Latest news with #Jukebox
Time of India
22-05-2025
- Business
- Time of India
New Schedule 1 feature teased: What to expect with the upcoming update
(Image via YouTube/Schedule 1) Schedule 1, the drug-dealing first person sim game, is getting another game-changing feature with its upcoming update. Teased by the developer, the feature is slated for beta testing soon. While the details are still emerging, the addition of the feature can refine the gameplay by refining how the players manage the illicit operations. Here is all we know about the tweak that promises better control over the storage while hinting at a smarter and much more efficient experience in the gameplay. New Schedule 1 feature complete details The next update is about to introduce the new filter system for the employee lockers. With it, the players will be now able to create the whitelists or the blacklists, specifying clearly which items and the quality level are allowed in each of the storage slots. This means there will be no more accidental stashing of low-tier meds right next to premium products. It is definitely a win for the organizers. This feature even addresses the long-standing player requests for better inventory control, thereby ensuring the replacement of the clunky beds with multifunctional, compact lockers. Schedule 1 Update Drops Soon - Here's EVERYTHING Coming The Schedule 1 beta testing for features will kick off between May 23 and May 24, 2025. It will be accessible through Steam. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Switch to UnionBank Rewards Card UnionBank Credit Card Apply Now Undo Beyond the storage fixes, the update even gives priority to space optimization with the option to replace beds with lockers, addressing the long-standing complaints of wasted space. The lockers occupy less space than the beds. So, free up the room for the production line or décor. The sneak peek by Tyler even hints at future categorization tools, like route-specific filters, for handlers, thereby suggesting that deep management layers will come up. What more is coming alongside storage fixes? While the Schedule 1 locker system filters are stealing the spotlight, the roadmap of Schedule 1 teases a broad level of customization. The planned Schedule 1 new features include property remodeling and product bundles. It will allow the players to tailor the facilities to the strategies. The Management Item Filter will even allow further refinement of the workflows, ensuring restrictions on the stations or the racks—perfectly ideal to minimize the bottlenecks in busy factories. Despite the excitement, some fans have criticized the pace of the update. The players accused Tyler of sluggish development while urging him to expand the team. Despite this, the developer is focused and is sticking to the original timeline for the full release in 2025. While the complaints continue to linger, consistently rolled-out Schedule 1 new features like the Storage Unit and the Jukebox show progress despite it not being as fast as some might demand. The updates of Schedule 1 might feel gradual, but every tweak ensures that the addictive management hoop of the game is refined. The locker filters altogether can revolutionize the organization of operations. So, for anyone eager to test the changes, the beta will offer you an early look. Just do not forget to report any found bugs—community feedback is valuable to Tyler for polishing the update to perfection. Get IPL 2025 match schedules , squads , points table , and live scores for CSK , MI , RCB , KKR , SRH , LSG , DC , GT , PBKS , and RR . Check the latest IPL Orange Cap and Purple Cap standings.
Yahoo
08-04-2025
- Entertainment
- Yahoo
Family-friendly festival to be held at rugby club next month
A new family-friendly festival will take place in Bingley this May. Jukebox Festival will come to Bradford and Bingley Rugby Club on Saturday, May 3 and Sunday, May 4 this year - featuring tribute acts to artists including AC/DC, Oasis, Bon Jovi, Kasabian, Blondie, Adele, Queen, and Robbie Williams. Adult tickets start at £25 and under-5s go free. Alongside the music, there will be kids' activities, bars, stalls, attractions, and a range of food vendors. Camping will also be available. Glen Shaw, chairman of Bradford and Bingley Rugby Club, said: "We have a long history of hosting great events over the years, and we are delighted to host the first ever Jukebox Festival. "The team behind Jukebox have run lots of huge festivals across the country and we are excited to work with them on Jukebox Festival and hopefully more events in the future." Tickets are on sale now at
Yahoo
05-03-2025
- Entertainment
- Yahoo
Hailey Kilgore's Most Stylish Moments In ‘Power Book III: Raising Kanan'
Hailey Kilgore delivers an acclaimed performance as Laverne 'Jukebox' Thomas in Power Book III: Raising Kanan, a role that provides a deep dive into the backstory of a character who would eventually become a heartless killer in the original Power series. While Jukebox's tragic fate was already known to Power fans, Raising Kanan explores her complex transformation, particularly her bond with Kanan Stark and her journey from a young, vulnerable girl to a ruthless figure in the drug world. Her arc on Raising Kanan is both heartbreaking and compelling, giving fans a fresh perspective on the character they thought they knew. Jukebox's fashion is just as striking as her evolution. Reflecting the '90s era, she often sports fresh Ralph Lauren pieces, encapsulating the look of the around-the-way girl with her bold, street-savvy style. Whether she's rocking oversized jackets or layering colorful accessories, her wardrobe serves as an extension of her tough yet emotional character. Kilgore brings depth and authenticity to Jukebox, making her one of the most captivating characters on the show, even knowing her ultimate fate. VIBE highlights Hailey Kilgore's most stylish looks on Power Book III: Raising Kanan that embody '90s street fashion. More from Kanye West Says He Has A "John Wick Vendetta" Against The Fashion Industry 'Power' Creator Courtney Kemp Reveals Which 3 Characters She Wishes She Didn't Kill Off Naturi Naughton Defends Omari Hardwick After 50 Cent Says Actor "Overvalues Himself"
New York Times
18-02-2025
- Entertainment
- New York Times
The Women Who Are Reinventing R&B
THE R&B SINGER-SONGWRITER Muni Long has a voice that people say could sing the dictionary and they'd still listen. In 2007, as a teen growing up in Gifford, Fla., she put that claim to the test, recording a five-minute YouTube clip in which she sings from Webster's II New Riverside Dictionary ('aardvark, aardwolf, Aaron …') to the tune of Fergie's 'Glamorous' (2006). That playful stunt, along with a handful of covers, caught the attention of Capitol Records. Under her given name, Priscilla Renea, she recorded her 2009 debut, 'Jukebox,' an album of pop originals that earned good reviews but modest sales. By her 22nd birthday, she no longer had a record deal. Reinventing herself as a songwriter, she spent the next decade building a chameleonic career, writing the 2013 global hit 'Timber' for Pitbull and Kesha, as well as songs for Miranda Lambert, Rihanna, Madonna, Sabrina Carpenter and dozens of others. But Long never gave up on her own voice. In 2018, she released a slept-on country album. Then, a couple of years later, she found her way to R&B. 'I think it was the only genre I hadn't explored,' says the artist, now 36. She devised a new stage name: Muni, from the Sanskrit for 'sage,' a seeker of self-knowledge, filtered through a line from the rapper 2 Chainz's 2012 song 'I'm Different' — 'hair long, money long.' That juxtaposition of spirituality and the streets animates the two albums that she's released under her chosen name: 'Public Display of Affection: The Album' (2022) and 'Revenge' (2024). On songs like 2021's 'Hrs & Hrs,' her breakout hit, and 2023's 'Made for Me,' Long sings about love, sex and heartache with a passion reminiscent of 1990s slow jams. 'R&B hasn't been at the forefront in over 20 years,' she says. Now's the time to 'help mold a new era.' That new R&B era is here, with women artists leading the way. Born between the late 1980s and the early 2000s, this generation of artists came of age when the music's stars needed no last name: Whitney and Mariah, Brandy and Monica, Aaliyah and Beyoncé, all chart-topping performers with gifted, even generational, voices who steered R&B through a period defined by male-dominated rap. Today's stars — SZA and Summer Walker, Normani and Arlo Parks, Raye and Tems, to name just a few, along with the women photographed here — are defying industry formats and fans' expectations. Some are reviving R&B's gospel roots, while others are claiming new sonic territory by hybridizing with hip-hop, curating global rhythms and securing the genre's rightful claim to pop. 'R&B is pop music,' Long says — a necessary reminder, given that the music industry has co-opted R&B's most appealing qualities while relegating the genre itself to the margins. 'They took the sounds and they took the swag and they made it mainstream,' she adds. As a consequence, some of R&B's brightest stars deny the label for fear that it might restrict their audience or, worse, suggest capitulation to de facto racial segregation. 'Any music I do will easily and quickly be categorized as R&B because I'm a Black woman,' the 26-year-old singer and actress Chlöe Bailey told Nylon last year. Listen to her sophomore album, 'Trouble in Paradise' (2024), and you'll hear shimmering pop production, booming hip-hop bass lines and the syncopated log drums of Afrobeats. Above all, though, you'll hear her powerful voice, heir to a distinct tradition that she's hesitant to claim. However, this resurgent moment in R&B may also be time for a reclamation. It doesn't have to be 'a punishment [for me] to be labeled R&B, because I understand what it is,' Long says. 'It's swag; it's sexy. It's the essence of who I am.' For others, it remains complicated. 'It's almost a reluctant badge of honor,' the Toronto-born singer-songwriter Jessie Reyez says. The hesitancy, she explains, comes from reasonable fears that it will limit what others understand her music to be. Reyez, 34, considers herself a musical 'mutt,' citing influences from her Colombian parents' native cumbia to the Destiny's Child and Biggie Smalls CDs that she played as a kid. 'But R&B has given me roots.' Reyez's own roots lie, in part, in the Black diaspora (her paternal grandfather is Black Colombian), though she is nonetheless deferential to what she considers a uniquely Black American form. 'I always acknowledge myself as a guest in that world,' she says. That world is expanding, too, with artists across the globe offering up syncretic hybrids, like Tyla, who mixes R&B, pop and South Africa's amapiano (a synth-driven style of house music that takes its name from the Zulu for 'the pianos') in a style she calls popiano. R&B IS ESSENTIALLY Black, specifically Black American, though it comprises a set of musical practices that anyone can master. Roughly defined, the genre celebrates rhythm, sincerity and virtuosity. It centers vocalists, who make songs their own through melisma (the microtonal movement of voice across a single syllable), vibrato (the oscillation of pitch while holding a note) and other adornments on the melody as composed. That kind of singing demands technique: range, projection, breath control, harmonics. R&B is an abbreviation of 'rhythm and blues,' a term popularized in the late 1940s by Jerry Wexler, a young white journalist at Billboard magazine who hoped to modernize the antiquated category of 'race records.' Wexler went on to become one of the defining producers of the 20th century, working with Ray Charles, Aretha Franklin and other Black artists who gave shape to the style he championed. By the 1960s, R&B — sometimes called soul, that most elusive quality of metaphysicality and cool — had come to define both a music and an identity. As Amiri Baraka writes in his essay 'The Changing Same (R&B and New Black Music),' published in 1967, the year that Aretha Franklin recorded 'Respect,' 'R&B is straight on and from straight back out of traditional Black spirit feeling.' That feeling gained definition during the Great Migration, in which millions of rural Southern Black folks made their way to the urban North, carrying song practices honed at Saturday juke joints and Sunday amen corners. The music was political, too, featuring anthems of activism, from Sam Cooke's 'A Change Is Gonna Come' (1964) to Roberta Flack's 'Go Up Moses' (1971), co-written with Jesse Jackson. A more subterranean subversion of white supremacy found expression in songs that celebrated Black people's complex interior lives and romantic relationships, such as Betty Everett and Jerry Butler's 'Ain't That Loving You Baby' (1964) and Aretha Franklin's '(You Make Me Feel Like) A Natural Woman' (1967). In the 1970s, that seductive sound took to the dance floor with disco; Gloria Gaynor's 'I Will Survive' (1978) and Sylvester's 'You Make Me Feel (Mighty Real)' (1978) coupled hip-shaking beats with bravura vocal performances. R&B committed itself to love in the 1980s, with plaintive ballads by Patti LaBelle, Anita Baker, Luther Vandross, James Ingram and many more. They ushered in a golden age of R&B, beginning in the late '80s and lasting close to a decade, centered on three era-defining divas: Whitney Houston, Mariah Carey and Mary J. Blige. Blige's career, in particular, would prove indicative of the direction that R&B would follow into the new century. A traditionalist by inclination (she was signed on the strength of a cover of Baker's 'Caught Up in the Rapture,' recorded in a mall karaoke booth in White Plains, N.Y.), she embraced the sonic innovation that would soon reshape R&B: the beats and rhymes of hip-hop. R&B's relationship to hip-hop dates to the beginning of recorded rap, when the Sugarhill Gang interpolated Chic's 'Good Times' (1979) on their genre-defining 'Rapper's Delight' (1979). In the 1990s, hip-hop and R&B collaborations had become an urban radio mainstay, best exemplified by Blige — the Queen of Hip-Hop Soul — and Method Man's 1995 duet, 'I'll Be There for You/You're All I Need to Get By.' Blige sang the hook and Meth rapped the verses, establishing a separation of duties along gender lines. By the early 2000s, R&B was helping rap music top the charts, with Billboard Number 1s by Ashanti and Ja Rule (2001's 'Always on Time'), Kelly Rowland and Nelly (2002's 'Dilemma') and Beyoncé and Jay-Z (2003's 'Crazy in Love'). 'I relate to hip-hop in so many ways, especially from a dance perspective,' says the Los Angeles-based singer-songwriter Tinashe, 32. She broke through as a solo artist with '2 On' (2014), an R&B/hip-hop banger featuring a raw verse from the Los Angeles rapper Schoolboy Q. Strong albums followed, but no more breakout hits — until last summer, when her song 'Nasty' took over TikTok and, soon after, the charts. 'Nasty' epitomizes the evolution of hip-hop/R&B fusion; rather than just singing the hook, Tinashe sings, raps and chants the whole song. Extending a tradition best exemplified by Janet Jackson (who paid tribute to Tinashe on tour last year by interpolating 'Nasty' into her 1986 hit 'Nasty'), Tinashe celebrates rhythm, dance and performance as much as voice. Tinashe and many of her peers also draw inspiration from hip-hop in their songwriting, freestyling lyrics in the studio from catchy words and scraps of melody. 'Hip-hop's given me inspiration and education to have more liquidity with my language,' says Reyez, who has collaborated with the rappers Lil Wayne, Eminem, Rico Nasty and others. Rap makes her more aware, she says, of alliteration and rhyme, and of the multiplicity of meanings that can live in a single line. On the 2019 remix of 'Imported,' a duet with the male R&B singer 6lack, Reyez plays on the permutations of the phrase 'I've been lying here' — lying to listeners and to herself with the bravado of the lines that precede it ('I drink liquor like it's water') and, later, lying in bed with someone she just met. The song is explicit, with lyrics that can't be reprinted here — yet another sign of rap's influence. Historically, R&B employed decorous euphemism. But many of today's R&B artists lace their lyrics with both garden-variety curse words and terms of more specific offense. 'It's almost like, if you don't do it, it ages you within this genre specifically,' Long says. 'You have to say something that's real slick mouth to get [listeners'] attention.' GETTING — AND KEEPING — attention also means writing shorter songs. Among the 30 or so contemporary artists whose work informed this story, the average song is just over three minutes, a full minute shorter than R&B songs from a comparable list of 1990s artists. The songs are more groove driven, too, with less of the traditional structure that defined R&B of the past. Part of that might have to do with who's writing them. After decades in which the leading voices — from Aretha to Whitney — mostly sang other people's lyrics, the majority of today's artists write their own, in whole or in part. Even accounting for the industrywide trend toward liberally awarding writing credits, the songs themselves, in structure and content, are evidence enough of a shift. This shift is not unique to women artists, of course; a number of the genre's male singer-songwriters — among them Sampha, Khalid, Moses Sumney and Bryson Tiller — are crafting challenging, captivating music. But something specific is at work among this emergent community of female performers: R&B, long a space for women to explore the emotional exposure of love from a position of strength, has taken an inward turn, engaging mental health, particularly in the years during and after the worst of the Covid-19 pandemic. SZA's 'Kill Bill' (2022) was so ubiquitous that its strangeness largely escaped notice. It is, after all, a murder ballad, whose evolving chorus ('I might kill my ex' to 'I just killed my ex') marks the mental dissolution of the artist's imagined speaker, who is 'so mature, I got me a therapist to tell me there's other men.' By contrast, 'Oscar Winning Tears,' from Raye's 2023 debut, 'My 21st Century Blues,' is an exercise in recovery: 'Truly I'm vulnerable, I love a sentiment / Quickly I opened up, I learned my lesson then.' The song enacts her process of finding power, as her voice moves from rapid-fire chants in the verses to soaring melodies in the chorus. These are songs not of isolation but of self-reflection, self-protection and self-care, whatever the cost. R&B in 2025 sounds like this: the past working in the present, shaping a future for the music. Long has some ideas about what that future might hold — more industry respect and attention. More creativity, too. 'I want to hear people exploring sounds and getting vulnerable,' she says. 'Let's make some wedding songs. Some party songs would be fun, you know, things that they would play in the club.' She recalls a recent visit to a strip club in Atlanta where the D.J. was spinning nothing but hip-hop: Sexyy Red, BossMan Dlow. Then the D.J. dropped in Long's steamy ballad 'Hrs & Hrs.' The whole club started singing. 'Everybody,' she says, 'including the men — thugged out, I'm talking about all types of chains and gold teeth and all that. Everyone was singing my song.'
