Latest news with #remix
Yahoo
2 days ago
- Entertainment
- Yahoo
Legendary '90s Singer Shows Off Dance Moves With Major News
Legendary '90s Singer Shows Off Dance Moves With Major News originally appeared on Parade. has teamed up with Swedish DJ and music producer Sebastian Ingrosso to create a song unlike any she has ever released. For her latest tune, the "My Heart Will Go On" hitmaker is combining her past with a new style. Taking to Instagram, Dion shared a video of her showing off her dance moves in a recording studio. Dion couldn't hide her excitement as she danced to Ingrosso's new tune "A New Day (feat. Celine Dion)."It's a remix of her iconic 2002 hit single, "A New Day Has Come." ''A NEW DAY' IS OUT NOW. THANK YOU CELINE DION FOR LETTING ME BRING THIS INTO A NEW SHAPE. @celinedion,' read the caption on her joint Instagram post with Ingrosso. Fans flooded the comments section with excitement over the new collab. 'This will go down as an all time legendary edm track,' shared one fan. A different fan wrote, 'pure magic, pure bliss!' Another fan said, 'This is giving so much LIFE! 😍🤩😭.' One fan stated, 'A new day… a new story!' while a different fan expressed, 'Celine stronger than everything! ❤️.' More comments included, 'THE ICON 👑🔥🚀', 'Good vibes only,' and 'Wicked tune! 🔥👏.' According to Beatportal, Ingrosso has always been a Dion fan and especially loved her hit song "A New Day Has Come." 'I've always loved that song. I wasn't trying to remake it, just felt like that moment could live in a darker, more euphoric space," he told the outlet. Dion and Ingrosso's collab can be heard on Apple Music, Spotify, and more. Legendary '90s Singer Shows Off Dance Moves With Major News first appeared on Parade on Jul 25, 2025 This story was originally reported by Parade on Jul 25, 2025, where it first appeared. Solve the daily Crossword
Yahoo
4 days ago
- Entertainment
- Yahoo
Millennials, I'm Dying To Know The "Cringe" Millennial Trends That Should Be Buried In The Archives Forever
Everything that's being marketed to us these days feels like a remix of the past, from reboots and remakes to low-rise jeans and pop-punk revivals. If you're a millennial, you've probably already seen it all the first time when it was still considered cutting-edge. Related: Maybe it's the rise of AI, the TikTok-fueled nostalgia economy, or just the fact that Gen Z never knew a world without social media. However, originality feels like it's gone missing. And if you've recently seen a pair of JNCO jeans in the wild or a trucker hat at brunch, you might've felt a full-body shudder. Related: As someone considered an Unc in certain circles — and maybe I'm just grumpy and jaded — I have a sneaking suspicion a few of you feel the same way I do. For the millennials of the BuzzFeed Community, what's the trend — fashion, lifestyle, aesthetic, internet behavior — that deserves to stay buried in the past? Related: A few come to my mind off the top: skinny jeans, am I right? I'm honestly surprised they didn't cause long-term blood circulation issues for those of us whose legs couldn't even breathe in them. And while some are attempting to make them fashionable again, it's really just a big no. Although I wouldn't be shocked if it happens again soon, I'm begging for Instagram's in-app filters to stay dead and buried. We don't need them. Let's move on. Related: And maybe most importantly, can we let hustle culture die already? I'll give Gen Z credit: they've done a great job rejecting the grind economy, and let's hope it stays that way. We already know we're getting the short end of the stick, no matter how burnt out we get. And while we're at it, let's retire the whole "can't adult today" energy, too. We're grown. We pay bills. We're just exhausted. On that note, share the millennial trends that should remain in the past and never return in the comment section. For those who feel they have especially hot takes on the matter and would prefer to remain anonymous, feel free to fill out the form below. Also in Community: Also in Community: Also in Community:
Telegraph
6 days ago
- Entertainment
- Telegraph
Madonna hasn't had a fresh idea in decades
'The future, the future, the future,' trills Madonna, on stuttering repeat in her latest album, Veronica Electronica, out Friday. And if you think the future of which she sings sounds suspiciously like Madonna's own past, well, that might be the point. Veronica Electronica is a remix album featuring tracks from her 16-million selling 1998 blockbuster Ray of Light. Now that was a moment when Madonna really did sound like the future, working with British ambient electronic producer William Orbit to create a thrilling, sinuous mix of science fictional synthetic sound with dance-floor beats drawing on trip-hop, drum & bass and techno interweaving with lyrically rich songcraft, engaging with parenthood and personal growth through a mystical new age lens. Madonna was turning 40, a dangerous age for a mainstream pop star, with its implications of dawning middle age in a youth-obsessed medium. Yet Ray of Light was a triumph. After the oversexed experiments of 1992's Erotica and 1994's Bedtime Stories, Madonna found a way to make grown-up pop music that still sounded at the cutting edge of things. I think it remains her most mature work, and features her most accomplished singing, a consequence of vocal training she underwent for her starring role in the 1996 film Evita. It spawned five global hit singles, propelling her towards a further imperial period, albeit with fun but less progressive albums such as Music (2000) and Confessions on a Dance Floor (2005) casting her as reigning Queen of the Dance rather than bold pioneer of new pop frontiers. It is curious that Madonna is revisiting Ray of Light now. It is not an anniversary, and there seems to be no pressing reason for its release. Indeed, it is not even new. Veronica Electronica features seven re-edited and sequenced B-sides and DJ mixes from the 1990s, plus one extra demo presumably tagged on to make completists feel like they are getting something previously unavailable. The disembodied repetition of the phrase 'the future' on a remix of Nothing Really Matters seems misleading when shorn of context. The original line from which it was taken was 'Nothing takes the past away / Like the future.' And here she is, nearly three decades later, fetishising her own past. Perhaps that is all pop is capable of now, when everything is arguably a remix, remodel or reformatting of things that have gone before. There is a confluence of reasons for that, mainly bound up with the rise of streaming as the dominant distribution method and its emphasis on algorithmic curation as the chosen way of organising music. The slow death of old music media (magazines, radio) has contributed to a homogenisation of musical discovery, with algorithms predicated to deliver similar-sounding tracks to keep listener retention high, reinforcing familiarity rather than innovation. At the same time there has been a weird blurring of genres, with an emphasis on mood and contextual lifestyle playlists serving audiences whose access to the entire history of music at the press of a button has arguably led to less tribal division. In the modern musical soundscape, anything goes and everything mixes together. Throw into that the growing influence of AI creation tools – which by their very definition are only ever going to regurgitate what has come before – and you have a situation where past and contemporary music are becoming indistinguishable. Here we are, a quarter of the way through the 21st century, and the most notable new musical trend of recent years has been the rise of country music. Rock (a genre long written off as on the verge of death) is experiencing the strongest new listener growth according to a mid-year report from American entertainment data company Luminate (whilst Christian / Gospel music is also surging). Meanwhile, the top trending stars in the world right now (via industry statistics site Chartmetric) look very familiar, including four pop facing singer-songwriters (Taylor Swift, Ed Sheeran, Billie Eilish and Bruno Mars), two dance pop superstars (Rihanna and Lady Gaga, both of whom owe a considerable debt to Madonna), one veteran rapper (Drake) and a durable teen idol (Justin Bieber). Madonna herself currently registers as the 58 th most popular artist in the world, which might not seem impressive on her imperious terms until you consider that she is one of only six artists in the top 100 who was making music before the internet was unleashed upon us (the others being Michael Jackson at 39, Queen at 71, AC/DC at 75, Elton John at 80, The Beatles at 94 and Fleetwood Mac at 98). There is, of course, a relentless deluge of new musical artists vying for attention, yet nothing feels like a distinctive break with the past. It would be nice to think that her remix album shows Madonna reorienting herself by focussing on her finest work, except it is shoddily done, a repackage of old remixes that are already out of date and add nothing to her story. Really, I suspect it is just about releasing product, because the only way to stay visible and competitive in this relentless smorgasbord of endless choice is to keep providing content for algorithms to gorge on. It has been six years since Madonna released a new album (the underwhelming Madame X) but in that time she has completed two world tours, released a major compilation, and is currently developing a Netflix TV series about her life (most likely starring Jennifer Garner). If you have nothing new to offer, just remix the past. Everybody else is doing it. On my radar Earth: The Legendary Lost 1969 Tapes (Big Bear Records). With weirdly prescient timing, Ozzy Osbourne 's first known recordings are soon to be released, with the group that would become Black Sabbath. This is a set of demos recorded at Zella studios in 1969, that demonstrate what a wildly inventive and fearsome band Osbourne, guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward already were, conjuring something between heavy blues and frenetic free jazz. Add a dose of the occult, and heavy metal was born later the same year. Ozzy was ultimately laid low by Parkinson's disease. Coincidentally, I have been reading an advance copy of The Tremolo Diaries: Life on the Road and Other Diseases by Justin Currie, in which the Del Amitri band leader offers an acerbically entertaining and unsentimental account of touring whilst struggling with a Parkinson's diagnosis. He describes it as 'the uneasy feeling another man is growing inside of me and is slowly seizing the means of control.' It will be published by New Modern on Aug 28. I was much taken with this passage by Justin on his experience of hearing modern pop in a shopping mall: 'I'm staring down the barrel of Taylor Swift and Ed Sheeran's weirdly thin music. It ticks all the boxes that pop needs to tick – pretty tunes, catchy hooks, lyrics with a modicum of real feeling. It just feels like all the guts have been taken out. At the end, we'll be living underground, drinking the filtered urine of the rich while Elon Musk transmits this sonic anaesthetic from his throne on the moon.' I don't think he's a fan. How do you solve a problem like Kanye West? Unarguably one of the most influential artists of our times, the reportedly mentally ill rapper-producer has made himself persona non grata in pop culture with his embracing of Nazi symbology, blatant anti-Semitism and self-hating racism. He's got new music coming this week, dropping more weirdly lo-fi tracks for his album in progress Bully. Don't expect to read many reviews of the most controversial man in pop, yet whilst researching my article about Madonna, I was surprised to find West is still ranking incredibly high on Chartmetric's assessment of currently trending artists. He appears at no 33 on their chart, with over 60 million monthly listeners on Spotify, and 105 million monthly views on YouTube. Cancellation is clearly not what it used to be.
Yahoo
6 days ago
- Entertainment
- Yahoo
Madonna hasn't had a fresh idea in decades
'The future, the future, the future,' trills Madonna, on stuttering repeat in her latest album, Veronica Electronica, out Friday. And if you think the future of which she sings sounds suspiciously like Madonna's own past, well, that might be the point. Veronica Electronica is a remix album featuring tracks from her 16-million selling 1998 blockbuster Ray of Light. Now that was a moment when Madonna really did sound like the future, working with British ambient electronic producer William Orbit to create a thrilling, sinuous mix of science fictional synthetic sound with dance-floor beats drawing on trip-hop, drum & bass and techno interweaving with lyrically rich songcraft, engaging with parenthood and personal growth through a mystical new age lens. Madonna was turning 40, a dangerous age for a mainstream pop star, with its implications of dawning middle age in a youth-obsessed medium. Yet Ray of Light was a triumph. After the oversexed experiments of 1992's Erotica and 1994's Bedtime Stories, Madonna found a way to make grown-up pop music that still sounded at the cutting edge of things. I think it remains her most mature work, and features her most accomplished singing, a consequence of vocal training she underwent for her starring role in the 1996 film Evita. It spawned five global hit singles, propelling her towards a further imperial period, albeit with fun but less progressive albums such as Music (2000) and Confessions on a Dance Floor (2005) casting her as reigning Queen of the Dance rather than bold pioneer of new pop frontiers. It is curious that Madonna is revisiting Ray of Light now. It is not an anniversary, and there seems to be no pressing reason for its release. Indeed, it is not even new. Veronica Electronica features seven re-edited and sequenced B-sides and DJ mixes from the 1990s, plus one extra demo presumably tagged on to make completists feel like they are getting something previously unavailable. The disembodied repetition of the phrase 'the future' on a remix of Nothing Really Matters seems misleading when shorn of context. The original line from which it was taken was 'Nothing takes the past away / Like the future.' And here she is, nearly three decades later, fetishising her own past. Perhaps that is all pop is capable of now, when everything is arguably a remix, remodel or reformatting of things that have gone before. There is a confluence of reasons for that, mainly bound up with the rise of streaming as the dominant distribution method and its emphasis on algorithmic curation as the chosen way of organising music. The slow death of old music media (magazines, radio) has contributed to a homogenisation of musical discovery, with algorithms predicated to deliver similar-sounding tracks to keep listener retention high, reinforcing familiarity rather than innovation. At the same time there has been a weird blurring of genres, with an emphasis on mood and contextual lifestyle playlists serving audiences whose access to the entire history of music at the press of a button has arguably led to less tribal division. In the modern musical soundscape, anything goes and everything mixes together. Throw into that the growing influence of AI creation tools – which by their very definition are only ever going to regurgitate what has come before – and you have a situation where past and contemporary music are becoming indistinguishable. Here we are, a quarter of the way through the 21st century, and the most notable new musical trend of recent years has been the rise of country music. Rock (a genre long written off as on the verge of death) is experiencing the strongest new listener growth according to a mid-year report from American entertainment data company Luminate (whilst Christian / Gospel music is also surging). Meanwhile, the top trending stars in the world right now (via industry statistics site Chartmetric) look very familiar, including four pop facing singer-songwriters (Taylor Swift, Ed Sheeran, Billie Eilish and Bruno Mars), two dance pop superstars (Rihanna and Lady Gaga, both of whom owe a considerable debt to Madonna), one veteran rapper (Drake) and a durable teen idol (Justin Bieber). Madonna herself currently registers as the 58th most popular artist in the world, which might not seem impressive on her imperious terms until you consider that she is one of only six artists in the top 100 who was making music before the internet was unleashed upon us (the others being Michael Jackson at 39, Queen at 71, AC/DC at 75, Elton John at 80, The Beatles at 94 and Fleetwood Mac at 98). There is, of course, a relentless deluge of new musical artists vying for attention, yet nothing feels like a distinctive break with the past. It would be nice to think that her remix album shows Madonna reorienting herself by focussing on her finest work, except it is shoddily done, a repackage of old remixes that are already out of date and add nothing to her story. Really, I suspect it is just about releasing product, because the only way to stay visible and competitive in this relentless smorgasbord of endless choice is to keep providing content for algorithms to gorge on. It has been six years since Madonna released a new album (the underwhelming Madame X) but in that time she has completed two world tours, released a major compilation, and is currently developing a Netflix TV series about her life (most likely starring Jennifer Garner). If you have nothing new to offer, just remix the past. Everybody else is doing it. On my radar Earth: The Legendary Lost 1969 Tapes (Big Bear Records). With weirdly prescient timing, Ozzy Osbourne's first known recordings are soon to be released, with the group that would become Black Sabbath. This is a set of demos recorded at Zella studios in 1969, that demonstrate what a wildly inventive and fearsome band Osbourne, guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward already were, conjuring something between heavy blues and frenetic free jazz. Add a dose of the occult, and heavy metal was born later the same year. Ozzy was ultimately laid low by Parkinson's disease. Coincidentally, I have been reading an advance copy of The Tremolo Diaries: Life on the Road and Other Diseases by Justin Currie, in which the Del Amitri band leader offers an acerbically entertaining and unsentimental account of touring whilst struggling with a Parkinson's diagnosis. He describes it as 'the uneasy feeling another man is growing inside of me and is slowly seizing the means of control.' It will be published by New Modern on Aug 28. I was much taken with this passage by Justin on his experience of hearing modern pop in a shopping mall: 'I'm staring down the barrel of Taylor Swift and Ed Sheeran's weirdly thin music. It ticks all the boxes that pop needs to tick – pretty tunes, catchy hooks, lyrics with a modicum of real feeling. It just feels like all the guts have been taken out. At the end, we'll be living underground, drinking the filtered urine of the rich while Elon Musk transmits this sonic anaesthetic from his throne on the moon.' I don't think he's a fan. How do you solve a problem like Kanye West? Unarguably one of the most influential artists of our times, the reportedly mentally ill rapper-producer has made himself persona non grata in pop culture with his embracing of Nazi symbology, blatant anti-Semitism and self-hating racism. He's got new music coming this week, dropping more weirdly lo-fi tracks for his album in progress Bully. Don't expect to read many reviews of the most controversial man in pop, yet whilst researching my article about Madonna, I was surprised to find West is still ranking incredibly high on Chartmetric's assessment of currently trending artists. He appears at no 33 on their chart, with over 60 million monthly listeners on Spotify, and 105 million monthly views on YouTube. Cancellation is clearly not what it used to be. Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more. Solve the daily Crossword
Yahoo
15-07-2025
- Entertainment
- Yahoo
Frankie Grande Teases First-Ever Collaboration With Sister Ariana Grande
Frankie Grande will release a remix of his song 'Hotel Rock Bottom' featuring his sister and pop superstar Ariana Grande on Friday. The track will appear on the deluxe edition of his recent album, also titled Hotel Rock Bottom, which dropped on June 27. The singer shared a snippet of the song on Instagram, writing, 'This song is so personal to me, and having her on it makes it even more meaningful. Can't wait for you to hear it!!' Ariana herself commented on the post, 'love you so much 🥹🥲 ♡ so proud of you and grateful to be a part of this deluxe!' More from Rolling Stone Brandy and Monica Confirm Plans to Collaborate on New Music Ariana Grande's Nonna Marjorie Dead at 99 Ben Stiller Teases 'Severance' Season 3, Ariana Grande's Role in 'Meet the Parents 4' The song sees Frankie and Ariana harmonizing on the chorus together: 'Ended up in Hotel Rock Bottom/ Don't know how I got here, that's my problem/ Might not be paradise, I gotta stay the night.' The remix marks the first time the siblings have collaborated on a song. Hotel Rock Bottom is Frankie's debut album after years of performing in stage productions on Broadway. 'This album holds pieces of me I've never shared before, parts that were broken, parts that healed, and parts that still ache a little,' he shared in a statement ahead of the LP's release. 'It's scary and beautiful to let it all go into the world this week, but more than anything, I feel grateful. Grateful for every moment that brought me here, for everyone who believed in me, who danced beside me in the dark and the light, and for the chance to remind people they're never alone, even at rock bottom.' Ariana has been focused on her acting career since the release of Wicked late last year. The film's sequel, Wicked: For Good, which sees her again playing good witch Glinda, will hit theaters on Nov. 21. She will also appear in the fourth installment of the Meet the Parents franchise next year. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
