewed vigor and passion, the Mexican rock band — consisting of frontman Clemente Castillo, guitarist Jorge “Flip” Tamez, bassist Carlos Castro, drummer Alberto Ramos, and producer Iñigo Rizo — are ready to captivate audiences once again as they crisscross the United States, hitting major cities from coast to coast. Promoted by Live Nation, the tour kicks off in Chicago on April 17, followed by a show in New York City the next day. The tour route includes stops in Salt Lake City, San Francisco, Los Angeles, Dallas, and culminates in Houston, Texas on August 14. Celebrating 25 years since the release of their debut album, Restaurant, in 1999, Jumbo’s significance extends beyond mere longevity. This album not only marked a milestone in the band’s career but also played a pivotal role in shaping the Mexican music scene of its time, particularly the musical boom known as La Avanzada Regia scene of that era in Monterrey. Trending on Billboard “The grand merit of that generation was to be able to break [barriers] and show that in a city where there was no music scene suddenly thundered and became so big,” Flip (real name Jorge Tamez Chapa) tells Billboard Español. “Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued being original, and I think that created a very rich movement. Thirty years later it is beginning to be romanticized a lot. I feel very proud to be from that generation”. Jumbo. Photo Credit: Juan Rodrigo Llaguno Juan Rodrigo Llaguno “División Minúscula and Jumbo are two bands with different backgrounds but equally important in the alternative rock genre. They belong to an era that defined many fans on both sides of the border,” adds Manuel Moran, vp of Latin touring at Live Nation. “We are proud to be part of this great celebration and we are very grateful for the trust they have placed in us to surprise their fans in the United States with a comeback tour and an unexpected collaboration like this one.” Jumbo’s latest release, Manual De Viaje A Un Lugar Lejano (En Directo), earned them a Latin Grammy nomination for best pop/rock album in 2019, further solidifying their status as stalwarts of the Latin alternative rock scene. In this interview, Flip delves into the band’s journey, from the highs of success to the challenges they’ve faced along the way, shedding light on their experiences and aspirations for the future. And yes, he explains why they could not enter the U.S. for over a decade. What does it mean for you to take the stage again in the United States, and how did the opportunity to collaborate with División Minúscula for this tour come up? We are very happy to tour the United States and celebrate 25 years of our career. We had an issue, a very serious mistake we made that kept us away from the United States for more than ten years. During the first albums Restaurant (1999), D.D. y Ponle Play (2001), and Teleparque (2003), we had great tours over there. We were building a market early in our career. Saúl Hernández from Jaguares invited us to be openers along with Julieta Venegas and La Gusana Ciega. I remember they were incredible tours, and suddenly there’s this break. Many years went by — and fortunately we managed to overcome this — and now we have the opportunity to share the stage with División Minúscula. Although they are from Matamoros, most of them have been living here in Monterrey for many years. They are very good friends. It’s the first time we do a tour as such and we are very happy; I think it’s going to be very fun. Jumbo. Photo Credit: Juan Rodrigo Llaguno Juan Rodrigo Llaguno As you celebrate these 25 years, what do you consider has been the key to staying together as a band? It’s very difficult. The other day I read a report by Sting that said, “I don’t think any grown man can be in a band.” He said it had to do with this youth gang dynamic that gets a little lost as you get older. And you notice that the relationship does change — you change as a person, you are no longer that youth [from before] — but I think we are still united by the desire to make music. Jumbo is a band that from day one, we set out to make songs that would go beyond the barrier of time. We were never very attached to any fashion — although when we came out, we sounded like what was going on in the early 2000s. In our journey, we have seen many things come and go. We’ve had to change formats, first digital, then streaming. Many things have happened to us that I think the love of making music has brought us back into alignment. Fortunately, we have never fought or disrespected each other, but we have an admiration for each of the members. And although at times we do have different artistic goals and visions, it always ends up falling in the same place. Many of us in the band are producers of other projects, we have other activities, but all related to music. As long as there are people who lend us their ears, there is no reason to stop. The 25 years was a number that hit us like a motherf–ker. It’s a great reason to celebrate. Being one of the pioneers of La Avanzada Regia movement in Monterrey, how do you see the impact of this movement on today’s music, and what do you think has been your most significant contribution to this legacy? I always say that I’m very proud to be from that generation. I grew up playing in many bands, and it didn’t cross my mind to dedicate myself professionally to this, or to be signed by a record label or go on tour. And suddenly the scene was big enough, the Monterrey scene. There were like 10 to 15 bands playing in four or five places, and the rest was the audience. This is before the internet — I mean, we took our flyers to the show and handed them out to perform the following week. La Avanzada, we were very united as bands; there was the same hunger to go out and dream, to take this to the next level. Monterrey, being the industrial capital of the country, had a very rigid scheme of opportunities. You had to study, work in one of the big companies, and make your life. It was very difficult to dream of a profession outside those schemes. The great merit of that generation was to be able to break [barriers] and demonstrate that in a city where there was no professional music scene it could become so big, and in a few years permeate the Latin market so strongly. [embedded content] When Control Machete came out, it a huge boom that the rest of Latin America turned to see what was happening in Monterrey. They were looking for a hip-hop movement, but they found something very different. Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued very much being original, not looking like anybody else and I think that created a very rich movement. Thirty years later this scene is beginning to be romanticized a lot. What’s next after the tour? Any final thoughts? One goal that we had for many years was to get back to the United States in some way. I think the next thing after this tour is to get into the studio. There are no concrete plans yet. I’ll tell you the anecdote so that there is no mystery; I think it’s something that new [foreign] bands learn from. We made the very serious mistake of going to a show with a tourist visa. The work visa has a shorter amount of time. It happens to [foreign] bands that the work visa has a short period of time. Suddenly there is an isolated show, and even though we had an arrangement with the promoter that could be for promotion, we got too close to the line and fell into a problem. So, it doesn’t matter if you’re going to play a free show, it doesn’t matter if you’re going to tour very casually. Playing in the U.S. is work, and that cost us to stay away for many years. If it’s any moral for bands, don’t make that mistake. We learned the hard way and fortunately we are back. We are really excited. We had a hard time having three albums and not being able to tour there. So we bring all that accumulated energy and we are sure you will notice it in the shows. Check out Jumbo and División Minúscula’s full tour dates below, second slide:

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