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The New Jersey Pandemic Relief Fund charity bash, which proceeds will go to the fight against coronavirus pandemic, will also be made merry by Halsey, SZA, Tony Bennett and Charlie Puth.
Apr 22, 2020
AceShowbiz – Jon Bon Jovi and Bruce Springsteen will headline the “Jersey 4 Jersey” virtual benefit on Wednesday, April 22.
The rock icons and stars like Halsey, SZA, Tony Bennett, and Charlie Puth will offer up performances and Whoopi Goldberg and Danny DeVito will make appearances for the New Jersey Pandemic Relief Fund charity bash, which will livestream on Apple Music and SiriusXM’s E Street Radio from 7pm EST.
Other Wednesday livestream highlights include Margo Price’s Pickathon Presents A Concert A Day event at 4pm EST and a Facebook set from The Mynabirds’ Laura Burhenn (https://www.facebook.com/evanstonspace) from 8pm EST.

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Also in this week’s chart, the second place is taken by Jhene Aiko’s ‘Chilombo’, marking her highest charting album ever as it earns 152,000 equivalent album units.
Mar 16, 2020
AceShowbiz – Lil Uzi Vert blasts in at the top of Billboard 200 chart with his new album “Eternal Atake”. In addition to marking his second No. 1 debut, the set is the biggest streaming week for an album since 2018.
Released on Friday, March 6 via Generation Now/Atlantic, “Eternal Atake” opens with 288,000 equivalent album units in the U.S. in the week ending March 12, according to Nielsen Music. Of the sum. 278,000 are in SEA units, which means he succesfully earns whopping 400 million on-demand streams for the set’s 18 tracks during its first week, with a little under 9,000 in album sales. Meanwhile, 2,000 are in TEA units.
With that, Lil Uzi dethrones Lil Wayne’s “Tha Carter V” that was previously named as the album with the biggest streaming since 2018. Meanwhile, Drake still holds the title of the biggest streaming week with “Scorpion”, which opened with 746 million streams in the July 14, 2018-dated chart.
Back on the new chart, the second place is taken by Jhene Aiko’s “Chilombo”. Marking her highest charting album ever, the set starts with 152,000 equivalent album units earned. Among the figure, 112,000 are in SEA units, 38,000 are coming from album sales that is boosted by a concert ticket/album sale redemption offer with her upcoming tour, and 2,000 are TEA units.
Bad Bunny’s “YHLQMDLG” drops one place from No. 2 to No. 3 with 111,000 equivalent album units. Also slipping in this week’s chart is Lil Baby’s “My Turn”. Last week’s chart-topper is now at No. 4 after collecting 104,000 equivalent album units in its second week.
Meanwhile, Korean pop group NCT 127 celebrates its first Top 10 effort as it second album “NCT #127: Neo-Zone, The 2nd Album” debuts at No. 5. The set opens with 87,000 equivalent album units with 83,000 in album sales that receives a boost from its merchandise/album bundles as well as a concert ticket/album sale redemption offer with its upcoming tour ” Neo City – The Awards.” This sees a huge growth compared to the group’s last release “NCT #127 We Are Superhuman: The 4th Mini Album” which peaked at No. 11 in 2019.
Trailing behind is Roddy Ricch’s “Please Excuse Me for Being Antisocial” which is now at No. 6 with 57,000 equivalent album units. Gaining 51,000 equivalent album units, Post Malone’s “Hollywood’s Bleeding” falls to No. 7 with BTS’ (Bangtan Boys) “Map of the Soul: 7” occupying No. 8. Closing out the Top 10 are Justin Bieber’s “Changes” (47,000 equivalent album units) and Megan Thee Stallion’s “Suga” (41,000 equivalent album units).
Top Ten Billboard 200 (Week of March 21, 2020):
“Eternal Atake” – Lil Uzi Vert (278,000 units)
“Chilombo” – Jhene Aiko (152,000 units)
“YHLQMDLG” – Bad Bunny (104,000 units)
“My Turn” – Lil Baby (179,000 units)
“NCT #127: Neo-Zone, The 2nd Album” – NCT 127 (87,000 units)
“Please Excuse Me for Being Antisocial” – Roddy Ricch (57,000 units)
“Hollywood’s Bleeding” – Post Malone (51,000 units)
“Map of the Soul: 7” – BTS (Bangtan Boys) (50,000 units)
“Changes” – Justin Bieber (47,000 units)
“Suga” – Megan Thee Stallion (41,000 units)

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Set to co-host the big show with Reba McEntire from Nashville, Tennessee on November 11, the ‘Wagon Wheel’ hitmaker reacts to question if the stars would perform in front of real fans.

Nov 5, 2020
AceShowbiz – Singer Darius Rucker has confused fans by suggesting the 2020 Country Music Association Awards will feature a live audience.
The “Wagon Wheel” hitmaker will co-host the big show with Reba McEntire from Nashville, Tennessee on November 11, when artists including Maren Morris, Miranda Lambert, and Luke Combs will all take the stage at the Music City Center.
Reports in September indicated there would be no fans at the annual event, due to coronavirus concerns, but during a TV appearance on Wednesday, November 4, Rucker appeared to indicate otherwise.
Asked if he and his fellow country stars would be performing in front of real devotees, he smiled on America’s “Live with Kelly and Ryan”, “Yeah, we’re really proud.”
“I’m really excited, just blown away by how the social distancing (will work) and how careful everybody’s being, all the performers will be there, the nominees will be there,” he continued.

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“Everyone will be social distanced and spread out and it will be the first time really the country music family has been (together) in one room all year.”
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Rucker was announced as McEntire’s co-host last month, but the singer feared he was in trouble when he first got the call asking if he’d be interesting in fronting the prizegiving with the country legend, a four-time host.
“My manager… said, ‘Are you sitting down?’,” he shared. “My first thought was, ‘Oh my goodness… what have I done?’ But it was to do this…, so it was awesome.”
Rucker is working on delivering “something really special” with McEntire for the big night, a collaboration they are both “really excited about”, while he will be sharing the stage with Lady A (Lady Antebellum), too: “We’re going to do Beers and Sunshine.”
The CMA Awards will air live at 8 pm ET next Wednesday.

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Speaking of her return to her Disney roots 22 years after singing ‘Reflection’ for the 1998 original movie, the ‘Dirrty’ songstress tweets, ‘ ‘Mulan has been such a special part of my life and this is a beautiful continuation of the legacy.’
Mar 7, 2020
AceShowbiz – Christina Aguilera has made a return to her Disney root with a new soundtrack for “Mulan”. More than two decades after lending her voice to “Reflection” from the 1998 original movie, the five-time Grammy Award winner sings about “vulnerability and strength” in “Loyal Brave True”, which has been released on Friday, March 6.
“My new song, ‘Loyal Brave True,’ represents the fine balance between vulnerability and strength,” the 39-year-old hitmaker said in a statement. “The film ‘Mulan’ and the song ‘Reflection’ coincided with getting me my first record deal. It’s amazing to come back to such an incredible movie that’s full of power and meaning, and that meaning holds the test of time: staying true to yourself, being who you are, and teaching how to be fearless.”
“Loyal Brave True”, which integrated classic Chinese instruments to orchestral melodies, has Jamie Hartman, Harry Gregson-Williams, Rosi Golan and Billy Crabtree as its writers. Hartman has also served as the soundtrack’s producer, while the upcoming movie’s director Niki Caro helmed its music video which is scheduled for release later in March.
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The song hears Christina belting his powerful vocal in the chorus which dealt with the titular character’s self-doubt. “Should I ask myself in the water what a warrior would do?/ Tell me underneath my armor, am I loyal, brave, and true?” she croons. “Losing is easy/ Winning takes bravery/ I am a tiger’s fool/ Out in the open/ No one to save me/ The kindest of whispers are cruel.”
Aside from “Loyal Brave True”, Aguilera has recorded a new version of “Reflection” for the new movie that will come out in theaters on March 27. Through her social media account, she shared with her followers, “#Mulan and #Reflection have been such a special part of my life and this film is a beautiful continuation of this legacy.” She added, “And the #LoyalBraveTrue single is out now! Hope you love it as much as I do.”

On why Aguilera was once again chosen for the soundtracks, Walt Disney Studios president of music and soundtracks Mitchell Leib explained, “Her original performance of ‘Reflection’ from the animated film when she was a then 16-year-old unknown holds its appropriate place in the history of music and was a launch pad for her unparalleled career that would follow. … I think these songs will touch today’s moviegoers in that powerful way we saw 22 years ago.”

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The Latin Grammy Awards have established themselves over two decades as a flashy, hip-pumping, over-the-top Las Vegas extravaganza. Under pandemic conditions, the 21st annual show, which will be broadcast Thursday night on Univision, will be far different.Still, many of the top nominees are familiar past winners, among them the Spanish songwriter Alejandro Sanz, the Colombian songwriters Juanes and J Balvin, the Puerto Rican rapper Residente, the Argentine songwriter Fito Páez and the Puerto Rican singer Bad Bunny, who has the most nominations this year. They will all be performing, without live audiences, on this year’s broadcast.For occasional listeners to the broad spectrum of Latin music, the Latin Grammys provide rare prime-time United States television exposure, and often an introduction, for performers who have already built large followings on their own. Three of the 10 nominees for best new artist will step into the spotlight Thursday night: the Puerto Rican songwriters Anuel AA and Rauw Alejandro and one of the Latin Grammys’ best discoveries, the 25-year-old Argentine songwriter, singer and rapper Nathy Peluso, who just released her debut album, “Calambre” (“Shock”), in October.In the album’s cover photo, Peluso is leaping in midair, holding an electrical cord and dressed in bandages. “That’s the feeling,” she said. “I’m injured but I’m still rocking it. I’m still working on me. I’m still in the battle.”She spoke via Zoom from Buenos Aires, where she was rehearsing for her Latin Grammys performance. She kept a browser window open to a translation program to occasionally make sure she had the right word in English.Instead of choosing a single musical path for her first international release, Peluso chose a dozen at once. Her songs delve into reggaeton, salsa, funk, hip-hop and pop, invoking eras from the 1970s to the 2000s. One track earned her a nomination in the best alternative song category, for “Buenos Aires,” a languid R&B ballad about loneliness and yearning that has jazzy harmonies and a hip-hop undertow.“She’s really inspired by a lot of music,” said the album’s main producer, Rafa Arcaute, by phone from Miami. Arcaute, who is Argentine, has won multiple Latin Grammys for his work with Calle 13 and is nominated again as producer of the year, an award he won in 2016. “She is super, super young, but in terms of music she is really mature — a young girl with an old mind,” he added. “And at the same time she has an innocence, a sense of discovery. She knows a lot of music, but at the same time is in the process of discovering everything. She really knows the value of the music.”On the album, Peluso’s voice can change radically from song to song. She’s adamant in “Sana Sana,” a song about a Latin heritage that transcends economics; it references the International Monetary Fund. She’s smoky and flirtatious in “Sugga,” comically desperate in “Amor Salvaje,” sinuous in “Llamame,” brazenly confident in “Business Woman” and breathily hypnotic in “Trio,” which proposes a ménage à trois. At various times, her delivery can suggest Beyoncé, Rihanna, Missy Elliott, the Chilean rapper-singer Ana Tijoux, the Cuban fireball Celia Cruz or the jazz singer Dinah Washington.“I find different women inside me, different voices,” she said. “I really love to investigate characters.”Peluso was born in Buenos Aires and moved with her family to Spain when she was 10. “I always felt like an outsider, because my parents were so Argentine,” she said. “In Barcelona, my friends were from Colombia and Puerto Rico, and I was learning about all their cultures. I was crossing barriers all the time. I lived with the feeling that I am a nomad. With my career I’m always traveling, I’m always in a different place, but my soul is my home.”She knew, early on, that she wanted to perform. She studied audiovisual communication, dance and theater, and as a teenager she sang covers of Frank Sinatra and Nina Simone in hotels and restaurants. For a while she supported herself as a street performer in Madrid, set up with a keyboard and typing what she calls “fast poetry” for cash: “Give me a word and I’ll write a poem in two minutes,” she said. “I started to see I was good. So I started to put music to these poems. How can I sing this? No, I can’t sing this, because it’s too strange. But I can rap it! So I started to rap these poems with lo-fi beats.”In 2017, she released an EP of those raps, “Esmeralda,” and a no-budget video for the title song; it now has 8 million views on YouTube. She followed the EP with a single: the spiraling, furious, trap-tinged breakup song “Corashe.”The word was her own twist on the Spanish word “coraje”: “courage.” And she bent its syllables because the standard word was “boring,” she said. “Coraje is different to say from corashe,” she explained. “The way the word inserts in your mind is different. Like when you play an electric guitar, it is different from a classical guitar. ‘Corashe’ doesn’t exist in a language but it’s a good sound.”The song was taken up as an empowerment anthem. “I wrote ‘Corashe,’ and then the feminism came to me,” Peluso said. “When I was in Argentina singing ‘Corashe,’ the girls were crying, like ‘Ahhhh,’ like this is a movement. It means a lot to me. I feel like I was the channel for something important that needed to be said.”The song carried Peluso to tours, to a second EP (“La Sandunguera”) and to a contract with a major label (Sony), along with fashion deals including an Adidas endorsement. Working with Arcaute, Peluso assembled “Calambre” in Spain, Miami, Los Angeles and Argentina, often working remotely before and during the pandemic. They enlisted far-flung collaborators like the hip-hop producer Illmind, the Puerto Rican salsa mainstay Ramón Sánchez and the horn-section arranger Michael B. Nelson, who often worked with Prince.But Peluso recorded “Buenos Aires” with the musicians who had backed the beloved Argentine rock songwriter Luis Alberto Spinetta, who died in 2012, at the Buenos Aires studio he had used for many years. Arcaute, who had also been in Spinetta’s band, said the musicians were returning to that studio for the first time. “It was a really special session, super-emotional,” he recalled.The album concludes with another Argentine connection: “Agárrate,” which starts as a mournful tango-bolero — complete with a bandoneon, the definitive tango accordion — before suddenly shifting gears into aggressive hip-hop. It leaps from heartache to revenge.“I really need to inspire the girls,” Peluso said. “Like, OK, we are broken now. You can be broken and you can share everything. Being broken, it is learning, you can be inspired. And then you’ve got to know that we are going pa’lante. We are going forward.” More