WENN/Facebook

The ‘Justice’ singer is reportedly joining forces with the Bangtan Boys for his next music release following the merger of his manager’s firm and the group’s agency.

Apr 30, 2021

AceShowbiz –
Pop superstars Justin Bieber and BTS are preparing to take the charts by storm by joining forces for an explosive new collaboration.

The musicians are reportedly set to team up in the recording studio following the recent merger of Ithaca Holdings, the firm owned by Bieber’s manager Scooter Braun, and HYBE – formerly Big Hit Entertainment, to which BTS are signed.

“They are taking their time on it and going to make sure it is released right,” a source tells the New York Post’s Page Six.

It’s rumoured the track could feature on a revamped version of Bieber’s latest release, “Justice”, “to keep the album on the charts” although further details regarding the collaboration, which first surfaced on gossip blog Deuxmoi, have not been revealed.

BTS have long credited Bieber as one of their biggest pop inspirations while the “Baby” hitmaker has proved himself to be a fan of the K-pop icons, previously filming himself lip-synching to a chant of the bandmates’ names on TikTok and wishing Jungkook a happy birthday online.

Besides teaming up with Justin Bieber, the Bangtan Boys will return with their own new single, “Butter”, on 21 May (21).

The K-pop group’s second English-language single, following 2020 mega-hit “Dynamite”, is described as a “dance-pop track brimming with the smooth yet charismatic charm of BTS.”

  See also…

It’s not known if it will be a standalone single or whether it will be part of an upcoming EP or album.

The boy band had record-breaking success with their very first all-English track, becoming the first Asian act ever to debut at the number one spot on the Billboard Hot 100 chart in the U.S., with a debut sales week that outsold every track released in the last three years.

The song also broke multiple streaming records on Spotify, iTunes and YouTube, and earned the group their highest-charting single in the U.K. when it debuted at number three.

They also became the first K-pop act to receive a major Grammy nomination although “Dynamite” lost out in the Best Pop Duo/Group Performance category to Lady Gaga and Ariana Grande’s collaboration “Rain on Me”.

However, not winning has become a “driving force” for them to take home one of the prestigious golden gilded gramophone trophies in the future.

Singer V said, “Not winning somehow refreshed me. I think it will be a driving force for becoming better.”

“We didn’t get an award this year,” added band member Suga. “But we want to be active as singers for a long time, it’s difficult of course, but perhaps next year, or the year after or before the end of our career, we want to get a Grammy.”

BTS’ last album was November’s (20) “BE (Deluxe Edition)”, which was created in response to the Covid-19 pandemic.

You can share this post!

Next article

Reese Witherspoon: It’s Unfair How Media Deemed Her ‘Good’ and Britney ‘Bad’

Related Posts More

Instagram

The ‘Hot Girl Summer’ rapper is scheduled to perform her new track, which will be released on November 20, at the 2020 American Music Awards, which will broadcast on Sunday, November 22.

Nov 13, 2020
AceShowbiz – Megan Thee Stallion has really good news for her fans! On Thursday afternoon, November 12, the Hot Girl Summer announced her debut album, which is appropriately titled “Good News”, in a new Instagram post. The upcoming album is set to be released on November 20.
The Houston raptress shared in the photo-sharing platform a picture of an art of the highly-anticipated set. The “Savage” hitmaker could be seen being trapped in a glass case while seemingly naked. She covered her modesty with a newspaper that features headlines inspired by her.
“Hotties , I first want to say thank you for riding with me, growing with me, and staying down with me since my first mixtape Rich Ratchet !” she wrote in the caption. Seemingly referring to her shooting drama involving Tory Lanez and her ex-BFF Kelsey, Megan added, “Through this rough a** year we’ve all been having I felt like we could all use a lil bit of good news. So with that being said MY OFFICIAL ALBUM ‘GOOD NEWS’ IS DROPPING NOVEMBER 20TH PRE ORDER WILL BE AVAILABLE TONIGHT #GOODNEWSMEGAN.”

  See also…

Fans were unsurprisingly excited for the new album as one wrote in the comment section, “YASSSS QUEEN WE WANT MEGNIKA.” Another fan added, “OMFG YASSSSS THIS IS REALLY #GOODNEWS I CANT WAIT TO HEAR IT!! CONGRATULATIONS!!!” One person was so eager, saying, “MAMA DROP THE TRACKLIST !!”
Fellow celebrities also sent support in their comments. Tokyo Vanity wrote, “4th quarter pressure,” while La La Anthony said, “Congrats…can’t wait!!!” “Hidden Figures” actress Taraji P. Henson also raved about her red locks, writing, “COME ON REEEEDDD #REDHEADSHAVEMOREFUN.”
“Good News” follows Megan’s recent project “Suga”, which was out back in March, and “Fever”, which was released in 2019. The rapper also released several hit singles and collaborative songs including “Girls in the Hood”, “WAP” with Cardi B and “Savage” remix with Beyonce Knowles. The last two tracks debuted atop Billboard’s Hot 100 chart.
Megan is scheduled to perform her new track at the 2020 American Music Awards, which will broadcast on Sunday, November 22 at 8 P.M. on ABC.

You can share this post!

Next article
Total Member Pam Long Admits to Lying About Sexual Abuse Claims Against Ex Jamie Long

Related Posts More

Instagram

The ‘Bodak Yellow’ hitmaker teases that she will release a song about her viral coronavirus rant after a remix created by a fan hits the top twenty on iTunes chart.
Mar 18, 2020
AceShowbiz – Cardi B can’t get enough of fans’ remixes of her recent rant about coronavirus.
Taking to Instagram, the “Bodak Yellow” rapper went on an impassioned rant about the coronavirus outbreak, the government’s response to the pandemic, and her own fears.
After sharing the post, fans of the star became obsessed with her memorable way of saying “coronavirus”, and the line “this s**t’s real” – which they blended together along with a hip-hop beat to create a track.
One particular version, remixed by iMarkkeyz, has been released on iTunes, and Cardi has now hinted she may drop her own version.
“I might (as) well do a damn music video,” Cardi tweeted, before adding, “I’m boutta tell Atlantic to put this song on Spotify.”
The fan-made tune even entered top 100 on the download service, and Cardi took to Instagram where she shared a screenshot of its placement at number 96.
“The fact this damn corona virus (sic) song is charting on iTunes ….Hold on ..let me hit the Dj up and Atlantic so I can’t get my damn coins,” she wrote.

Two hours later, she shared another photo of the song at number 11, adding: “Damn I posted the iTunes chart 2 hours ago of this damn Corona song charting on the hip hop charts at 96 now it’s number 11.”

“86 on the overall charts ..I’m glad yaaa having fun …..Make sure you lysol your p**sy before you POP IT,” she said.

You can share this post!

Next article
Alexis Skyy Wears Hazmat Suit to Club, but Takes It Off Once Inside

Related Posts More

Gratitude flowed at the 39th induction ceremony in Cleveland, where Mary J. Blige, Peter Frampton, Ozzy Osbourne and the bands Foreigner and Kool & the Gang were honored.Superstar power arrived early at the 39th Rock & Roll Hall of Fame induction ceremony in Cleveland on Saturday night, as Cher strode onstage and joined Dua Lipa, who opened the show with “Believe,” the 1998 dance-pop smash that revitalized the singer’s career.In a candid, conversational acceptance speech, Cher joked about her long wait to induction (she was first eligible more than three decades ago), telling the crowd at the Rocket Mortgage FieldHouse and those streaming the show online, “It was easier getting divorced from two men than it was getting in the Rock & Roll Hall of Fame.” She assessed her own vocal abilities (“I’m a good singer. I’m not a great singer,” she decided, but added, “I changed the sound of music forever”), and reflected on the many reinventions that have sustained her career across 60 years.“My life has been a roller coaster, and the one thing that I have never done is I never give up,” Cher, 78, said, addressing women directly: “We’ve been down and out, and we keep striving, and we keep going, and we keep building, and we are somebody. We are special.”Perseverance was a recurring theme across the five-and-a-half-hour ceremony, which also honored two mainstays of the ’70s and ’80s: the funk and disco powerhouse Kool & the Gang and the pop-rock band Foreigner. Peter Frampton, 74, who is battling the degenerative muscle disease inclusion body myositis, thanked David Bowie for rescuing him from a low point — “I had no idea what a huge gift David was giving me” — and performed a short set from a chair. Mary J. Blige, 53, spoke about having faith throughout her ups and downs (“You don’t have to wait until you’re perfect to feel worthy. You are worthy”) before a sterling three-song performance.And Ozzy Osbourne, 75, who has paused touring because of health challenges, appeared onstage in a suitably sinister black throne adorned with skulls and bat wings to offer a brief collection of thank yous and introduce a rendition of his de facto theme song “Crazy Train” with a raucous shout of his famed intro line, “All abooooard!”Jack Black, left, gave a passionate speech for Ozzy Osbourne, who attended the event in an appropriately sinister throne.Chris Pizzello/Invision, via Associated PressWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The harpsichordist Jean Rondeau played the “Goldberg” Variations at Weill Recital Hall with patience and a vibrant yet subtle touch.A quiet battle over lighting simmers in classical music. During concerts, halls tend to be kept bright enough for audience members to be able to find their cough drops and consult their programs. But where’s the focus and drama in that? The brightness can come across as stilted and bland compared with what it’s like at a movie or play. But the lights have stayed, mostly, on.For his return to Carnegie Hall on Thursday evening, though, the superb harpsichordist Jean Rondeau turned them off.He made Weill Recital Hall, the most intimate of Carnegie’s three spaces, unusually dark for his performance of Bach’s “Goldberg” Variations. The only illumination was a dim spot on him and his instrument. The effect was nocturnal, even séance-like, adding extra dreaminess to his brief improvisation at the start that flowed into the familiar opening of Bach’s gentle Aria.Despite the dramatic lighting and that surprising prelude, this “Goldbergs” avoided attention-grabbing thrills. Rondeau, 31, is not an artist of stark contrasts or broad colors. His theatricality is patient and natural; his touch is vibrant but subtle.This rendition of the “Goldbergs” — Bach’s set of 30 variations on that Aria — was not the kind to exaggerate or even emphasize the, well, variation. (Mahan Esfahani, another leading harpsichordist of the younger generation, does that vividly on his 2016 recording.) Rondeau’s version more takes the form of an unfurling carpet: variety in its pattern, but one long piece of fabric.This impression of sustaining a single arc is all the more remarkable given the considerable length of his rendition. His performance of the “Goldbergs” on Thursday had roughly the same dimensions as the 106-minute recording he released earlier this year — of a piece that often runs half an hour shorter than that.Rondeau gets to that duration by opening up small pauses and spaces for breath and ornamentation, gradually increasing the run time without (usually) taking tempos that come off as unduly slow.The result isn’t lugubrious on the album, and it isn’t in performance, either. Rondeau’s Bach is a voyage taken with sensual but serene, silvery lightness of texture and moment-by-moment flexibility, though it took some time on Thursday to acclimate to what, over the first half-hour or so, seemed almost homogeneous.But by the ardent legato flow of his 13th Variation — a steadily unwinding lyricism made possible by the precision of his technique — the accumulating power of the interpretation was clear. Even with a substantial pause between the 17th and 18th variations, Rondeau maintained a sinuous connection between the tension of the harmonic wanderings in the first and the strumming release of the second.In the 20th, the clarity of his finger work allowed him to bend, shape and blur the meter without losing the pulse. He refused to milk the melancholy of the sprawling 25th, maintaining an elegant restraint that coursed into the virtuosic combination of courtliness and dense, smoky chromatic fireworks in the late variations.The return of the Aria after this odyssey was hardly a safe, secure homecoming. Rondeau ornamented it so elaborately — though, still, so unshowily — that it felt like yet another variation. Another stop on an ongoing journey, not the end.Jean RondeauPerformed on Thursday at Carnegie Hall, Manhattan. More