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Sabrina Carpenter Loves Kevin Bacon’s Cover of Her Song
Music

Sabrina Carpenter Loves Kevin Bacon’s Cover of Her Song

by jummy84 September 27, 2025
written by jummy84

Sabrina Carpenter might be singing “When Did You Get Hot?” to a random ex — but Kevin Bacon? He’s dedicating it to the pigs on his farm. The actor shared a guitar-backed reimagining of the Man’s Best Friend favorite from his farm, and Carpenter absolutely loved it.

“We’re big fans of @sabrinacarpenter here on the farm!” Bacnon accepted his post.

Wearing an Iron Maiden shirt, Bacon plays the song, adding a little personalized twist to Carpenter’s original lyrics: “Now I’m at the prospect convention / My friend looks in your friend’s direction / Said, ‘I’m Bacon, you must be Kevin,’ / And I was like, ‘Huh.’”

Bacon then continues into the chorus, looking back at his roaming pigs and horses in the background: “I did a double take, triple take / Take me to pigs in the blanket, back in the farm. / Piggy, piggy, you’re thickening the plot. When did you get hot?”

Carpenter shared the video of Bacon on her Instagram Story, writing, “least expected but best cover of the year award!!” She also left a comment under his video, writing, “The vibes on the farm are immaculate.”

Bacon previously spoke to Rolling Stone about his love for Carpenter and her album Man’s Best Friend. At the time, he said he was particularly enjoying “Never Getting Laid.”

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“Just today, I was walking around Manhattan, listening to the new Sabrina Carpenter album,” he said at the time. “I think that she’s such a talent and, I mean, so many clever songs and clever lyrics.” 

The cover may be unexpected, but the Carpenter-Bacon love runs deep. The pop star actually references Bacon’s “Six Degrees of Kevin Bacon” game in her song “Taste,” from Short n’ Sweet.  “Well, she clearly has taste. See what I did?” Bacon previously reacted to the shoutout in a shared FaceTime call with his daughter Sosie.

September 27, 2025 0 comments
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Julie Adam Is Billboard Canada Women in Music's 2025 Exec of the Year
Music

Julie Adam Is Billboard Canada Women in Music’s 2025 Exec of the Year

by jummy84 September 27, 2025
written by jummy84

Julie Adam is having a milestone year — and it’s getting even bigger.

The president & CEO of Universal Music Canada is this year’s Billboard Canada Executive of the Year. She will accept the award at Billboard Canada Women in Music on Oct. 1 at Rebel in Toronto.

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Adam was promoted to the head role at the beginning of this year and is now the only woman heading a major label in Canada.

Adam’s rise comes after decades of breaking barriers. She started in radio, becoming Canada’s first female Vice President of Radio Programming, and spent more than 20 years at Rogers Sports & Media before moving to Universal in 2023 as EVP & GM. It wasn’t long before she stepped into the top role, taking charge of Canada’s largest record company during a moment of change.

UMC is the market share leader amongst labels in Canada (the label has 7 of the top 10 albums year to date), with both domestic success for international artists and rising stardom for homegrown artists.

The past year has seen chart breakthroughs for artists like Josh Ross (who was among the most nominated artists at the Junos and CCMAs) and Toronto pop artist Sofia Camara, who hit the Billboard Canadian Hot 100 for the first time this week. Other artists, like Mae Martin and Owen Riegling, continue to make a big mark.

It’s no surprise Adam was named to the Billboard Canada Power Players list this year and to Billboard’s Global Power Players.

What makes Adam stand out — and what this award underlines — is not just the business, but the way she leads. Her book Imperfectly Kind doubles as her philosophy: that empathy and generosity can fuel success. Colleagues and artists alike point to her ability to create space for others to thrive, a rare quality in an industry often driven by competition.

Read more here. — Peony Hirwani

Canadian Music Industry Weighs in on How to Support Canadian Audio Content at CRTC Public Hearings

The Canadian Radio-television and Telecommunications Commission (CRTC)’s “Supporting Canadian and Indigenous audio content” hearings are underway.

The CRTC proceedings are centred around the Online Streaming Act, a legislation that updates Canada’s Broadcasting Act for the new digital media landscape. It’s a once-in-a-generation update to CanCon regulations, and many stakeholders have been weighing in about how it should be implemented.

An important aspect to these hearings is last year’s CRTC decision to enforce major foreign-owned streaming services with Canadian revenues over $25 million to pay 5% of those revenues into Canadian content funds, like FACTOR and Musicaction. It’s been a major hot button issue, with pushback from the big major streaming services like Spotify and Amazon. After appealing the base contributions, the courts paused payments until an appeal.

That has been a big topic of conversation in arguments over a series of five days of hearings in Gatineau, Quebec, from September 18 to September 29.

The country’s federal government is under heavy pressure from the United States to forego the base contributions in the legislation, with 18 members of Congress signing a letter, claiming the act “imposes discriminatory obligations and threatens additional obligations imminently is a major threat to our cross-border digital trade relationship.”

CRTC regulations state that at least 35% of popular music picks on commercial radio stations must be Canadian content — but this standard doesn’t currently extend to music streaming services.

The goal of the hearings is to discuss how CanCon regulations can be adjusted in support of the changes taking place in the music industry and the Canadian broadcasting system, including the rise of streaming services, the decline of radio broadcasting alongside increasing support for Indigenous music and diverse Canadian artists.

In its notice of consultation on the hearing that began last week, the CRTC said streamers should “contribute to the discoverability of Canadian, French-language and Indigenous music either through financial contributions or through initiatives targeting the promotion and exposure of these songs to their users.”

Read more about the hearings here. — Heather Taylor-Singh

Kneecap Say They Haven’t Received Any Formal Notice After Ban From Canada

Kneecap have yet to receive official confirmation of its ban in Canada.

Last Friday (September 19), the Irish hip hop trio was ruled ineligible to enter the country by Liberal MP and Parliamentary Secretary for Combating Crime Vince Gasparro in a video posted to X.

While the ban forces the group to forfeit scheduled concerts in Toronto and Vancouver next month, Kneecap’s manager, Dan Lambert, said that the band hasn’t gotten any communication from the federal government.

“Nobody has instructed Kneecap that they can’t travel to Canada except Vince and his social media video,” Lambert tells CBC News.

During Gasparro’s video, he claimed the trio “have amplified political violence and publicly displayed support for terrorist organizations such as Hezbollah and Hamas,” and said he was making the announcement “on behalf of the Government of Canada.”

The ruling blocks Kneecap’s planned shows at Toronto’s History on October 14 and 15, as well as concerts at Vancouver’s Vogue Theatre on October 22 and 23.

Soon after the news broke out, Kneecap rejected the claims in an Instagram statement addressed directly to Gasparro, calling his remarks “wholly untrue and deeply malicious.”

The trio added that they’ve instructed their lawyer to initiate legal action against Gasparro. “We will be relentless in defending ourselves against baseless accusations to silence our opposition to a genocide being committed by Israel,” they said.

Kneecap vowed that if they win in court, they will donate all damages to “some of the thousands of child amputees in Gaza.”

“We’re pretty shocked that this could happen in Canada,” Lambert said to CBC News, adding the band has played in Canada multiple times. He noted that the only country where the group has been banned is Hungary.

Lambert said the case is due in court on Friday, and he fully expects the band to win.

Read more here. – H.T.S.


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September 27, 2025 0 comments
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Doja Cat Tries to Reframe Her Purpose in Pop on Vie: Review
Music

Doja Cat’s Vie Tries to Reframe Her Purpose in Pop: Review

by jummy84 September 27, 2025
written by jummy84

If everything means nothing to Doja Cat, what actually matters? Fans, stans, and casual listeners are now just as familiar with the pop/rap star’s chaotic provocations as they are with her music. In May 2023, she dismissed her breakthrough albums, unprovoked: “Planet Her and Hot Pink were cash-grabs and y’all fell for it,” she wrote. “Now I can go disappear somewhere and touch grass with my loved ones on an island while y’all weep for mediocre pop.” Months later, she brushed off her hard-edged 2023 hip-hop album Scarlet with equal irreverence: “Not to diminish it, but it was a bit of like, I just need to get this out — it was a massive fart for me,” Doja told the New York Times earlier this month.

Doja Cat’s talent has never been a question, but rather how she chooses to engage with it. She has historically been deeply unserious in her assessments of her own work — but with Vie, it’s clear that she’s seeking to understand herself a bit more broadly this time around. “Jealous Type,” the album’s New Jack Swing-inflected lead single, indirectly illustrates the conflict of Doja as an eager artist who feels both overexposed and misunderstood: “Boy, let me know if this is careless, I/ Could be torn between two roads that I just can’t decide/ Which one is leading me to hell or paradise?”

Duality has always made Doja Cat a more compelling artist, and Vie proves she thrives when she’s embodying every version of herself. Instead of committing to one lane, she treats the album as an experiment in blending eras and styles. She stands under the neon haze of the ’80s, fusing sleazy synths with the glossy pulse of R&B of the era and the grandiosity of glam rock. Vie also doesn’t forget that rapping is still in her arsenal — even if used sparingly.

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After spending the last album cycle hyper-focused on hip-hop, Doja returns here to the comparably softer space of pop — but she doesn’t abandon the grit she picked up along the way. She finally seems less concerned with choosing between her creative instincts and more comfortable letting them co-exist, treating her full range of talents as equally valid tools rather regarding one or another like an affliction she needs to shake off.

On the opening track, “Cards,” saxophone bleeds through the left speaker before evening out and expanding to a soundscape that would be fit for electro-funk band Zapp & Roger. Doja Cat slinks and prowls as she vacillates between singing and rapping, setting the thematic tone of the album: “Maybe in time, we’ll know/ Maybe I’ll fall in love, baby/ Maybe we’ll win some hearts/ Gotta just play your cards.”

It’s a generic mission on its surface — deconstructing and rebuilding love in all its iterations — but it’s direct in its simplicity, which has often powered the best pop of the past and present. Which makes sense, as Jack Antonoff, the purveyor of dominant, era-crossing pop, has his fingerprints all over a Doja Cat album for the first time, producing on nine of the 15 total tracks.

In addition to “Jealous Type,” Antonoff’s contributions sparkle most on “AAAHH MEN!” Sampling the theme from the 1980s program Knight Rider, the song inserts itself into the lineage of hip-hop songs that have lifted the memorable synth, joining the ranks of Timbaland & Magoo’s “Clock Strikes” and Busta Rhymes’ “Turn It Up (Remix) / Fire It Up.” As averse as she seems to the pure “rapper” label, Doja can spit her ass off, and she demonstrates that most clearly here: “Men need to cry more, boys need to work/ But not when he beg his employee to flirt/ Ain’t nobody finna force me to twerk/ When you’re finished with your goon sesh, join me in church.”

September 27, 2025 0 comments
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Snapped: KLP's Ibiza Debut at Hï (A Photo Essay)
Music

Snapped: KLP’s Ibiza Debut at Hï (A Photo Essay)

by jummy84 September 27, 2025
written by jummy84

Australian vocalist, producer, DJ and dance music trailblazer KLP recently brought her community vision to Ibiza’s superclub Hï. Her collaborative programming included a “Sweat It Out” writing camp that incorporated 50 international artists as well as a string of night clubs. The Platinum-certified artist has been getting solid rotation on BBC Radio 1, Kiss FM and Australia’s triple j, as the momentum continues to build.

“Together, these initiatives reflected KLP’s vision of fostering connection between rising talent and established names — a mission she champions as both an artist and as part of the A&R team shaping Sweat It Out’s future.”

KLP also released her latest single today – the ultra vibey “This is Our Haus”. The track emerged from the same Sweat It Out sessions and Spotify’s EQUAL Writing Camp, “a pioneering initiative curated by KLP to bring women and gender expansive talent together with the new guard in dance music.” Co-writers included Tiff Cornish and SIPPY, with vocals from Loosie Grind. Have a listen below. Special thanks to Andrew James Peters for the images.

September 27, 2025 0 comments
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Best Moments From Portland Show
Music

Best Moments From Portland Show

by jummy84 September 26, 2025
written by jummy84

The Grammy Award-winning duo NxWorries—Anderson .Paak and Knxlwedge—kicked off their first-ever North American tour with a sold-out show in Portland, Ore., earlier this month. Opened by rising contemporary R&B act Rae Khalil, the trio of artists brought musicality and swagger to McMenamins Crystal Ballroom in the city’s Pearl District.

Walking up the sidewalk, a crowd formed a jumbled line awaiting entrance into the venue for the concert. Couples united by hand could not be separated by excited friend groups shuffling for their IDs and virtual tickets at the door. Conversations outside reflected the anticipation for NxWorries to arrive.

“Will they have special guests? Will it start on time? Will they do ‘Suede’? Is there custom Portland merch?” were all the questions thrown out in exchanges that echoed through the perfectly warm, late summer night as staff slowly trickled the crowd inside.

Indoors, over one thousand guests made their way into the dimly lit stagefront for the musical showcase. Long, yet quick-paced lines stacked up at multiple bars and bathrooms, as fans prepared to enjoy the headlining act comfortably. The merchandise booth also buzzed with shoppers, purchasing everything from T-shirts and hoodies to vinyl records, including an Anderson .Paak Tiny Desk Concert pressing.

After a sound, soothing opening from Rae Khalil, the energy shifted to welcome NxWorries, and from there the night entered true-fan territory. The entire evening brought solace to listeners who had been awaiting the moment since the group’s symbiotic musical chemistry united them on their Soundcloud debut 10 years ago.

The PDX audience witnessed NxWorries perform tracks from their 2015 EP Link Up & Suede, 2016 album Yes Lawd!, and the 2024 Grammy-winning release Why Lawd?

With endless cheers and joyful applause, the crowd was fully immersed in the moment. Both levels of the audience danced, swayed, and toasted to their favorite group, satisfied with the contemporary group’s North American tour debut.

Read below for highlights from NxWorries’ opening show on the Why Lawd? Tour below.

  • An “86Sentra” Opening

    Image Credit: Roy Rochlin/Getty Images

    The headliners opened with “86Sentra” a fan-favorite record from the Why Lawd ? album and set the tone for the evening. Everyone in attendance rapped word for word with Anderson .Paak, as Knxwledge held down the control booth as “the man upstairs,” as his partner declared on stage. The full setlist brought live versions of tracks from the aforementioned album as well as its predecessor, Yes Lawd!, including “Link Up,” “KeepHer,” “Suede,” Droogs,” and more.

  • Including The Audience In The Act

    Anderson .Paak performing
    Image Credit: Roy Rochlin/Getty Images

    At the Why Lawd? tour, fans are fully included in the experience. Even from the deep end of the mezzanine, standing shoulder-to-shoulder with strangers, NxWorries was able to curate an intimate vibe. During the show Anderson .Paak and Knxwledge welcomed all in attendance to sing along and spoke directly to the relatability of their vulnerable collaborations. The interactive experience also featured the 39-year-old handing out roses and making space for excited fans to join the duo on stage for a dance break.

  • Rae Khalil’s Return To The Stage

    Rae Khalil
    Image Credit: Erika Goldring/Getty Images for Expedia

    Although Rae Khalil opened the show, she was welcomed back by NxWorries to perform their “OutTheWay” collaboration featured on Why Lawd? The audience cheered as Anderson .Paak made space for the rising singer to perform for the audience who might not have caught her earlier. The duo made sure to uplift Rae Khalil in the moment, a sweet touch that only emphasized the respect they have for her talent.

    Knxwledge and Anderson .Paak also made sure to celebrate themselves, with the latter bringing his “brother” from the booth and on stage as the show closed. Together, both men stood proud as the claps and cheers rang from every corner of the venue. With smiles and waves, NxWorries exited on “Daydreaming” prepared to conquer the rest of the tour.

    View the rest of the Why Lawd? Tour dates below.


    09-20 Detroit, MI – The Fillmore Detroit
    09-21 Toronto, Ontario – History
    09-23 Philadelphia, PA – Franklin Music Hall
    09-24 Boston, MA – Citizens House of Blues Boston
    09-26 Brooklyn, NY – Brooklyn Paramount
    09-27 Norfolk, VA – The NorVa
    09-28 Raleigh, NC – The Ritz
    09-30 Silver Spring, MD – The Fillmore Silver Spring
    10-02 Atlanta, GA – Tabernacle
    10-06 New Orleans, LA – The Fillmore New Orleans
    10-08 Austin, TX – Stubb’s Waller Creek Amphitheater
    10-09 Houston, TX – House of Blues Houston
    10-12 San Francisco, CA – The Masonic
    10-15 Las Vegas, NV – House of Blues Las Vegas
    10-16 San Diego, CA – SOMA
    10-17 Phoenix, AZ – The Van Buren
    10-19 Los Angeles, CA – Hollywood Palladium

September 26, 2025 0 comments
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Trouble in Mind Records Ceases Operations
Music

Trouble in Mind Records Ceases Operations

by jummy84 September 26, 2025
written by jummy84

Trouble in Mind Records, the Chicago label that specialized in punk and garage-rock for more than a decade, has ceased operations. The label’s founders, Bill and Lisa Roe, shared the news today on social media, revealing that Trouble in Mind “ceased to exist as an active label as of June 1st of this year.” Find their full statement below.

Bill and Lisa Roe founded Trouble in Mind in 2009. It came to life around the same time that they welcomed their first child, Veronica “Ronnie” Moon. To start, they pressed only 7″ vinyl singles as the Roes balanced the label with parenthood, work in their band, CoCoComa, and day jobs. (Lisa is a librarian, and Bill worked as a production manager for Chicago Independent Distribution.) By 2010, they issued the label’s first full-length album, a self-titled endeavor from the Limiñanas. As the years continued, they released albums from Mikal Cronin, the Tubs, Dummy, David Nance Group, Ultimate Painting, Doug Tuttle, Negative Scanner, and many others.

Trouble in Mind made a name for itself for the garage, punk, and psych-rock music it championed, but the Roes always intended to offer a variety of music on their label. “The label has morphed as our tastes have,” Bill Roe said in 2017. “It’s all in the same wheelhouse but it’s a better reflection of what you’d see if you looked at our personal record collection. We figured out more what we want to release and plus our ears also get tired of hearing the same thing over and over. We release what catches our ear, so chaining ourselves to a certain genre or style of music seems pretty limiting—we’ve put out garage-punk, psych, experimental music, electronic music, and spiritual jazz records. Perhaps it makes our label harder to pin down or categorize, but fuck that, who cares?”

Shake Appeal’s Best of 2014

Trouble in Mind Records:

ADIEU

TROUBLE IN MIND RECORDS: 2009-2025

FRENZ. We are sad to announce that Trouble In Mind Records has ceased to exist as an active label as of June 1st of this year. We could point to a myriad of reasons why, BUT instead we’re going to focus on the positives. To all the artists we’ve ever worked with – being able to have even a minor part in releasing your art into the world was one of the greatest privileges we could have ever asked for & we love you all. If you have ever bought an album, streamed a song, saw one of our artists on tour, read an article or interview about us, told a friend about the label, or supported us in any way, shape, or form, we appreciate you & sincerely thank you for your support. YOU are the reason independent labels can still exist, so keep the faith! We’ll still be maintaining our back catalog for the foreseeable future and we hope you’ll take advantage of our BIG SALE happening over at our Bandcamp page. Take a whopping 30% off anything in the webshop using the code: ADIEU
http://troubleinmindrecords.bandcamp.com/merch

In closing; ALWAYS SUPPORT INDEPENDENT ARTISTS & LABELS, PROTECT TRANS PEOPLE, FUCK ICE, FREE PALESTINE and may all your scratch-offs be winners.
Sending love from our kitchen in Chicago, IL.

XOXO,
Bill & Lisa Roe

September 26, 2025 0 comments
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Björk joins No Music For Genocide campaign and removes catalogue from streaming in Israel
Music

Björk joins No Music For Genocide campaign and removes catalogue from streaming in Israel

by jummy84 September 26, 2025
written by jummy84

Björk has joined the ‘No Music For Genocide’ campaign, making her back catalogue unavailable on streaming services in Israel.

The new campaign is a cultural boycott initiative encouraging artists and rights-holders to pull their music from streaming platforms in Israel in response to the ongoing genocide in Gaza.

To join the coalition, the artists involved have edited their own release territories or sent geo-block requests to their distributor or label. They are encouraging major label groups Sony, UMG, and Warner to follow suit, particularly as they blocked their entire catalogues from and closed operations in Russia a month into their invasion of Ukraine.

Massive Attack, Fontaines D.C., Amyl & The Sniffers, and Kneecap were among the leading names to join the initiative last week, as well as Paramore, Rina Sawayama, MIKE, Primal Scream, Faye Webster, Japanese Breakfast, Yaeji, King Krule, MJ Lenderman, Mannequin Pussy, Wednesday, Soccer Mommy and MØ.

Now, it appears that the Icelandic singer-songwriter has become the latest big name to join the campaign. The Times Of Israel reported on Sunday (September 21) that her music was unavailable to people living in Israel on Spotify and Apple Music.

Björk has been outspoken in her advocacy for the Palestinian people in the past, posting on Instagram in November 2023 a series of maps of the Israel-Palestine region since 1946, writing, “Is this what you call sharing?”

A statement from ‘No Music For Genocide’ stated: “Culture can’t stop bombs on its own, but it can help reject political repression, shift public opinion toward justice, and refuse the art-washing and normalization of any company or nation that commits crimes against humanity.

“This initiative is one part of a worldwide movement to erode the support Israel needs to continue its genocide. We’re inspired by the escalating efforts in pursuit of that goal, from the recent Film Workers For Palestine pledge to Spain’s ban of Israel-bound ships and planes to the Freedom Flotilla Coalition to Demilitarize Brooklyn Navy Yard to dockworkers in Morocco who’ve refused to load weapons onto vessels ordered by Tel Aviv.

“Many of our peers have felt, like ourselves, unsure how to use music in this moment. Our first goal with No Music For Genocide is to inspire others to reclaim their agency and direct their influence toward a tangible act. We are so grateful for all of the artists, managers and labels who have already committed to this first step, and we’re excited to expand this together. The more of us there are, the stronger we will be. This is just the beginning.”

Björk has been vocal about other geopolitical issues during her career, notably in support of Tibetan independence. At a concert in Shanghai, China in 2008, she said from the stage, “Tibet, Tibet!”, and asked the audience to raise their flags during her track ‘Declare Independence’.

Her comments caused outrage among Chinese officials, to which she replied at the time: “It shows more than anything that China has become the next superpower in the world. And the issue is: how are they going to deal with Western moral issues like freedom of speech?”

September 26, 2025 0 comments
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Doja Cat 'Vie' Review
Music

Doja Cat ‘Vie’ Review

by jummy84 September 26, 2025
written by jummy84

When Doja Cat decides to go Eighties, she doesn’t mess around. On Vie, Doja devotes an entire album to the pop and R&B sounds of the Hair Decade, an album full of pastels and neon and mega-cheese sax solos. She’s always had a thing for Eighties synth-pop, as in hits like “Kiss Me More” and “Say So.” But this time she goes all the way. The album opens in “Cards” with a sample from the Knight Rider theme, and closes in “Come Back” with a sample from the soundtrack of the Brian DePalma/Melanie Griffith erotic thriller Body Double. You can’t accuse Doja of not doing her Eighties homework.

On her last album, 2023’s Scarlet, she went for hip-hop aggression, out to prove herself as a confrontational street-smart rapper. But on Vie, she’s all about Eighties synth-pop — a lot of Prince, a lot of Janet Jackson, a lot of Klymaxx and Nu Shooz and Naked Eyes and Billy Ocean, plus basically every hit that Jimmy Jam and Terry Lewis ever produced. You can practically hear the shoulder pads. She spends these songs in a romantic shake-you-down mood, boasting, “I smell like ice cream and pheromones.”

Vie might be an erratic listen, but that’s why it sounds like Doja Cat. She seems to take pride in building one of the most entertainingly maddening careers around — such high highs, such low lows. This year she’s dropped the excellent summer single “Jealous Type,” produced by Jack Antonoff and Y2K, but also showed up at the Oscars for the bizarre James Bond tribute, belting “Diamonds Are Forever” and nailing about .007 percent of the notes. She makes routine disasters part of her charm. She’s a fun pop star in a very old-school way — she doesn’t take herself too seriously, and is more than willing to fall on her face from time to time.

She brings back SZA, her most famous duet partner, for “Take Me Dancing,” which goes right for the faux-Prince funk throb of Ready 4 The World. (It’s a real achievement to sound like Ready 4 the World but NOT sound like Prince.) SZA is the only guest artist on the album, which is a surprise, considering it couldn’t be too hard to get some of her favorite Eighties one-hit wonders on the phone. It’s no “Kiss Me More,” but it’s frothy pleasure, with SZA on hand to boast “I’m beyond the drugs you need.” Doja coos the chorus, “You’re so raw, boy, you’re so romantic/You fuck me right and you take me dancing.” 

Editor’s picks

“Come Back” and “Stranger” are standout Prince-style jams, dance-floor bangers with funk bass and sax solos that go off the deep end, somewhere in between early Quarterflash and Christopher Cross. She also pulls off slow jams like “Acts of Service,” where Doja reveals, “I just deleted Raya, that must mean that I’m your provider.”  In the falsetto ballad “All Mine,” she drops another strictly-for-the-hardcore Eighties reference when she says “Grab him and take him” — a quote from Grace Jones, when she played a Bond villain in A View to a Kill.

Jack Antonoff is executive producer here, doing nine of the tracks, and this concept is right in his sweet spot, given that he’s a hardcore Eighties geek — as any Swiftie can tell you, he and Taylor knew they were destined to work together the first time they bonded over the snare drum sound in Fine Young Cannibals’ “She Drives Me Crazy.” Also, given that Doja dropped Vie a week away from The Life of a Showgirl, you have to give it up for her extremely Swiftian song titles: “Gorgeous,” “Stranger,” “Lipstain” (great title, that), “All Mine,” Take Me Dancing.” That’s half the lyrics of “New Romantics” right there.

So the production is impeccable, getting the period details right and exact, down to the last slap-bass throb, while also sounding fresh and up to date. The weak spot on Vie is the songwriting, since few of these tunes have a dynamic hook that you can imagine crowding the competition for a Top 40 rotation slot between Madonna and Gregory Abbott. Most of the songs work the same formula — featherweight pop tunes with brief rap interludes — so they tend to blend together even when they’re quality filler.

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“Aaahh Men!” is an uptempo highlight, with Doja lamenting that she can’t live with ‘em but can’t live without ‘em, asking herself “Am I gay or am I just angry” while saying, “I feel shame because you’re such a pain / But my DNA wants your D in me.” Yet she holds out hope with her ideal of romantic bliss, promising, “You act right, you’ll get a movie, limo/Two chains, dinner, and a smooch down below/And all new fans yelling ‘You my hero!’” She’s playing remarkably nice with the boys here, as in “Make It Up,” where she reveals, “Did you hear about it? I’m a submissive top.” “Silly! Fun!” lives up to the title, with the Eighties synths and vocal chants straight from the Saturday-morning cartoons. “Lipstain” is her sultry ode to leaving hickeys on a man as a way of claiming her turf. As she says, “Every girl’s a queen but I’m the boss/We gotta mark our territory for them dogs, girl.” She often sings in French all over the album, as if paying her respects to Prince’s Euro-gigolo performance in Under the Cherry Moon. 

Doja couldn’t sound further from the rap bluster she displayed on Scarlet. On Vie, she veers closer to the high-gloss pop of her breakthrough albums Planet Her and Hot Pink — yes, the albums she later repudiated as “mediocre pop” done as a “cash grab.” (Nobody renounces her own hit albums faster.) But it’s the sound of Doja Cat at her most playful and unpredictable.

September 26, 2025 0 comments
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Best New Latin Music Poll
Music

Best New Latin Music Poll

by jummy84 September 26, 2025
written by jummy84

This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music by Sebastián Yatra, who recruits Belinda, Gente de Zona and Lucho RK for “Canción Para Regresar, and Corina Smith’s latest album, Menos Triste, Más Mami, to name a few. 

About her new album, Smith said in a statement that the LP “marks a genuine turning point in my life.” The Venezuelan artist added, “It was created at a time when I wasn’t as sad as before, yet far from feeling OK. I knew I had to move forward, open up and start anew … but the wounds I carried were still fresh. This album wasn’t written from certainty, but from the real confusion of being caught between the past and the unknown future, unsure of what I truly wanted.”

Meanwhile, Yatra — with an eclectic group of artists in tow — dropped “Canción Para Regresar,” powered by a fusion of reggaetón with pop and tropical rhythms. According to a press release, the song was born in Ibiza during a session between Yatra and Lucho RK at Casa BRESH.

Other new releases this week include music from Rauw Alejandro, who dropped Cosa Nuestra: Capítulo 0, Boza and Sech’s “Paris” and Natti Natasha’s “Cuando Las Traje Aquí,” an emotional track she premiered on Sept. 25 at Premios Juventud 2025. Which release this week do you think is best? Give these new releases a spin and vote for your favorite new Latin music release below.

Editor’s Note: The results of the weekly New Music Latin poll will be posted if the poll generates more than 1,000 votes. This poll closes at 7:30 a.m. ET on Monday, Sept. 29.



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September 26, 2025 0 comments
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Jimmy Kimmel to Return to ABC on Tuesday
Music

Sinclair to Resume Airing Jimmy Kimmel Live! After Pointless Nine-Day Suspension

by jummy84 September 26, 2025
written by jummy84

Sinclair says it will resume airing Jimmy Kimmel Live! on its local affiliate stations beginning Friday, ending a nine-day suspension of the show.

The conservative media group, which owns 38 local TV stations across the country, initially pulled Kimmel’s late-night show off the air last Wednesday following comments he made about the murder of Charlie Kirk. The action taken by Sinclair, along with fellow affiliate group Nexstar—widely believed to have been in response to pressure from FCC Chairman Brendan Carr—prompted ABC to temporarily suspend Jimmy Kimmel Live!.

When Kimmel returned to the air this past Tuesday night, Sinclair still refused to air the show, demanding that Kimmel issue an apology and make “a meaningful personal donation” to both Kirk’s family and his political group, Turning Point USA. They also demanded “formal discussions” with ABC regarding the network’s “commitment to professionalism and accountability.”

While Kimmel was certainly contrite during his first monologue back, he never issued a full-throated apology for his comments, nor is there any evidence that he made a donation to Kirk’s family or Turning Point USA. And in its statement announcing Kimmel’s return on Friday, Sinclair admitted that its proposals suggested to ABC and Disney had not been adopted.

Related Video

Nevertheless, Sinclair has reversed course and says it will no longer preempt Jimmy Kimmel Live! come Friday evening.

Sinclair’s statement in full:

“Our objective throughout this process has been to ensure that programming remains accurate and engaging for the widest possible audience. We take seriously our responsibility as local broadcasters to provide programming that serves the interests of our communities, while also honoring our obligations to air national network programming.

Over the last week, we have received thoughtful feedback from viewers, advertisers, and community leaders representing a wide range of perspectives. We have also witnessed troubling acts of violence, including the despicable incident of a shooting at an ABC affiliate station in Sacramento. These events underscore why responsible broadcasting matters and why respectful dialogue between differing voices remains so important.

In our ongoing and constructive discussions with ABC, Sinclair proposed measures to strengthen accountability, viewer feedback, and community dialogue, including a network-wide independent ombudsman. These proposals were suggested as collaborative efforts between the ABC affiliates and the ABC network. While ABC and Disney have not yet adopted these measures, and Sinclair respects their right to make those decisions under our network affiliate agreements, we believe such measures could strengthen trust and accountability.

Our decision to preempt this program was independent of any government interaction or influence. Free speech provides broadcasters with the right to exercise judgment as to the content on their local stations. While we understand that not everyone will agree with our decisions about programming, it is simply inconsistent to champion free speech while demanding that broadcasters air specific content.

As a company rooted in local stations, Sinclair remains committed to serving our communities with programming that reflects their priorities, earns their trust, and promotes constructive dialogue. We look forward to continuing to work with ABC to deliver content that serves a broad spectrum of our communities.”

September 26, 2025 0 comments
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