“Keep It Up” Hartecast Music Keeps Bringing You the best original jams, right here! ❤🎧

“KEEP iT UP” with Hartecast Music

“Keep It Up” Another hot production brought to you by Hartecast Music Productions! This track is definitely a groove with great vocals by none other than Tony-Award winning, Ms. Lillias White!

Check out the video on the HartecastMusic Youtube channel: http://www.youtube.com/c/hartecastmusic and here on HartecastMusic.com on VideoCast: https://hartecastmusic.com/videocast/

We have had a lot of changes all over the world because of the COVID-19 pandemic but Hartecast Music is here to make sure you still have your jams; “we got cha!”

Ariana Grande Replaces Herself Atop Pop Airplay Chart as ’34+35′ Dethrones ‘Positions’

ARIANA is’the first artist to succeed herself at No. 1 as the only act credited on both tracks

Ariana Grande  maintains the top spot on Billboard‘s Pop Airplay  chart but switches out leaders, as “34+35” jumps 4-1 (on the survey dated Feb. 13), replacing “Positions,” which dominated for seven weeks.

Both songs are from Grande’s latest LP, Positions, which was released on Republic Records and debuted at No. 1 on the Billboard 200 chart in November.

As Grande adds her eighth Pop Airplay No. 1, she becomes the first artist to have succeeded oneself at the summit as the only act credited on both tracks. (A remix of “34+35” with Doja Cat and Megan Thee Stallion, released Jan. 15, has not received enough play for the rappers to be credited on the song on the Pop Airplay chart.)

Prior to Grande, four acts supplanted themselves atop Pop Airplay, which ranks weekly plays, as tabulated by MRC Data, on a panel of over 160 mainstream top 40 radio stations.

Halsey last swapped songs at No. 1 when “Eastside,” with Benny Blanco and Khalid, replaced her own “Without Me” in March 2019.

Grande was involved in the last such switch before Halsey’s, as Grande’s “Problem,” featuring Iggy Azalea, took over for Azalea’s “Fancy,” featuring Charli XCX, in July 2014.

Previously, OutKast’s “The Way You Move,” featuring Sleepy Brown, ended the Pop Airplay reign of the pair’s “Hey Ya!” in 2004, while Mariah Carey’s “One Sweet Day,” with Boyz II Men, replaced her own “Fantasy” at No. 1 in 1995.

(Honorable mention to Maroon 5 frontman Adam Levine: “Stereo Hearts,” by Gym Class Heroes featuring Levine, directly followed Maroon 5’s “Moves Like Jagger,” featuring Christina Aguilera, to No. 1 in 2011.)

Meanwhile, with seven weeks at No. 1 on Pop Airplay, Grande’s “Positions” posted the longest reign for a song by a woman and no other credited artists in nearly eight years, since Taylor Swift’s “I Knew You Were Trouble.” totaled seven weeks on top in February-March 2013.

“Positions” also marks Grande’s longest-leading Pop Airplay No. 1, having bested the reign of “7 Rings” (six weeks, 2019).

All charts will update tomorrow (Feb. 9) on Billboard.com.

Article by Gary Trust/Billboard, 2021

Cardi B claims it cost $1 million to shoot ‘WAP’ music video!

CARDI B’s “WAP” video coat a wap-ping 1 Million?!

The promo for Cardi and Megan Thee Stallion’s explicit 2020 hit – which saw the girls film at a mansion with real-life snakes with the likes of Kylie Jenner and Normani – cost the eye-watering sum, Cardi has told a fan on Twitter.

First of all, the ‘Press’ rapper shared that the video for her 2017 major-label debut single, ‘Bodak Yellow’, cost $15,000.

She wrote: “Fun fact : Bodak yellow music video cost me 15 thousand dollars .I was in Dubai and I said ….I gotta fly picture (videographer) out here …BOOM BOOM BANG ! Ya know the rest . (sic)”

A follower then replied: “girl that’s a lot (sic)”

However, the 28-year-old star responded with the cost of ‘WAP’ and ‘Money’ and ‘Please Me’, which came to $400,000 and $900,000, respectively.

She wrote back: “Naaaa honey ….Money cost 400K ,Please me Cost 900K ,Wap Cost a M ! (sic)”

Meanwhile, Megan recently revealed she and Cardi were terrified of shooting with the reptiles.

The pair were initially hesitant as neither of them had been around the creatures before, and the ‘Savage’ hitmaker eventually “made friends” with one of them though her pal wasn’t so comfortable.

She said: “OK, so what’s crazy is neither one of us had been around snakes before… I was like, ‘Friend, I don’t know if I can lay in snakes.’

“But Cardi B asked me to lay in some snakes, I’ve got to lay in the snakes for my girl.. I made friends with one who was on me the whole time. Cardi was so scared.”

The 25-year-old rapper added that she was pleased with the positive response to the track and doesn’t care about the people who are “offended” by the raunchy lyrics.

She said: “I really appreciate all the positive comments.

“The song is about women owning their bodies, their sexuality. I don’t know why me talking about my WAP is offending anyone. Forget what the haters have to say.

“Sometimes when women speak about sex it makes people feel uncomfortable. It’s 2020, why am I not allowed to talk about my body? Let me talk about what I’m going to do to you.”

Music-News.com/Newsdesk; January 14, 2021

Taylor Swift’s ‘Evermore’ Is This Week’s Fan Favorite New Music

TAYLOR SWIFT’S “EVERMORE”, a fan favorite

Taylor Swift’s latest surprise album, Evermore, has topped this week’s new music poll.

Music fans voted in a poll published in Billboard, choosing the 31-year-old pop superstar’s second surprise set of 2020 as their favorite new music release of the past week.

Evermore brought in 73% of the vote, beating out new music by Kid Cudi (Man on the Moon III: The Chosen), Gwen Stefani (“Let Me Reintroduce Myself”), The Kid LAROI and Juice WRLD (“Reminds Me of You”), Chris Cornell (No One Sings Like You Anymore), and others.

Evermore follows Swift’s first surprise album of the year, Folklore, which arrived in July. The new 15-track set dropped Friday and finds Swift reuniting with Folklore collaborators Aaron Dessner, Jack Antonoff and Justin Vernon.

This is Swift’s second fan-voted favorite new music release in recent months. In late November, Swifties helped push the singer’s live album, Folklore: The Long Pond Studio Session, to the top spot that week. The live set was accompanied by a Disney+ film documenting the making of Folklore.

Placing second on the past week’s tally with 15% of the vote was rapper Kid Cudi’s trilogy-capping album, Man On The Moon III: The Chosen, which arrives one decade after the second edition.

The new 18-track album is divided into four acts and features guest appearances by Pop Smoke (“Show Out”),  Phoebe Bridgers (“Lovin’ Me”) and Tripple Redd (“Rockstar Knights”).

The 36-year-old rapper first blasted off with Man on the Moon: The End of Day in 2009, earning him three Grammy nominations, two of which were for his Hot 100 No. 3 hit “Day ‘N’ Nite.”

Coming in third was the “other” category with 5% of the vote, followed by Stefani’s new single “Let Me Reintroduce Myself” in fourth with about 3% of the vote.

Read more: http://bit.ly/38426rS

Article by: Mitchell Peters, Billboard; 12/13/2020

Kayda recounts her hip-hop journey on latest single ‘Autopilot’!

KAYDA!

Malaysian rapper Kayda reflects on her early days as an artist on her latest single ‘Autopilot’, featuring US-based newcomer Ish.

Kayda – real name Wan Nur Khaleda Aziz – had also worked with composer The Cxdy on this self-produced track, which dropped on October 16.

“’Autopilot’ is about my journey in music, from performing at hip-hop gigs in my teens, to putting out my music on MySpace and staying consistent in making more music without thinking too much about it,” Kayda said in a press statement.

Kayda said the track which took only a few hours to complete after she met her friends at the studio, chose the beats, and recorded what was pre-written at home.

“Everything seemed to gel. And after that, a friend approached me wanting to sponsor the music video, and the whole project felt like it was on ‘Autopilot’, hence the title.”

Watch the music video, “Autopilot”: https://bit.ly/3m2z5lu

The song recorded at Kaya Butter Studio and had already been completed along with the accompanying music video in July last year, but Kayda had put the release on hold based on advice from her management.

Kayda also explained she met Ish during the second season of rap cypher series 16 Baris, and who wanted to learn to rap in Malay.

“Ish gave a lot of creative ideas in songwriting, a mad freestyler to boot and probably one of the best rappers I came across that’s able to freestyle so incredibly well,” she said.

The main message of ‘Autopilot’, Kayda said, is to encourage people to persevere in whatever they want to pursue.

In late September Kayda – who is the daughter of Malaysia’s jazz sensation Sheila Majid and composer Roslan Aziz – was featured in a collaborative single ‘Skills 4 All’ alongside Yusry (of Malaysian pop/rap group KRU), and W.A.R.I.S.

In 2013, Kayda was also nominated for Best New Artist at the Malaysian Hip Hop Awards, while her first single ‘Down With Me’ feat. Bem won Silver at the Voice International Music Awards (VIMA) the following year.

Kayda’s debut album ‘Love for No Reason’ produced by Emir Hermono, Bem and Puffietop was released in 2018.

By A. Azim Idris; October, 2020

Four Studio Engineers Give Rappers Advice on How to Use Auto-Tune the Right Way!

AUTO-TUNE RAP CELEBS’ ENGINEERS : EVAN LaRAY, CaShPassion, ONHEL, JESS JACKSON

There’s no sound more prominent in rap right now than that of Auto-Tune. Since the mid 2000s, seasoned OGs like T-Pain and Lil Wayne have finessed the vocal effect into a hit-making cheat code. Based on their pioneering techniques with Auto-Tune in hip-hop, fans increasingly grew to adore the then-foreign sound, and rappers have equally made the element a requirement in their music these days rather than leaving it as something experimental. Just look back at the sound of hip-hop over the last 15 years. The takeover is real.

Mo City-bred titan Travis Scott has built an entire aesthetic that is successfully formulated with Auto-Tune, allowing his melodies to pierce the ear far more than someone’s natural voice. His engineer Ca$hpassion helped bring that signature audio to life and still does alongside the Jackboys collective. Similarly, Young Thug’s high-pitched approach is refined by using the tool. As is Roddy Ricch’s voice. His hit record “The Box” is famous for the distorted “eh er” at the top of the record.

Aside from the obvious, more artists use Auto-Tune than you might expect in other creative ways, proving its growing impact. Take for example, the fallen Brooklyn star Pop Smoke. Jess Jackson, engineer and producer on Pop’s sophomore mixtape, Meet The Woo 2, and debut album Shoot for the Stars Aim for the Moon, kept the rapper’s gritty lead vocals intact and instead, opted to place Auto-Tune on the ad-libs to give his music a “2020 sound” that people flock to.

The same strategy was set in place for engineer and producer Evan Larry. For songs like “Wap,” he’s paired Caardi B’s vocals with Auto-Tune as the supporting cast rather than the main as he would with artists like Future and A Boogie Wit Da Hoodie.

What’s transparent is that things have certainly come a long way from the chart-topping days of T-Wayne(T-Pain and Lil Wayne)’s “Can’t Believe It.” Things may be similar to the untrained ear, but the technology and strategy used to perfect Auto-Tune have both had more evolutions than the Marvel Cinematic Universe.

Onhel, Lil Wayne’s Grammy Award-nominated engineer, notes this and like the rest of the engineers here, has used his elongated experience to gather some knowledge for aspiring rappers and engineers on how to create something legendary and rise to the top of the game.

So with the wise words from these four engineering experts, here’s the best advice rappers should follow when it comes to using Auto-Tune the right way.

Read More about these expert engineers inside track to hip-hop stars: https://bit.ly/3diELox  

Article By XXL/https://www.xxlmag.com/October, 2020

Melanie Martinez Curated Her Own Guest DJ Station on iHeartRadio 📻

MELANIE MARTINEZ is celebrating her new song, “Fire Drill,” with her own IHeartRadio Guest DJ station!

Melanie Martinez dropped her sophomore album, K-12, less than a year ago along with its accompanying film of the same name, and now, she’s preparing to release her After School EP. With the release of her newest song “Fire Drill,” the singer/songwriter is celebrating her new music by curating her own Guest DJ station on iHeartRadio powered by HBO Max. 

On her exclusive station, fans can hear music from her albums, including songs like “Lunchbox Friends,” “Show & Tell,” “Copy Cat” featuring Tierra Whack and “Nurse’s Office” which is “one of [her] favorites that [she’s] ever written,” among others. They can also hear some of Melanie’s favorite tracks from artists like Brandy, Missy Elliott, Kehlani, Frank Ocean, Solange, FKA Twigs. Ari Lennox and many others.

Fans can also hear Martinez talk about her music and some of her favorite songs. Check out the highlights below.

On her song “Copy Cat” and working with Tierra Whack:

“Tierra is one of the most incredible lyricists, and when we first started talking about working with each other, I sent her a bunch of options for songs, and I remember hoping that she would choose ‘Copy Cat’ and she did.”

On “Teenage Fantasy” by Jorja Smith:

“The reason why I chose this song is because the lyrics are incredibly relatable and make me feel many emotions.”

On “U Don’t Know Me (Like U Used To)” by Brandy:

“It’s one of my favorite songs from growing up and I love dancing to it.”

On Pink Matter by Frank Ocean featuring Andre 3000:

“I love this song because it makes me cry my eyes out. So if you’re feeling emotional, here we go.”

On “Truth” by Sabrina Claudio:

“This song is so beautiful and her voice is like angels singing.”

Listen to more of Melanie Martinez’s music and favorite songs on Melanie Martinez’s Guest DJ station on iHeartRadio powered by HBO Max. 

By Taylor Fields, Aug, 2020, AT40 article

Alicia Keys to executive produce documentary on female African-American entertainers 👏🏽

ALICIA KEYS: “I am proud to be a part of such a meaningful, important project,”

Alicia Keys is set to executive produce a feature-length documentary about Nina Simone, Cicely Tyson, and other iconic African-American women entertainers for PBS.

The No One hitmaker is developing the production American Masters: How It Feels To Be Free, which will also focus on the careers of Lena Horne, Abbey Lincoln, Diahann Carroll and Pam Grier.

The film will examine how the six stars overcame racist stereotypes and to become prominent figures in the entertainment industry.

Based on the book How It Feels To Be Free: Black Women Entertainers and the Civil Rights Movement by Ruth Feldstein, it will feature interviews and archival performances from the women profiled and conversations with Keys, Halle Berry, Lena Waithe, Meagan Good, LaTanya Richardson Jackson, and Samuel L. Jackson.

“I am proud to be a part of such a meaningful, important project,” Alicia shares in a statement. “Art is the most powerful medium on the planet, and I continue to be inspired by and learn from these powerful, brave and stereotype-shattering women who leveraged their success as artists to fearlessly stand up against racism, sexism, exclusion and harassment. I honor their courage by celebrating their stories and continuing the work they started.”

How It Feels To Be Free will air in early 2021.

Article by Music-News.com/Newsdesk; July, 2020, here: https://bit.ly/33axNyU

Beyoncé wins legal battle to trademark Blue Ivy’s name! 💃🏽

Beyonce and Blue Ivy, daughter

Her claim had previously been contested by events planner Veronica Morales.

Beyonce is closer to trademarking the name of her daughter Blue Ivy, after U.S. authorities dismissed a challenge to the application.

The singer has been in a legal battle with Veronica Morales, the owner of events planning firm Blue Ivy Company, since 2017. At the time, Beyoncé filed legal papers that sought to protect the commercial rights to ‘Blue Ivy Carter’ – her daughter with husband Jay-Z.

Contesting the claim, Morales said the trademark would be too similar to her own company and called on U.S. Patent and Trademark Office officials to deny the bid. At one point, she even accused Beyonce of fraud and said the singer had no intention of using the name for business purposes.

However, her claims have now been denied by authorities, who have ruled that there is no evidence to suggest that members of the public would confuse the two brands.

They declared, as The Blast reports: “Because we find Opposer failed to establish that Applicant lacked a bona fide intent to use its mark in connection with the goods and services identified in the application, her fraud claim based thereon… fails as well.”

The U.S. Patent and Trademark Office is now expected to officially grant Beyoncé’s trademark.

Last week, Beyonce launched a new fund to give Black-owned businesses grants through her BeyGOOD Foundation.

The fund has been started in collaboration with the National Association For The Advancement Of Colored People (NAACP).

Read complete article by Nick Reilly/NME; July, 2020 here: https://bit.ly/2CFWvvP

The CROWN Act: Working to eradicate race-based discrimination! 📽

Black Hair A Crowning Glory: Be Unique, Be Yourself

We want all of our beauty to be welcome in all places and institutions. Narrow beauty standards make it difficult for women to freely celebrate their own beauty. While all women experience pressure to conform to certain standards of appearance, Black women are disproportionately impacted by the Eurocentric standards that so often define what is beautiful. Society’s bias has enabled discrimination against Black women’s hair, including being judged differently based on hair texture and hairstyle.

Did you know …

  • A Black woman is 80% more likely to change her natural hair to meet social norms or expectations at work
  • Black women are 1.5 times more likely to be sent home or know of a Black woman sent home from the workplace because of her hair

In the US, the law in many states does not currently afford protection for race-based hair discrimination, even if the hairstyle is inherent to racial identity. That means Black women can be denied opportunities for employment or professional advancement without consequence. It means Black children can be denied entry to school or educational opportunities because of their natural hair. This is NOT OK. That’s why in 2019 we co-founded the CROWN Coalition in partnership with the National Urban League, Color Of Change and Western Center on Law and Poverty to advance anti-hair discrimination legislation. Our mission was, and is today, to advance efforts to end hair discrimination and to create a more equitable and inclusive beauty experience for Black women and girls. 

How the CROWN Act is enacting change

While there is still a lot of work to do, there has been progress. The CROWN Coalition sponsored The CROWN Act (SB 188) in California, introduced by Senator Holly J. Mitchell. California was the first state to pass The CROWN Act which was signed into law on July 3, 2019. With support from the CROWN Coalition, the bill has now been passed in 6 other states (CO, MD, NY, NJ, VA, WA), filed federally, and is in progress in 25 additional states. Once passed, these bills ensure that traits historically associated with race, such as hair texture and protective hairstyles, are protected from discrimination in the workplace and in K-12 public and charter schools. The CROWN Coalition continues to galvanize support for legislation to end hair discrimination federally and in all 50 states. Our CROWN petition has over 70,000 signatures so far, too, and you can sign it here:  https://bit.ly/2ZQ8SgJ

Hair bias hurts us all

Black women are unfairly impacted by societal norms and corporate grooming policies, creating distractions that impact our whole society. We know diversity has a positive impact on a workplace, and that companies that fire, refuse to hire or promote Black women because of their Protective Hairstyle destabilizes individuals, households and the broader economy. The workforce may boast more working women than ever[1], but Black women still remain pressured to conform to Eurocentric standards of appearance. Black women report receiving formal grooming policies at a rate significantly higher than White women. Natural hairstyles inherent to Black identity such as locs, braids, bantu knots, etc. are ranked the lowest for professional appearance. 

We want to see a world where we are all valued for who we are, a world where we express our individuality without any concern or consequence. No woman should ever be “judged” or held back by her hair.

Get involved!

Join us in creating real change that will impact the freedom that Black women and girls feel in expressing and celebrating their beauty. Follow @Dove and visit #TheCrownAct.com to see the progress we’re making together. Write to your legislators to encourage them to introduce and pass anti-hair discrimination legislation in your state. Below is an easy to use letter template for you to download.

Let your vote and your voice count in bringing anti-hair discrimination legislation to your state. Help us drive change today by signing the petition to pass The CROWN Act.

Download the Letter (PDF) (100 KB)

Opens in new window

The CROWN Coalition in 2020

This year, we are accelerating our work to eradicate race-based hair discrimination, and expanding our work with the CROWN Coalition. We are putting additional initiatives into action to end racial discrimination through legislative advocacy and societal change efforts. And there’s more to come.

In partnership with our Coalition members, we are evolving the CROWN Coalition and updating the name. The CROWN letters will now stand for:

Creating a 

Respectful & 

Open

World with

NO RACISM

We are creating the new CROWN Fund and pledging $5M of ongoing support that invests in efforts to eliminate barriers to progress for the next generation of Black lives. Alongside the fund, we will drive change by co-creating new programs and expanding existing ones such as the Dove Self-Esteem Project to help empower young people in the Black community. 

[1] Mark DeWolf, 12 Stats About Working Women, U.S. Department of Labor Blog (March 1, 2017) (According to the Department of Labor, women make up 47% of the US workforce, own close to 10 million businesses, and account for $1.4 trillion in receipts) 

See “Unique Hair” video here: https://youtu.be/UPcJog4DCPA

Dove, The Crown Act; complete article here: https://bit.ly/3e8Pe4A