logo
New Music Friday: Miley Cyrus, Snow Wife, Elton John

New Music Friday: Miley Cyrus, Snow Wife, Elton John

Yahoo05-04-2025

Karwai Tang/WireImage;for TIME; Axelle/Bauer-Griffin/FilmMagic)
New Music Friday listicle including singers Miley Cyrus, Elton John, Snow Wife
It's Friday, and we have a new batch of fresh tunes for your earholes!
The pop girls clocked in! Miley Cyrus returns with an escapist anthem on "End of the World," Snow Wife is our latest rave queen on "Bodyology," Ciara finds "Ecstasy," Kalena Zanders wants you to "Promise We'll Live Again," and Haim releases one of their favorite songs they've ever written!
Meanwhile, R&B star Khalid teams up with Rudimental for a new EDM banger, Between Friends has made friends with the "DJ," and Destin Conrad and Teezo Touchdown team up for their sensual new track.
And did we mention that Elton John and Brandi Carlile's long-awaited joint album has finally arrived?
Scroll through to listen to this week's best new bops, and follow this writer's on Spotify.
www.youtube.com
- YouTube
Miley's back, and ready to pretend it's not the end of the world on this escapism anthem.
www.youtube.com
- YouTube
Khalid joins Rudimental on their new EDM track "All I Know."
www.youtube.com
- YouTube
R&B is alive and well on Destin Conrad and Teezo Touchdown's gorgeous new track.
www.youtube.com
- YouTube
Snow Wife kicks off her new era with this dancefloor-ready banger that we can't wait to hear at the club.
www.youtube.com
- YouTube
Join Between Friends at the favorite place: the dance floor.
www.youtube.com
- YouTube
Ready to dance? Kaleena Zanders delivers the vocals and the drops on her uplifiting new track.
www.youtube.com
- YouTube
Perfume Genius performs "It's a Mirror" live on the The Tonight Show Starring Jimmy Fallon.
www.youtube.com
- YouTube
Who Believes In Angels?, the collaborative album from Grammy winners Elton John and Brandi Carlile, is out now and boasts this joyous ode to rock and roll icon Little Richard.
www.youtube.com
- YouTube
Escape into Dreamer Isioma's world on the visually stunning music video for "I Am Going Through Hell (Bittersweet)."
www.youtube.com
- YouTube
Alex Champan and Tommy Geneis want to see you "Slip & Slide" on this high BMP banger.
www.youtube.com
- YouTube
Pop/R&B legend Ciara gets grown and sexy on her stunning mid-temp track "Ecstasy."
www.youtube.com
- YouTube
PinkPanteress brings the vibes to the dancefloor on "Tonight."
www.youtube.com
- YouTube
People pleasers unite! Haim's latest is about figuring out what you want after getting lost in the noise.
Taylor Henderson is a music contributor to Out magazine. Be sure to follow 'the alphabet mafia' playlist on Spotify!

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Minister says AI ‘does lie' but defends Government amid copyright row
Minister says AI ‘does lie' but defends Government amid copyright row

Yahoo

time10 hours ago

  • Yahoo

Minister says AI ‘does lie' but defends Government amid copyright row

The Technology Secretary has said that AI 'does lie' but defended his rejection of attempts to strengthen copyright protections amid concerns about tech firms using creatives' material to train their models. Peter Kyle acknowledged the technology was 'not flawless' as he insisted the Government would 'never sell downstream' the rights of artists in the UK. He also said he had 'mistakenly' said his preferred option on AI and copyright was requiring rights-holders to 'opt out' of their material being used by tech companies, and had since 'gone back to the drawing board'. Ministers have faced a backlash from major figures in the creative industries over their approach to copyright, with Sir Elton John this week describing the situation as an 'existential issue.' The Government is locked in a standoff with the House of Lords, which has demanded artists to be offered immediate copyright protection as an amendment to the Data (Use and Access) Bill. Peers have attempted to change the legislation by adding a commitment to introduce transparency requirements aimed at ensuring rights-holders are able to see when their work has been used and by whom. Asked about the risk of AI producing unreliable information, Mr Kyle said 'people need to understand that AI is not flawless, and that AI does lie because it's based on human characteristics'. 'Now it is getting more precise as we move forward. It's getting more powerful as we move forward,' he told Sky News's Sunday Morning With Trevor Phillips. 'But as with every single technology that comes into society, you can only safely use it and wisely use it by understanding how it works.' He added: 'We are going to legislate for AI going forward and we're going to balance it with the same legislation that we'll bring in to modernise the copyright legislation as well.' The Government has said it will address copyright issues as a whole after the more than 11,500 responses to its consultation on the impact of AI have been reviewed, rather than in what it has branded 'piecemeal' legislation. Among the proposals had been a suggestion that tech companies could be given free access to British music, films, books in order to train AI models without permission or payment, with artists required to 'opt-out' if they do not want their work to be used. Asked about the prospect of an opt-out clause, Mr Kyle told the BBC's Sunday With Laura Kuenssberg programme: 'I always had on the table from the outset an opt-out clause. 'But I mistakenly said this was my preferred option that had more prominence than perhaps some of the creatives wanted it to have, and I've now sort of gone back to the drawing board on that, because I am listening to what people want.' Last month hundreds of stars including Sir Elton, Sir Paul McCartney and Kate Bush signed a joint letter to Sir Keir Starmer urging the Prime Minister to introduce safeguards against work being plundered for free.

50 Years Ago, Elton John Became First Artist to Enter Billboard 200 at No. 1 – Just How ‘Fantastic' Was the Feat?
50 Years Ago, Elton John Became First Artist to Enter Billboard 200 at No. 1 – Just How ‘Fantastic' Was the Feat?

Yahoo

time2 days ago

  • Yahoo

50 Years Ago, Elton John Became First Artist to Enter Billboard 200 at No. 1 – Just How ‘Fantastic' Was the Feat?

Fifty years ago, in the Billboard issue dated June 7, 1975, Elton John did something no one had ever done before: He entered the Billboard 200 at No. 1. He achieved the feat with his ninth studio album, Captain Fantastic and the Brown Dirt Cowboy. The album dislodged Earth, Wind & Fire's That's the Way of the World, which had spent the three previous weeks at No. 1. It was potent enough to hold Wings' Venus and Mars – the band's follow-up to its classic album Band on the Run – to the No. 2 spot for four consecutive weeks before Wings finally moved up to No. 1 for one week. More from Billboard Elton John's 'Yellow Brick Road' Journey in Billboard's Back Pages: From 'Silly' Upstart to Undeniable Icon Queens of the Stone Age Couldn't 'Over-Rehearse' for Paris Catacombs Concert Film: 'You Go Down There & All the Plans Are Off' Billboard & Global Venture Partners Launch Billboard Africa In the nearly two decades between the introduction of the Billboard 200 in March 1956 and Captain Fantastic's history-making accomplishment, the highest any album had entered the Billboard 200 was No. 2. Van Cliburn's Tchaikovsky: Piano Concerto No. 1 debuted in the runner-up spot in the issue dated Aug. 4, 1958 (which, coincidentally, was the same week the Hot 100 debuted, with Ricky Nelson's 'Poor Little Fool' as the inaugural leader). How was a classical album able to get off to such a fast start? Cliburn had achieved global fame when he won the inaugural International Tchaikovsky Competition in Moscow in 1958 near the height of the Cold War. A cover story in TIME (May 19, 1958) proclaimed him 'The Texan Who Conquered Russia.' His album topped the Billboard 200 for seven weeks, won a Grammy for best classical performance – instrumentalist and received an album of the year nod. Since the Cliburn album was a little far afield, let's go deeper. The highest that a contemporary pop or rock album had debuted prior to Captain Fantastic was No. 3. That was the debut position for The Beatles' Hey Jude (March 21, 1970) and a pair of Led Zeppelin albums: Led Zeppelin III (Oct. 24, 1970) and Physical Graffiti (March 15, 1975). Three more contemporary pop or rock albums had debuted in the top five prior to Captain Fantastic: the Woodstock soundtrack (No. 4, June 6, 1970), George Harrison's All Things Must Pass (No. 5, Dec. 19, 1970) and Elton's previous studio album Caribou (No. 5, July 6, 1974). Captain Fantastic was Elton's sixth No. 1 album in less than three years. His 1972 album Honky Chateau reached No. 1 in its fifth chart week. A pair of 1973 albums – Don't Shoot Me I'm Only the Piano Player and Goodbye Yellow Brick Road – both reached No. 1 in their fourth weeks. A pair of 1974 albums – Caribou and Greatest Hits – both reached the top spot in their second weeks. Elton was steadily getting hotter year-by-year, as you can see. Captain Fantastic's debut at No. 1 received considerable media attention and contributed to Elton's status as the Greatest Pop Star of the Year – years before Billboard officially recognized such a thing. In calendar year 1975, Elton had three No. 1 albums on the Billboard 200 (one a carryover from 1974) and three No. 1 singles on the Billboard Hot 100 (plus an uncredited, but prominent, featured role on a fourth – Neil Sedaka's 'Bad Blood'); had a cameo as The Pinball Wizard in the hit movie adaptation of The Who's Tommy; made the cover of TIME (the inevitable cover line: 'Rock's Captain Fantastic'); and became the first artist since The Beatles to play a concert (two, actually) at Dodger Stadium. Since Elton's through-the-roof 1975, we've seen such artists as the Bee Gees (1978), Michael Jackson (1983-84) and Taylor Swift (2023-24) experience this same 'how-much-hotter-can-they-get' phenomenon. Captain Fantastic was a loosely autobiographical concept album about the struggles that John (Captain Fantastic) and his longtime lyricist Bernie Taupin (the Brown Dirt Cowboy) experienced in the early years of their careers in London from 1967 to 1969, leading up to John's eventual breakthrough in 1970. Captain Fantastic spent its first six weeks at No. 1 before yielding the top spot to Wings' Venus and Mars and then Eagles' One of These Nights (which had five weeks on top). In late August, Captain Fantastic returned for a seventh week at No. 1. Only two other John albums ever logged seven or more weeks at No. 1: Goodbye Yellow Brick Road (eight weeks on top in 1973) and Greatest Hits (10 weeks on top in 1974-75). Captain Fantastic received two Grammy nominations: album of the year (John's third in that category, following Elton John and Caribou) and best pop vocal performance, male. He lost both awards to Paul Simon for Still Crazy After All These Years. (Fun Fact: Simon had also won album of the year, in tandem with Art Garfunkel, for Bridge Over Troubled Water five years earlier, when the Elton John album was nominated.) Gus Dudgeon, who produced John's album, received a Grammy nod for producer of the year, non-classical. (He lost to Arif Mardin.) Just one single was released from Captain Fantastic: 'Someone Saved My Life Tonight.' Despite its length and somber tone, the song reached No. 4 on the Hot 100, a reflection of Elton's popularity at the time. Clocking in at 6:45, 'Someone Saved' was the longest song to crack the top five on the Hot 100 since The Temptations' symphonic soul smash 'Papa Was a Rollin' Stone' (6:53), a No. 1 hit in December 1972. Of course, even though just one single was released from Captain Fantastic, Elton was blanketing pop radio at the time. The week Captain Fantastic debuted, John's previous single, the marvelous, disco-accented 'Philadelphia Freedom,' rebounded to No. 10 on the Hot 100, having reached No. 1 in April. And though it was never released as a single, John's rendition of 'Pinball Wizard' from the Tommy soundtrack was played on many pop radio stations with the frequency of a hit single. The Billboard staff included three songs from Captain Fantastic on its 2022 list of the 75 Best Elton John Songs, timed to coincide with the star's 75th birthday. 'Tower of Babel' ranked No. 73, 'Curtains' was No. 29, and 'Someone Saved' was way up at No. 3, with Billboard's Melinda Newman saying of the latter song, 'The song has more drama than a made-for-Lifetime movie, including allusions to John's first suicide attempt in 1968. With a heavy, slow, and instantly unforgettable piano-pounding melody that matches the theatrical storytelling … 'Someone' is like slowly walking through molasses in the best possible way, Sugar Bear.' In November 1975, just five months after Captain Fantastic became the first album to debut at No. 1, Elton's follow-up album, Rock of the Westies, became the second. Unlike Captain Fantastic, Rock was led by a highly commercial single, the zesty funk-reggae smash 'Island Girl,' which topped the Hot 100 for three weeks. In October 1976, Stevie Wonder's Songs in the Key of Life became the third album to debut at No. 1. No other albums debuted in the top spot for a little more than a decade, until Bruce Springsteen & the E Street Band's Live/1975-85 achieved the feat in November 1986. The following year, Whitney Houston and Michael Jackson started on top with their hit-laden albums Whitney and Bad, respectively. In May 1991, Billboard began compiling the Billboard 200 based on actual units sold. As a result, No. 1 debuts became much more common. Between June and December 1991, seven albums entered the chart at No. 1 – slightly more than the six albums that had achieved the feat over the previous 16 years. (Since December 2014, the chart has ranked titles by equivalent album units, incorporating streaming and sales, with albums continuing to regularly soar in at No. 1.) In 2006, John recorded a sequel of sorts to Captain Fantastic. That album, The Captain & the Kid, reached No. 18 on the Billboard 200. Two songs from Captain Fantastic were featured on the 2018 tribute album, Revamp: Reimagining the Songs of Elton John & Bernie Taupin. Mumford and Sons covered 'Someone Saved My Life Tonight.' Coldplay took on 'We All Fall in Love Sometimes.' That album reached No. 13 on the Billboard 200. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Four Decades of 'Madonna': A Look Back at the Queen of Pop's Debut Album on the Charts Chart Rewind: In 1990, Madonna Was in 'Vogue' Atop the Hot 100

Diddy's Ex 'Jane' Claims He Forced Her To 'Finish Strong' After Three-Day, Drug-Fuelled Sex Sessions
Diddy's Ex 'Jane' Claims He Forced Her To 'Finish Strong' After Three-Day, Drug-Fuelled Sex Sessions

Yahoo

time2 days ago

  • Yahoo

Diddy's Ex 'Jane' Claims He Forced Her To 'Finish Strong' After Three-Day, Drug-Fuelled Sex Sessions

Sean "Diddy" Combs' alleged victim has given more details about some of the sexual encounters she had with the embattled rapper. Testifying under the pseudonym "Jane," the woman claimed that Diddy often pressured her to "finish strong" during their sexual encounters and allegedly gave her Ecstasy to keep her awake during "freak offs" that lasted multiple days. She stated that their relationship lasted from 2021 until his arrest in December. During that time, she not only participated in Diddy's so-called "freak offs" but also regularly cooked for him. In the ongoing trial against Diddy, another alleged victim revealed that he always wanted to maintain high intensity during his infamous "freak offs." Whenever she told him she was tired, she claimed he would respond with, "You're not getting tired on me, are you?" before saying, "Let's finish strong," and giving her Ecstasy to keep her from falling asleep. Sometimes these encounters would last more than 24 hours, with one allegedly going on for as long as three and a half days, according to the victim. They reportedly also involved multiple "rounds," some including Diddy himself and others involving his hired male escorts while he watched, directed them, and m-sturbated. Jane also testified that after the drug-fueled marathon sex sessions ended, she would often go to Diddy's house with him. There, she engaged in domestic activities such as cooking for him, making sure he showered, giving him massages when needed, and turning on his favorite TV show. Previously, Jane told jurors that she met the music mogul in late 2020. At the time, she was on a girls' trip with a friend who was in a relationship with the rapper, per People Magazine. After linking up, the duo reportedly had a first date in January 2021, and months later, Diddy began speaking to her about his wild sexual fantasies. Eventually, she agreed to engage in the rapper's requests and claimed that when she had sex with another man while Diddy watched for the first time, she was "super nervous" during the encounter. According to Jane, she initially felt exhilarated afterward but soon regretted it, as it triggered more similar scenarios, which the rapper allegedly called "hotel nights." In return for participating in these encounters, Combs reportedly paid Jane's $10,000 monthly rent. She claimed he held this over her whenever she refused to take part in the "hotel nights." Many of the encounters Jane described with Diddy shared strong similarities with what the rapper's ex, Cassandra "Cassie" Ventura, testified to during her time on the stand. Jane claimed that Diddy referred to their encounters as "hotel nights" or "debauchery," while Cassie testified that he called them "freak offs," a now-infamous label for the drug-fueled sexual encounters the rapper is accused of engaging in with his female victims. Jane had also revealed that she and Diddy gave each other nicknames. She called him Ernie while she was Bert, referencing the popular "Sesame Street" characters. Similarly, Diddy had also requested a nickname from Cassie, compelling her to call him "Pop Pop," a name she had previously used only for her grandfather. "He wanted me to have a nickname for him," Cassie said when she took the stand during the early days of the trial, per Page Six. "He asked me what I called my grandfather, and I said I called him Pop Pop." During her testimony, Cassie also claimed that their arguments didn't cause most of the violence Diddy inflicted on her. She alleged that sometimes he hit her simply for having the "wrong" facial expression, and in those moments, he became a "different person." "I also felt at certain times … I knew it wasn't even about me … [I would] make the wrong face and the next thing I knew I was getting hit in the face," Cassie said. Additionally, Cassie claimed that she continued to engage in the "freak offs" with Diddy because of her love for him, unlike Jane, whose continued involvement was reportedly due to the rapper's financial control over her. "I was in love and I just wanted to make him happy," said Ventura during her testimony. "It basically entails the hiring of an escort and setting up this experience so that I could perform for Sean." Diddy is facing two counts of sex trafficking by force, fraud, or coercion, two counts of transportation to engage in prostitution, and one count of racketeering. The rapper has pleaded not guilty to all charges and reportedly rejected a plea deal ahead of the trial. If convicted of the sex trafficking charges, he could face a minimum sentence of 15 years. For the transportation to engage in prostitution charges, he faces up to 10 years in prison. As for the racketeering charge, he could face life in prison. However, sources have suggested that the rapper may beat the charge as the actions leading to the racketeering count only reflected that of a "crazed, criminal, jealous boyfriend" acting out.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store