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Ariana Grande’s ‘One Last Time’

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Ariana Grande’s ‘One Last Time’

Ariana Grande’s emotional appearance at the One Love Manchester concert could propel her to the top of the U.K. singles chart. HustleTV

The U.S. pop singer’s “One Last Time” (Republic) was downloaded 15,000 times in the 24 hours after Sunday’s all-star concert at Old Trafford Cricket Ground, according to the Official Charts Company, and it’s now challenging Luis Fonsi  and Daddy Yankee’s “Despacito” (Def Jam/RBMG/Republic/UMLE) for the

“One Last Time” has been repackaged on iTunes with 76p (US$0.98) from each 99p (US$1.28) download supporting the We Love Manchester Emergency Fund in coordination with the British Red Cross and Manchester City Council. More than $13 million has already been raised for the initiative, which will “help alleviate immediate suffering and ensure victims and their families do not face short-term financial difficulties,” the British Red Cross explained in a tweet.  HustleTV

The single, lifted from her second studio album My Everything, is at No. 2 on the midweek chart, well up on its peak of No. 11 from two weeks ago. Grande has enjoyed life at the chart summit on two occasions (both in 2014) with “Problem” featuring Iggy Azalea, and her “Bang Bang” collab with Jessie J and Nicki MinajDJ Hustle

Ariana Grande www.HustleTV.tv www.HustleGrind.com DJ Hustle

Ariana Grande www.HustleTV.tv www.HustleGrind.com DJ Hustle

Grande was joined on stage by a host of stars including Justin Bieber,Katy Perry, Miley Cyrus Coldplay,Pharrrell Williams, Niall Horan and Take That at the concert just two weeks after a terrorist detonated a bomb following a Grande concert at the Manchester Arena, killing 22 people. DJ Hustle


Ariana Grande Raps on Remixed ‘Knew Better Part 2

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HustleTV Music News…. Ariana Grande  shared a new remix of her Dangerous Woman track “Knew Better/Forever Boys” on Thursday (Sept. 15) that’s complete with a rap breakdown from the pop star, calling it “Knew Better Part 2.”

The new version picks up the tempo and builds off the original’s early melody, while adding some extra bass to make it a nice club-ready package. And then there’s the rapping… HustleTV

“And I ain’t even worry about it this time/ I know he gonna be the one to treat me just right/ Never had a motherfucker this tight/ So, baby, this is what your soul mate look like/ I look good, right?” Grande smoothly flows at a breakdown about halfway through.  HustleTV 




Mac Miller Talks ‘Divine Feminine,’ Performs Full Album With Some Help From Ariana Grande & CeeLo for Concert Series

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“I wanted a foundation to paint on, something very simple with her,” Miller tells Billboard of “My Favorite Part” duet with Grande.

HustleTV Music News…. Not quite a year since the release of his third studio album GO:OD AM,Mac Miller debuted and performed the entirety of his new album The Divine Feminine on Monday as part of AT&T and Audience Network’s latest concert series, which debuts Sept. 30 on DirecTV and U-Verse.

The 24-year-old rapper showcases multiple genre-crossing collaborations on the new album, available everywhere Friday, including features from Kendrick Lamar, Ty Dolla $ign and Anderson .Paak. And two of his highest-profile collaborators — Ariana Grande and CeeLo Green — even came through to the concert taping to perform “My Favorite Part” and “We,” respectively, with Miller. HustleTV

Mac Miller

Chris Phelps for AUDIENCE Network
Mac Miller

So what did Miller look for in his many Divine collaborators? “I love people doing things they don’t normally do,” Miller told Billboard, mentioning one collaboration that sticks out among the rest. On “We,” Miller dives into more of a sultry, R&B sound with Green. “His creative process is amazing,” Miller said of the Gnarls Barkley and Goodie Mob alum. “He was able to capture the emotion.” HustleTV

Miller said before he starts making music with anyone, he’s first making conversation. “Conversation is the most important ingredient,” the rapper said. “Everyone that I’ve worked with on the album has been able to get there with me.”

The Divine Feminine was influenced by love, which he says has officially taken over his life and his work. “I really like love as a concept.” Miller said. “On the last album, I realized there’s no love songs, and I wanted to do a project based around that.” Originally set to be a released as an EP, the rapper later changed it to a full-length album to let himself be more vulnerable and address “more emotional things that I would probably not want to say in fear of looking less cool.”

His latest single “My Favorite Part,” featuring confirmed girlfriend Ariana Grande, is mirroring his real life. “I wanted a foundation to paint on, something very simple with her,” Miller said. With nothing but words of praise about the pop singer, he said working with Grande “is a lot of fun” and she’s one of his favorite artists to work with. HustleTV

Miller’s AT&T and Audience Network event is just one of a new slate of concerts/interviews coming up. High Valley, Butch Walker and Machine Gun Kelly taped a special Thursday (Sept. 15), while The Band Perry; K.Flay, JoJo and Bebe Rexha; and Good Charlotte all have concerts coming up on the Ted Stryker-hosted show. DirecTV and U-verse customers can watch the concerts on DirecTV Channel 239 and U-verse Channel 1114 or live-stream them online or on the DirecTV or U-Verse apps.

“I love these shows not just because of the intimacy of the performances, but being able to talk to these artists in a relaxing setting about their struggles and successes is very exciting and eye-opening,” Stryker said in a press release. HustleTV


Mac Miller & Ariana Grande Collab On Slow Jam: ‘My Favorite Part’

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HustleTV Music News…. Around the time they performed together at Billboard’s Hot 100 Festival, we learned Ariana Grande and Mac Miller were reportedly dating. The public side of their rumored romance continued on Friday (Sept. 9) as Miller shared “My Favorite Part,” a duet with Grande from his upcoming album The Divine Feminine.  HustleTV

The laid back love song is built around a big, rubbery bass line, with Miller taking lead on vocals. “You just don’t know how beautiful you are/ And baby that’s my favorite part/ You walk around so clueless to it all/ Like nobody gonna break your heart,” Miller croons at the outset of the track, promising that he’s got his lover covered and that the universe couldn’t keep them apart.

The pair come together on the chorus: “It’ll be alright, babe/ See, me I got you covered/ I’m gonna be your lover, you might be the one,” they sing before Grande breaks out on her own for a verse. One Direction had “Don’t You Know You’re Beautiful” and the 1975 called their 2016 album, I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It. These beautiful pop stars — they just don’t know they’re beautiful they are!  HustleTV




Nathan Sykes Takes on the Hot 100 Festival: Behind the Scenes With The Pop Sensation

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HustleTV Entertainment News…. Nathan Sykes , 23, has risen from the ashes of boy band fame to propel himself as one of this year’s buzziest new artists. Formerly one-fifth of the defunct U.K. act The Wanted, he’s now a certified solo pop upstart all his own, and — on the heels of massive collaborations alongside his former flame Ariana Grande  (“Over And Over Again”) and of the moment emcee G-Eazy (“Give It Up”) – he’s readying the release of his aptly titled solo debut LP Unfinished Business, set to arrive November 4 via Global Entertainment. HustleTV

“I didn’t want to just be known as that guy from the band that took a break at the age of 20 and no one ever saw again,” he tells Billboard of him solo ambitions during his stay at The Patch in Brooklyn, New York — one of two houses developed by SOUR PATCH KIDS to support touring artists. “I had more to do, I had more to say, I had more songs to write, and I had more to give as an artist.” HustleTV

Linking up with executive producer Harmony Samuels, the duo worked together to hone Sykes’ brassy modern pop sound, fused with elements of funk, blues and soul. “When I got into the studio, for the first time I’m asking myself, ‘Who am I as an artist’? Not ‘Who is Nathan from The Wanted?'” he said. “It was a really amazing process. We wrote songs that really gave me an identity as an artist, and being able to drive that was an experience I’ll never be able to forget.” HustleTV

But The Wanted’s nosedive wasn’t the young singer’s only obstacle in his pursuit of solo pop stardom. In 2013, Sykes suffered a near career ending vocal hemorrhage, forcing him to undergo emergency vocal cord surgery – a situation that has also plagued fellow chart toppers Adele, John Mayer, and Meghan Trainor. And as if the experience wasn’t traumatic enough – it was all documented on the Wanted’s E! reality series The Wanted Life. “[The surgery] was on my 19th birthday, and it was a really scary time,” he recalls. “I had to be sat down and told ‘if this doesn’t go well, you won’t sing again.’ This was before we even decided to take a break so I’m being looked at like ‘if it doesn’t go well, he’s gonna be out of the band, he’s gonna be dropped by the label.’”

After the group’s split in early 2014, Sykes stayed positive and continued on his path to recovery with a back to basics approach, teaching himself via vocal rehab how to use his voice to his full capacity. “I’m a big believer that everything happens for a reason and if that surgery didn’t happen I wouldn’t be on stage today singing the way that I sing. I wouldn’t have written the album that I’ve written and I wouldn’t be able to sing the notes that I sing. The control, the technique — it wasn’t there,” he admits. “It’s really intense the way that I sing now, and I use the whole range of my voice. It’s really allowed me to develop that.” HustleTV

Today, Sykes is flourishing – in town to perform at Billboard’s second annual Hot 100 Festival at Nikon at Jones Beach Theater, sponsored by The Patchwith dates supporting fellow buzz kid Alessia Cara set for the fall. “The biggest difference between doing shows as a solo artist and doing shows as a band is when I was in The Wanted, you’re singing one out of five lines, but now the focus is all on me,” he tells Billboard en route to the Hot 100 festival grounds. “If I do a bad show, people are going to walk away and go ‘Nathan Sykes just did a bad show!’ With the journey that I’ve been on, I’m very fortunate. I have crazy goals and things that I want to achieve, so I’m not going to stop until I’ve achieved them. And when I do achieve them, I’m going to keep going.” HustleTV



Beyonce, Rihanna Dominated MTV VMAs,

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HustleTV Entertainment News….  For the past dozen years, as MTV’s once-titanic grip upon music and pop culture has dwindled, the Video Music Awards have been its ace-in-the-hole — the annual ratings and water-cooler-moment jackpot that keep it anchored in a media world that continues to evolve far beyond television networks. And while the network has continued to hit those moments — which usually involve the names Kanye WestTaylor Swift or Miley Cyrus — the VMAs are unlikely ever to reach the gold standard of 13 years ago when it was Britney Spears and Madonna.

But in a year that’s been tumultuous even by this beleaguered network’s standards (see the Sumner Redstone/Phillippe Daumann drama), there’s opportunity. The medium that stole the thunder (and lunch) of MTV and the industries around it — the Internet and YouTube in particular, duh — has made music videos more relevant than they’ve been since the turn of the millennium. And whether it’s luck or changes in leadership or tactics, the 2016 VMAs were the first in recent memory that actually felt different.

The show’s format was only the most obvious change. It was less rigid and predictable — for an awards show, anyway — and, in a way that reflects the changing power dynamic in the music business, large segments were basically handed over to superstar artists. Rihanna performed four separate times and was presented with the Video Vanguard award by a be-tuxed — and possibly lovelorn — Drake, occupying approximately 30 minutes of the nearly three-hour-long show. Kanye West filled around 12 minutes with a stream-of-consciousness speech and a soft-porn new music video; Alicia Keys spoke and sang a poem inspired by Martin Luther King. Beyonce, suiting her imperial status, delivered a mind-blowing 15-minute medley that showed her peerless mastery of the live television moment. Diddy‘s relentless brand-dropping (he strategically mentioned Ciroc vodka, with which he has a 50-50 profit split, in both of his on-camera appearances) felt like a throwback.

The visuals and staging were as vivid as ever but woozier and more surreal: the show opened with a barrage of pink — Rihanna’s sterile, bathroom-esque opening number was followed by Ariana Grande and Nicki Minaj performing in a set seemingly modeled on a West Village Soul Cycle, and that was just the first 15 minutes.
The tone of the show was different as well: While there was no shortage of the corny jokes that seem obligatory for awards shows, the familiar Caddyshack humor that was a hallmark of longtime president Van Toffler — who left MTV last September after 28 years at the network — was nowhere in sight, replaced by a social-media based sass that didn’t always work but at least was trying to look forward. HustleTV

Which leads to the biggest change of all: Whether by circumstance or design, this was unquestionably the blackest VMAs ever, and possibly the blackest mainstream awards show to date. The main “commentators” (basically a revolving set of hosts) — Keegan-Michael Key and Jordan Peele, former Saturday Night Live actor Jay Pharoah and comedian Nicole Byer — and the most prominent headlining performers were nearly all black or mixed-race. Few of the white nominees or usual suspects were in attendance — multiple nominees Adele and Justin Bieber sat the night out (and did not win any Moonmen), as did awards-show junkie Taylor Swift, who probably elected to stay home rather than risk another run-in with the West-Kardashians — or even got much mention or play during the show (save for a brief Kanye mention).

Not a single rock band performed and most of the white performers underwhelmed: While Nick Jonas delivered a solid show-piece of his hit “Bacon” in the diner across from Madison Square Garden, Britney Spears and G-Eazy were stuck with the thankless task of following Beyonce, and Halsey did her best to fill the charisma vacuum created by her duet partners The Chainsmokers, who were clearly out of their depth on the big stage. Olympic superswimmer Michael Phelps talked about “the motivation and inspiration I get from hip-hop” and explained that “when I made that face that ended up all over the Internet, I was in the zone with Future’s track ‘Stick Talk’ blaring in my headphones.”

Yet even in these racially charged times, the subject scarcely came up during the show itself. Beyonce made a big statement by walking the white carpet (!) with the mothers of police-violence victims Eric Garner, Michael Brown, Oscar Grant and Trayvon Martin, and part of her performance featured several dancers falling, bathed in pools of red light, as if shot. Yet much of the symbolism in her performance was focused on another long-oppressed demographic — females — and her acceptance speeches were directed at family and colleagues and teams. Kanye West had a seemingly poignant set-up about the horrifying gun violence in Chicago, but it just led to him making a point, as usual, about himself. There were multiple missed opportunities to grab the mic and Say Something. HustleTV

Maybe the network was leery of making those kinds of waves — although it’s not like these are artists who can be told what to do. Maybe, in a year that’s seen more far-reaching tumult hit closer to home than any since the ’60s, the performers figured people have had enough.

But for all the bad jokes and missed moments, and for all the inevitable post-show snark attacks on social media, at least this year’s VMAs suggest a different way forward. One speech along the lines of Jesse Williams’ Black Lives Matter broadsideduring the BET Awards, and we’d be talking about something besides Beyonce’s flawlessness and Kanye’s Olympic narcissism.

2016 MTV VMAs

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Rihanna performs onstage during the 2016 MTV Video Music Awards at Madison Square Garden on Aug. 28, 2016 in New York City.

1. Rihanna goes monochrome to run through her hits “Don’t Stop The Music,” “We Found Love,” and “Don’t Stop The Music” for her first performance of the night.

Beyonce and Blue Ivy Carter attend the 2016 MTV Video Music Awards on Aug. 28, 2016 in New York City.

The trend-setting tot wore a $10,950 Mischka Aoki dress on the VMAs red carpet. “The Grand Royalle” dress with gold leatherette bodice, a high-low hem and 3D floral appliques is available at Bergdorf Goodman.

An Australian designer, Winnie Aoki is known for luxury materials and craftsmanship. She presents her collections on the runway at New York Kids Fashion Week. Her fairytale-like clothes have been worn by Blue Ivy before, as well as Suri Cruise and Penelope Scotland Disick. She started her label in 2009 when she couldn’t find clothes good enough for her first daughter, Mischka, after whom the label is named.

At the VMAs, Blue Ivy also wore a diamond tiara by jewelry designer Lorraine Schwartz adn pale pink high top sneakers by Giuseppe Zanotti.

Two other little girls who made an entrance with Beyonce were also dressed in Aoki’s designs, the Fairy Queen dress ($9200) and the Aurora dress ($2318).

MIschka Aoki is known as an haute couturier for children. A dress can take up to 300 hours to produce, with at least 8 seamstresses working on one. HustleTV

Drake presents Rihanna with the The Video Vanguard Award during the 2016 MTV Video Music Awards at Madison Square Garden on Aug. 28, 2016 in New York City.



Is there anything left to say about Beyoncé? Just when you thought Lemonade had taken you everywhere it could, Bey brings virtually the whole album to life with a show-stopping spectacle at the VMAs. She was a last-minute addition to the night’s performance list, but by the time she was done, jaws were all over the floor.

Beyonce opened with the first track from her visual album, “Pray You Catch Me,” which then led to “Hold Up,” “Sorry,” “Don’t Hurt Yourself,” and “Formation.” It was a masterfully-produced, expertly executed show that did justice to Lemonade, and then some. Really, it seemed like it was out of another world above the rest of the night’s acts.

We heard Kanye was scheduled to appear at the VMAs a few days ago, so we knew we were in for a trip. What we got was a Yeezy monologue that wasn’t quite as drop-what-you’re-doing climactic as last year’s “KANYE 2020” moment, but on-point nonetheless. He was real, and he was relatable.

Kanye brought up his Taylor Swift tiff, but only to emphasize more pressing issues, like violence and systematic racism in America. There was this touching anecdote:

So I was speaking at the Art Institute last year, and one kid came up to me and he said, “Three of my friends died, and I don’t know if I’m gonna be the next.” And you have to think, like, when you’re a senior and it’s the last month and you don’t feel like doing any more work. If you feel like you’re seeing people dying right next to you, you might feel like, “What’s the point?” Life could start to feel worthless in a way.

He then shouted out his inspirations (“Truman. Ford. Hughes. Disney. Jobs.”) and premiered the video for “Fade,” starring Teyana Taylor and Iman Shumpert.

You can read Ye’s whole speech here.

And let’s not forget Chance the Rapper’s reaction to Kanye shouting him out: HustleTV

Chance the rapper Hustletv.tv

Chance the rapper Hustletv.tv

Alicia Keys gave an incredible speech while presenting the moon man for Best Male Video. The show was on Aug. 28, the 53rd anniversary of Martin Luther King’s “I Have a Dream Speech.” In that spirit, she recited a beautiful poem, beginning with the line, “If war is holy and sex is obscene, then we got it twisted in this lucid dream,” and not ending without Keys belting into song.

Rihanna’s Career Comes to Life

Rihanna won the lifetime achievement Video Vanguard award (at only 28!) so it goes without saying she had a big night. The VMAs made sure she was properly honored, and this meant multiple Ri Ri performances, featuring songs from all over her career. She kicked off the show performing classics like “Please Don’t Stop the Music” and “We Found Love” and ended it with newer hits like “Work” after accepting the big prize.

Drake was late to the show and couldn’t accept his moon man for Best Rap Video on air, but boy did he do Rihanna’s trophy justice. Aubrey gave a fawning, sincere speech to present the Video Vanguard. At the end, it looked like he went in for a big kiss, but Rihanna wasn’t having it. HustleTV Entertainment News…. 



Ariana Grande Sang a Medley of Whitney Houston Classics on ‘Greatest Hits

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HustleTV Music News….  Ariana Grande paid tribute to Whitney Houston with a medley of the late superstar’s hits on the season finale of ABC’s Greatest Hits.

Grande added her own inimitable sparkle when she tackled Houston’s classic “How Will I Know,” and “Queen of the Night” from the Bodyguard soundtrack.  HustleTV

“Honored to be paying homage to my angel”, she tweeted ahead of her performance. HustleTV


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Calvin Harris, Ariana Grande, J. Cole, Martin Garrix & Fetty Wap to Headline Billboard Hot 100 Fest: See the Lineup

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It’s going to be a hot one at Billboard’s second annual Hot 100 Fest.

The festival, produced by Billboard in partnership with Live Nation, will feature headlining performances from Ariana GrandeCalvin HarrisJ. ColeMartin Garrix and Fetty Wap.

Billboard Hot 100 Fest: Get Tickets Here

Sleigh BellsRae Sremmurd, and more will also appear.

Additional performers will be announced at a later date.

The exclusive Citi Master Card pre-sale begins today (May 18) at 10AM ET. Tickets go on sale to the general public on May 21 at 10AM ET.

See the full lineup below.​

Billboard Hot 100 Fest runs August 20 – 21 in Jones Beach, New York. HustleTV

Billboard Hot 100 Fest 2016