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Ice Spice Burns Out Before ‘Hot Ones’ Finish Line: ‘I’m Not Gonna Do That to Myself’ 

Ice Spice might be on a hot streak when it comes to her scorching music career, but she couldn’t handle the spice that came with the wings on Hot Ones. The Bronx native boasted about “always eating” spicy food, but called it quits with a pair of wings left during her Hot Ones appearance on Thursday (March 28). “This is so bad,” she said minutes before throwing in the towel. “It looks like I’m crying, but I’m not.” The 24-year-old — who was honored as Billboard Women in Music’s 2024 Hitmaker — took a sniff of the Matasanos Hot Sauce and decided her time in the torture chamber was over. “No … I’m not gonna do that to myself,” she said when clinching herself a spot next to DJ Khaled on the wall of shame. Trending on Billboard While Ice Spice couldn’t cross the finish line, she still managed to spill some tea on her upcoming y2k debut album, which is set to arrive in the coming months. “I’ve been playing the album fully through in the car volume all the way up and it passed,” she said of the project passing the car test. “I usually work on the hook first I feel like, and then the verses come after. [But] there is a track on the album I just went straight into a verse and there’s not really a hook. I’m excited to see what the fans think about that one.” Ice Spice takes her bubbly music videos seriously down to every detail, and she gushed about working with Nicki Minaj on the “Princess Diana (Remix)” visual, which she’s crowned as the favorite of her career thus far. The luxe pink-tinted clip from the rappers has earned more than 135 million views on YouTube, while the track reached No. 4 on the Billboard Hot 100. “I love shooting them because at that point, the song’s complete and you’re satisfied with it,” she said. “‘Princess Diana (Remix)’ with Nicki was my favorite video to shoot because I was just so excited. Oh my God, I’ve never been that excited on scene. And the bedroom scene, that was so fun. Being on the bed bouncing around with Nicki — who does that?” Earlier in March, Ice Spice revealed that she finished recording for y2k. “I finished recording y2k the album ^.^,” she wrote to her social media accounts on March 5. The LP’s title is inspired by her birthday landing on Jan. 1, 2000. “I think this is some of my best work,” she confidently told Billboard while hinting that the album’s “not going to be too long — it’s going to be sweet and to the point.” Watch the episode of Hot Ones below. [embedded content]

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Publishing Briefs: Teddy Swims Signs to WCM; Position Pairs With Zach Skelton

Warner Chappell has signed Teddy Swims to a global publishing deal. Signed to Warner Records for his recorded music, the new deal unites his entire catalog under the WMG umbrella. News of the deal arrives the same week that his breakthrough hit “Lose Control” reached No. 1 on the Hot 100. Explore Explore See latest videos, charts and news See latest videos, charts and news Position Music has signed Zach Skelton, co-writer for Shawn Mendes, OneRepublic, Paul McCartney, Lil Nas X, and more, to a worldwide publishing deal. Avex USA Publishing has signed DJ Smallz 732 to a global publishing deal. One of the most sought-after Jersey club producers, Smallz signs his deal on the heels of co-creating “Everybody” by Nick Minaj and Lil Uzi Vert from Minaj’s hit album Pink Friday 2. Trending on Billboard Red Bull‘s publishing division has signed producer Charlie Shuffler to a global deal. Best known for his records with Lil Yachty, Trippie Redd, Rico Nasty and Lil Peep, Shuffler has been a tastemaker since the early days of SoundCloud rap. Big Machine Music has signed artist/writer George Birge to an exclusive co-publishing deal. News of the agreement arrives as Birge heads out on the road as the opener for Parker McCollum’s tour and just before the singer opens for Luke Bryan’s tour. Concord Music Publishing has signed soul singer-songwriter William Bell to a publishing administration deal, including a selection of his back catalog and all future works. A legendary signee of Stax Records and inductee in the Memphis Music Hall of Fame, Bell has been making timeless soul records since his first album The Soul of a Bell, released in 1967. BeatStars has announced the launch of Creator Rights Agency, its new division designed to help make clearing intellectual property rights more streamlined and affordable. It is described in the company’s press release as an “end-to-end service that allows creators to get data-driven recommendations from experts for licensing, protecting, and getting paid for their intellectual property. The CRA consolidates management, legal, and accounting services needed by creators in today’s music industry, charging a 10% commission only on the deals that are successfully negotiated by the CRA.” BMG has acquired Eurodance pioneer Dr. Alban‘s recorded music interest in his catalog, including defining records like “It’s My Life” and “Sing Hallelujah.” The acquisition further bolsters BMG’s interests in 90s Eurodance. Recently, the company also holds a stake in “Planet of the Bass” by Kyle Gordon, which went viral on TikTok for its parody of the genre. Bella Figura Music has acquired the writer’s share of The Human League-founder Adrian Wright‘s catalog. Wright’s current publisher will now work with Bella Figura’s sync and creative team to maximize commercial opportunities for his catalog. Park Ave West Songs, founded by songwriter KT Mack, has signed Chris Canterbury to a global publishing deal. Wise Music Group has signed Portico Quartet to its publishing roster through Campbell Connelly & Co. The influential composers and producers have been a mainstay in UK music their debut album Knee-Deep in the North Sea, was nominated for the Mercury Prize in 2008. The Last Briefing: Cat Stevens Signs With UMPG

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Tszyu vs. Fundora Boxing Livestream: How to Watch the Full Fight Card Live Online

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. Two super welterweights clash at the top of the Premier Boxing Champions fight card on Saturday (March 30). Australian boxer Tim “The Wonder from Down Under” Tszyu (24-0) dukes it out with American Sebastian “The Towering Inferno” Fundora (20-1-1) in a dual title bout for the WBO (World Boxing Organization) and WBC (World Boxing Council) Super Welterweight titles. Explore Explore See latest videos, charts and news See latest videos, charts and news Tim Tszyu vs. Sebastian Fundora takes place at T-Mobile Arena in Las Vegas, Nevada, with a start time of 6 p.m. ET/3 p.m. PT. However, the main event starts at 8 p.m. ET/5 p.m. PT. Want to watch the Tszyu vs. Fundora bout online? This is a pay-per-view event that is streaming exclusively on Prime Video, so the only way to watch it is to purchase the PPV feed here. Trending on Billboard The Tszyu vs. Fundora PPV price is $69.95 on Prime Video. Although you don’t need to be a Prime member to access the PPV livestream, the streaming service offers hit originals — such as Road House, Mr. and Mrs. Smith, Saltburn, Invincible and others — for Prime members. Not a member? Sign up for a 30-day free trial to take advantage of all that Amazon Prime has to offer, including access to Prime Video and Prime Gaming; fast free shipping in less than two days with Prime Delivery; in-store discounts at Whole Foods Market, access to exclusive shopping events — such as Prime Day and Black Friday — and more. Check out the full fight card below, and livestream Tszyu vs. Fundora on pay-per-view here. Fight Card, 6 p.m. ET/3 p.m. PT Tim Tszyu vs. Sebastian Fundora (Super Welterweight) — Main Event, WBO and WBC titles fight Rolando Romero vs. Isaac Cruz (Super Lightweight) — Co-Main Event, WBA (World Boxing Association) title fight Erislandy Lara vs. Michael Zerafa (Middleweight) — WBA title Julio Cesar Martinez vs. Angelino Cordova (Flyweight) — WBC title Elijah Garcia vs. Kyrone Davis (Middleweight) Serhii Bohachuk vs. Brian Mendoza (Super Welterweight) — interim WBC title Tszyu vs. Fundora is available to stream on Prime Video on Saturday, March 30, at 6 p.m. ET/3 p.m. PT with the main event at 8 p.m. ET/5 p.m. PT. In the meantime, watch the trailer for the bout, below: [embedded content] Want more deals? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

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Touré Claims Diddy Made Sexual Pass At Male Relative, Allegedly

HipHopWired Featured Video Source: Matthew Eisman / Getty In a surprising moment, Touré revealed that Diddy once allegedly made sexual advances on a male relative of his who was his intern. In the wake of the turbulence surrounding Diddy, writer and cultural critic Touré aired a new surprising allegation during an appearance on MSNBC host Joy Reid’s nightly show. As he spoke with Reid on the Tuesday episode of The ReidOut (March 27) he began: “I was personally disturbed many years ago,” about the allegations against Diddy of sexual abuse and a burgeoning sex trafficking investigation, “I know this man well enough to call him and say, ‘Hey, I need a favor.’ This might have been 10, 12 years ago.”  [embedded content] “I called him and said, ‘Hey, I have a family member who I want you to hire as an intern.’ I have never talked about this publicly,” Touré explained before continuing: “He said, ‘Yes.’ And they were flying around, on the jet, in the house, whatever.” He added: “And then the internship stopped abruptly, like three or four months into it. I spoke to my family member, like, ‘What happened?’ And they wouldn’t say.” “Years later, they finally came out — this is a male — and said that Puff had said, ‘Come home, stay the night with me or the internship is over.’ And they said, ‘Absolutely not.’ And the internship ended. From there I was like, ‘Oh! This is how it goes.’ So to hear that things went even further with potentially, allegedly, many other people … we feel like we’ve seen this coming.” The revelation comes as Diddy is in a whirlwind of controversy thanks to another lawsuit filed by Rodney “Lil Rod” Jones Jr. earlier this year accusing the Bad Boy Records founder of sexual assault. Jones worked on Diddy’s The Love Album: Off The Grid. In the documents of the suit, Jones alleged that Diddy frequently engaged in unwanted sexual contact and attempted to coerce him into sexual acts with other men in addition to other misdeeds such as spiking women’s drinks and soliciting underage girls. Diddy is also dealing with another lawsuit from a victim who claims that he and Bad Boy Records president Harve Pierre brought her from Michigan to New Jersey and sexually assaulted her when she was 17.

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Beyoncé Reveals Tracklist For Rumored Country Album ‘Cowboy Carter’

HipHopWired Featured Video Source: METROPOLIS/Bauer-Griffin / Getty Beyoncé made a lot of noise when she released her latest country singles “Texas Hold ‘Em,” and “16 Carriages.” Things went into overdrive yesterday (March, 27), when she dropped the entire tracklist for her upcoming album Cowboy Carter as it featured some very recognizable names and titles. The Queen B had her Beyhive buzzing ridiculously on social media after revealing the titles on her eighth solo studio album. Not only will it feature Dolly Parton, but apparently Beyoncé will have a cover of Dolly P’s classic hit “Jolene.” That title alone had her followers swooning as they await the midnight release of the album March 29. Though we don’t know if Dolly P will be featured on “Jolene” or one of the many other songs, the fact that this collaboration will be happening for Beyoncé’s country album is amazing enough in itself. Serving as a follow-up to 2022’s Renaissance, Act 2: Cowboy Carter will introduce Beyoncé to a country crowd that may not be too familiar with her talents, but according to Variety, it’s something that the Houston native was inspired to do quite some time ago after an incident that didn’t make her feel “welcome” in the genre. Per Variety: She was likely referring to her 2016 performance at the Country Music Association Awards, where she duetted with the Dixie Chicks (as they were known at the time). The appearance caused controversy in the country community, particularly on social media, and some expressed displeasure at the fact that she was given such a prominent spot at the show. In a long note posted on Instagram, Beyoncé explained that this incident inspired her to study the origins of country music. “It was born out of an experience that I had years ago where I did not feel welcomed… and it was very clear that I wasn’t,” she said. “But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive.” Even if the album is a classic and goes diamond we really don’t expect Beyoncé to get any Country Music Awards for it. Just sayin’. What do y’all think of Beyoncé’s upcoming album? Will you be listening to it when it drops March 29? Let us know in the comments section below.

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Jumbo Returns to U.S. Stage After 10-Year Hiatus: ‘It’s a Great Reason to Celebrate’

After a decade-long absence, Jumbo, a cornerstone of Latin alternative rock, are making their return to the U.S. stage, joining forces with genre peers División Minúscula. Their much-anticipated comeback follows years of setbacks due to a “critical error” that led to visa complications, preventing them from touring stateside despite the release of three albums brimming with tour-worthy material. Explore Explore See latest videos, charts and news See latest videos, charts and news Now, armed with renewed vigor and passion, the Mexican rock band — consisting of frontman Clemente Castillo, guitarist Jorge “Flip” Tamez, bassist Carlos Castro, drummer Alberto Ramos, and producer Iñigo Rizo — are ready to captivate audiences once again as they crisscross the United States, hitting major cities from coast to coast. Promoted by Live Nation, the tour kicks off in Chicago on April 17, followed by a show in New York City the next day. The tour route includes stops in Salt Lake City, San Francisco, Los Angeles, Dallas, and culminates in Houston, Texas on August 14. Celebrating 25 years since the release of their debut album, Restaurant, in 1999, Jumbo’s significance extends beyond mere longevity. This album not only marked a milestone in the band’s career but also played a pivotal role in shaping the Mexican music scene of its time, particularly the musical boom known as La Avanzada Regia scene of that era in Monterrey. Trending on Billboard “The grand merit of that generation was to be able to break [barriers] and show that in a city where there was no music scene suddenly thundered and became so big,” Flip (real name Jorge Tamez Chapa) tells Billboard Español. “Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued being original, and I think that created a very rich movement. Thirty years later it is beginning to be romanticized a lot. I feel very proud to be from that generation”. Jumbo. Photo Credit: Juan Rodrigo Llaguno Juan Rodrigo Llaguno “División Minúscula and Jumbo are two bands with different backgrounds but equally important in the alternative rock genre. They belong to an era that defined many fans on both sides of the border,” adds Manuel Moran, vp of Latin touring at Live Nation. “We are proud to be part of this great celebration and we are very grateful for the trust they have placed in us to surprise their fans in the United States with a comeback tour and an unexpected collaboration like this one.” Jumbo’s latest release, Manual De Viaje A Un Lugar Lejano (En Directo), earned them a Latin Grammy nomination for best pop/rock album in 2019, further solidifying their status as stalwarts of the Latin alternative rock scene. In this interview, Flip delves into the band’s journey, from the highs of success to the challenges they’ve faced along the way, shedding light on their experiences and aspirations for the future. And yes, he explains why they could not enter the U.S. for over a decade. What does it mean for you to take the stage again in the United States, and how did the opportunity to collaborate with División Minúscula for this tour come up? We are very happy to tour the United States and celebrate 25 years of our career. We had an issue, a very serious mistake we made that kept us away from the United States for more than ten years. During the first albums Restaurant (1999), D.D. y Ponle Play (2001), and Teleparque (2003), we had great tours over there. We were building a market early in our career. Saúl Hernández from Jaguares invited us to be openers along with Julieta Venegas and La Gusana Ciega. I remember they were incredible tours, and suddenly there’s this break. Many years went by — and fortunately we managed to overcome this — and now we have the opportunity to share the stage with División Minúscula. Although they are from Matamoros, most of them have been living here in Monterrey for many years. They are very good friends. It’s the first time we do a tour as such and we are very happy; I think it’s going to be very fun. Jumbo. Photo Credit: Juan Rodrigo Llaguno Juan Rodrigo Llaguno As you celebrate these 25 years, what do you consider has been the key to staying together as a band? It’s very difficult. The other day I read a report by Sting that said, “I don’t think any grown man can be in a band.” He said it had to do with this youth gang dynamic that gets a little lost as you get older. And you notice that the relationship does change — you change as a person, you are no longer that youth [from before] — but I think we are still united by the desire to make music. Jumbo is a band that from day one, we set out to make songs that would go beyond the barrier of time. We were never very attached to any fashion — although when we came out, we sounded like what was going on in the early 2000s. In our journey, we have seen many things come and go. We’ve had to change formats, first digital, then streaming. Many things have happened to us that I think the love of making music has brought us back into alignment. Fortunately, we have never fought or disrespected each other, but we have an admiration for each of the members. And although at times we do have different artistic goals and visions, it always ends up falling in the same place. Many of us in the band are producers of other projects, we have other activities, but all related to music. As long as there are people who lend us their ears, there is no reason to stop. The 25 years was a number that hit us like a motherf–ker. It’s a great reason to celebrate. Being one of the pioneers of La Avanzada Regia movement in Monterrey, how do you see the impact of this movement on today’s music, and what do you think has been your most significant contribution to this legacy? I always say that I’m very proud to be from that generation. I grew up playing in many bands, and it didn’t cross my mind to dedicate myself professionally to this, or to be signed by a record label or go on tour. And suddenly the scene was big enough, the Monterrey scene. There were like 10 to 15 bands playing in four or five places, and the rest was the audience. This is before the internet — I mean, we took our flyers to the show and handed them out to perform the following week. La Avanzada, we were very united as bands; there was the same hunger to go out and dream, to take this to the next level. Monterrey, being the industrial capital of the country, had a very rigid scheme of opportunities. You had to study, work in one of the big companies, and make your life. It was very difficult to dream of a profession outside those schemes. The great merit of that generation was to be able to break [barriers] and demonstrate that in a city where there was no professional music scene it could become so big, and in a few years permeate the Latin market so strongly. [embedded content] When Control Machete came out, it a huge boom that the rest of Latin America turned to see what was happening in Monterrey. They were looking for a hip-hop movement, but they found something very different. Plastilina Mosh was nothing like Zurdok, which was nothing like La Flor de Lingo, or Niña, or Kinky. Unconsciously we valued very much being original, not looking like anybody else and I think that created a very rich movement. Thirty years later this scene is beginning to be romanticized a lot. What’s next after the tour? Any final thoughts? One goal that we had for many years was to get back to the United States in some way. I think the next thing after this tour is to get into the studio. There are no concrete plans yet. I’ll tell you the anecdote so that there is no mystery; I think it’s something that new [foreign] bands learn from. We made the very serious mistake of going to a show with a tourist visa. The work visa has a shorter amount of time. It happens to [foreign] bands that the work visa has a short period of time. Suddenly there is an isolated show, and even though we had an arrangement with the promoter that could be for promotion, we got too close to the line and fell into a problem. So, it doesn’t matter if you’re going to play a free show, it doesn’t matter if you’re going to tour very casually. Playing in the U.S. is work, and that cost us to stay away for many years. If it’s any moral for bands, don’t make that mistake. We learned the hard way and fortunately we are back. We are really excited. We had a hard time having three albums and not being able to tour there. So we bring all that accumulated energy and we are sure you will notice it in the shows. Check out Jumbo and División Minúscula’s full tour dates below, second slide:

FEATURED

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