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Kevin Jonas Recalls ‘Losing Almost All' of His Money After the Jonas Brothers Broke Up
Kevin Jonas Recalls ‘Losing Almost All' of His Money After the Jonas Brothers Broke Up

Yahoo

time9 hours ago

  • Entertainment
  • Yahoo

Kevin Jonas Recalls ‘Losing Almost All' of His Money After the Jonas Brothers Broke Up

Kevin Jonas recently got candid about a topic that's usually taboo: money. While appearing with brothers Joe and Nick on the Wednesday (July 9) episode of School of Greatness, the guitarist opened up about struggling with his finances after the Jonas Brothers went their separate ways in 2013. The band would eventually reunite six years later, but during the siblings' professional time apart, Kevin says he lost money as a result of some 'bad business deals.' More from Billboard Joe Jonas Praises Sophie Turner, Says They Have a 'Great Coparenting Relationship' Following Divorce 'Pride & Prejudice' Film Soundtrack Bewitches the Charts With 20th-Anniversary Vinyl Reissue Fred again.. Releases 'Victory Lap' Remix Featuring Denzel Curry 'I've seen it both ways,' the oldest Jo Bro told podcast host Lewis Howes during a discussion on wealth. 'I've seen the beginning of the success, to financial success — not knowing what money really was and understanding it — to not having [it], to losing almost all of it.' When asked whether he'd really lost most of his funds, Kevin clarified, 'most of it, down to the one 10 percent left.' 'About nine years ago, I invested in a bunch of property and doing other things, and I was building at the time,' he added. 'Sadly, it wasn't the right partnership. I've learned a lot of lessons in that. Thankfully … we had a second shot and bite at the apple with the band coming back together.' The Jonas Brothers first started making music together as teenagers, earning fame thanks to their projects with Disney Channel and Billboard 200-topping albums A Little Bit Longer and Lines, Vines and Trying Times. When disagreements over the band's direction and general burnout started to divide the brothers — something they opened up about in their 2019 Billboard cover story — they disbanded around 2013. As Kevin mentioned, a second chance rolled around six years later, when the trio decided to give band life another shot after each pursuing solo projects. Their reunion was an immediate success, with single 'Sucker' becoming their first-ever No. 1 on the Billboard Hot 100 in March 2019. But before they could get back together, Joe says they each had to figure out how to check their egos at the door. 'There was too much under the rug,' he said on the podcast. 'We had to trust each other more with being like, 'Actually, you are good in this band, you are talented.'' And despite some fans labeling him as the band's 'frontman' early on, Joe also said that each of the brothers had to come to the following realization: 'We could all share the spotlight, we could all share the studio, we could all share the songwriting, we could all share the money.' Watch the Jonas Brothers' full in interview on School of Greatness above. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart Solve the daily Crossword

Justin Bieber Is Here to Save a Summer of Strangeness
Justin Bieber Is Here to Save a Summer of Strangeness

Atlantic

time3 days ago

  • Entertainment
  • Atlantic

Justin Bieber Is Here to Save a Summer of Strangeness

Can this really be the song of the summer? For seven weeks now, the most popular tune in the country has been Alex Warren's 'Ordinary'—a solemn ballad that has all of the warm-weather appropriateness of a fur coat. Ideally, the song of the summer is a buoyant one, giving you a beat to bob a flamingo floatie to. 'Ordinary,' instead, is made for stomping, moping, and forgetting. The top reaches of the Billboard Hot 100 have otherwise mostly been stale and flukey, filled with songs that were popular last summer (Teddy Swims's 'Lose Control'), replacement-level efforts by the streaming behemoths Drake and Morgan Wallen, and tie-ins from the Netflix cartoon show KPop Demon Hunters. Then, just last week, a welcome bit of warmth and novelty emerged at No. 2—'Daisies' by Justin Bieber, the unlikely emblem of our obviously fragile national mood. Perhaps you aren't inclined to check out new music by a formerly chirpy child star who lately has been best known for his surreal interactions with paparazzi. But earlier this month, the 31-year-old Bieber suddenly released a new album, Swag, that made headlines for being rather good. Not 'good for Bieber'; good for a modern pop release. Swag filled a void in the summer-listening landscape by meeting listeners where they so clearly seem to be—less in need of a party-fueling energy drink than a soothing slather of aloe. The album is Bieber's first since parting ways with manager Scooter Braun, the record-business kingpin who recently seemed to suffer a catastrophic collapse in support from the celebrity class. The music departs from the pert poppiness of Bieber's past to indulge the singer's well-documented fascination with hip-hop and R&B. In one interlude, the comedian Druski tells Bieber 'your soul is Black'; the assertion is cringey, but the album's music is significantly more subtle than that. Bieber never really raps. Rather, he uses his ever-yearning, creamy-soft voice to do what great rappers and R&B singers often do: find a pocket within a beat, and then let emotions be his guide. What's really fascinating about the album, though, is that it sounds like it's wrapped in gauze. The production is aqueous and rippling, rather than shiny and laminated as one might expect from Bieber. Swag is heavily influenced by the indie producer-artists Dijon (who collaborated on a few of the album's songs) and (a producer on 'Daisies'). They have risen to prominence by swirling bygone rock and pop signifiers into a comforting yet complex stew of sound. Swag 's songs similarly hit the listener with a sense of gentle intrigue, like a minor recovered memory. The instant hit 'Daisies' exemplifies the approach. Its twanging guitars and pounding drums scan as countrified classic rock, but every element seems muffled, as if emanating from an iPhone lost in a couch. The verses steadily build energy and excitement—but then disperse in a gentle puff of feeling. In a lullaby whisper, Bieber sings of pining for his girl and sticking with her through good times and bad. 'Hold on, hold on,' goes one refrain: a statement of desire for safety and stability, not passion and heat. But my personal song-of-the-summer nomination would be Swag 's opening track, 'All I Can Take.' It opens in a tenor of pure cheese, with keyboard tones that were last fashionable when Steve Winwood and Boyz II Men were soundtracking school dances. A lightly pumping beat comes to the fore, setting the stage for a parade of different-sounding Biebers to perform. In one moment, he's a panting Michael Jackson impersonator. In another, he's an electronically distorted hyperpop sprite. The song is serene, and pretty, and ever so sad—yet it's also wiggling with details that suggest there's more to the story than initially meets the ear. The lyrics thread together sex talk with hints of stresses that must be escaped; 'It's all I can take in this moment,' Bieber sings, hinting at a burnout whose cause the listener is left to imagine. Swag 's approach—downtempo yet bustling, melancholic yet awake—is on trend emotionally as much as it is musically. Though the year has brought no shortage of bright, upbeat pop albums from the likes of Lady Gaga and Kesha, the music that's sticking around has a reserved, simmering quality. The biggest Wallen song of the moment is 'What I Want,' a collaboration with the whisper-singing diva Tate McRae; it builds suspense for a full minute before any percussion enters. One rising hit, Ravyn Lenae's 'Love Me Not,' has a neo-soul arrangement that fidgets enough to keep the ear occupied without demanding active attention. A dreary technological reason probably explains why this kind of music is popular: Streaming rewards background fare more than it rewards jolting dynamism. But even looking at my own recent playlists, downtempo seems in. The best song by Addison Rae, the TikTok phenom turned pop mastermind, is 'Headphones On,' a chill-out track laden with tolling bells and jazz keyboards. I have kept returning to the album Choke Enough by Oklou, a French singer who makes electronic pop that's so skeletal and frail-seeming, you worry you're despoiling the songs merely by listening to them. Other recent highlights: the mumbled and dreamy indie rock of Alex G's Headlights, the depressive easy listening of Haim's I quit, and 'Shapeshifter,' the wintry-sounding standout from Lorde's Virgin. It's hard to avoid psychoanalyzing this season's musical offerings and concluding that the culture is suffering from malaise, or at least a hangover. After all, just a year ago we had ' Brat summer,' named for the hedonistic Charli XCX album. The songs of that summer were irrepressible: Sabrina Carpenter's sarcastic 'Espresso,' Kendrick Lamar's taunting 'Not Like Us,' and Shaboozey's thumping 'A Bar Song (Tipsy).' But this year, Charli XCX's biggest song is 'Party 4 U'—a pandemic-doldrums ballad released in 2020 that recently blew up thanks to a TikTok trend of people sharing emo stories about their lives. The track captures a bleary feeling of trying to have fun but getting pulled into melancholy. That's a feeling lots of Americans surely can relate to. Every era brings its own reasons to fret about the state of the world, but the headline-news topics of late—wars, deportations, layoffs—are upending lives in profound ways at mass scale. Swag isn't about any of that, but great pop always works to make small and personal emotions echo broad, communal ones. Bieber's highly publicized experiences navigating mental health, drug use, and physical maladies have long served up a cautionary tale about life in the internet era. In the months leading up to Swag 's release, he posted angry, inscrutable messages online and confronted reporters on the streets. Pundits have taken to asking Is he okay? The cooling, noncommittal, lightly distressed sound of Swag is an answer of sorts. Like many of us, he's doing as well as can be, given the circumstances.

Chuck Mangione, Grammy-Winning Musician, Passes Away At 84
Chuck Mangione, Grammy-Winning Musician, Passes Away At 84

News18

time4 days ago

  • Entertainment
  • News18

Chuck Mangione, Grammy-Winning Musician, Passes Away At 84

Grammy-winning musician Chuck Mangione, known for 'Feels So Good' and his role on King of the Hill, passed away at 84 in Rochester, NY. Chuck Mangione, the celebrated jazz musician and composer whose smooth sound became a signature of 1970s and '80s instrumental music, has passed away at the age of 84. Mangione died peacefully in his sleep at his home in Rochester on Tuesday, confirmed his attorney Peter S. Matorin of Beldock Levine & Hoffman LLP. The two-time Grammy winner had retired from music in 2015. A gifted flugelhorn and trumpet player, Mangione rose to worldwide fame with his 1977 single Feels So Good, a breezy, jazz-infused melody that became a crossover sensation. The track climbed to No. 4 on the Billboard Hot 100 and topped the adult contemporary chart. It remains a staple of smooth jazz radio stations to this day. 'It identified for a lot of people a song with an artist, even though I had a pretty strong base audience that kept us out there touring as often as we wanted to, that song just topped out there and took it to a whole other level," Mangione said in a 2008 interview with the Pittsburgh Post-Gazette. Mangione's influence extended beyond the charts. His composition Give It All You Got was commissioned for the 1980 Winter Olympics in Lake Placid, where he also performed the piece during the closing ceremony. He recorded over 30 albums, earning widespread acclaim for his original writing and performance style. His 1977 album Bellavia, named after his mother, earned him his first Grammy Award. He received another Grammy and a Golden Globe nomination for the score of The Children of Sanchez, while Friends and Love also earned Grammy recognition. Mangione later introduced himself to a younger audience through voice work on the animated series King of the Hill, where he played a fictional version of himself, appearing as the spokesperson for Mega Lo Mart, often joking, 'shopping feels so good." He began his career in bebop jazz, heavily influenced by Dizzy Gillespie, and performed with Art Blakey and the Jazz Messengers after graduating from Eastman School of Music. He later returned to Eastman to lead its jazz ensemble. In 2009, Mangione donated his trademark brown felt hat and memorabilia, including the score for Feels So Good, to the Smithsonian's National Museum of American History. May his soul rest in peace! (With inputs from AP) First Published: July 26, 2025, 07:49 IST Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.

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