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The three-time Latin Grammy winner expands her relationship with the Sony Music label after previously signing her catalog with the company. Carla Morrison Esteban Calderón Español Trending on Billboard Carla Morrison has signed a frontline artist deal with 5020 Records, Billboard can exclusively announce Thursday (June 25). The new agreement expands a relationship that began last year, when the Sony Music label signed the three-time Latin Grammy winner for her catalog. “After more than 15 years of walking my own independent path, I’m incredibly excited to begin this new chapter with 5020,” Morrison said in a statement. “It was very important for me to find a team that truly understood my story, my music, and the deeply personal place from which my songs are born.” Related She added, “I’m excited for everything that lies ahead and for the opportunity to continue connecting with more people through music. With the entire 5020 team, I’m confident we’ll achieve many meaningful things with the care, intention and authenticity that matter so much to me.” The deal marks a new era for Morrison, who built one of Latin music’s most respected independent careers before expanding her relationship with Sony. Originally from Tecate, Baja California

The label group is proving that unsold vinyl can be reprocessed into new pressings without compromising sound or quality, and is now asking music fans for help. Recycled vinyl at GZ Media Courtesy Warner Music Group Trending on Billboard In May, Warner Music Group quietly completed a test program that could change the future of vinyl.  The program, conducted in partnership with the world’s largest vinyl manufacturer, GZ Media, set out to answer one question: can recycled vinyl deliver the same sound quality? Related GZ Media collected 10,000 unsold records across artists, titles and pressing plants throughout Europe and first shredded, then repressed them using a range of recyclable materials — from 10-100%. Next, a selection of industry experts were gathered at London’s famed Abbey Road Studios for a blind listening evaluation. Each vinyl passed. “What impressed me was how consistent the pressings were across the different material blends, showing that sustainability and sound quality do not have to be at odds,” Abbey Road’s mastering engineer, Miles Showell, shared in a statement to WMG. The recycled pressings weren’t just being evaluated for quality, though, as the project also aimed to evaluate the environmental impact of preprocessing vinyl. Even with the

1 When it was announced that Supergirl would be the follow-up to last year’s Superman, I feared that the DC Universe might be repeating too much, too soon. Then again, Kara Zor-El is a different kind of hero than Clark Kent, as Milly Alcock’s hungover cameo in the previous film established. With Supergirl primarily being set several planets away from Earth, this spinoff could also offer a broader scale than its predecessor. There were just enough new ingredients here to produce something different. Supergirl isn’t just a retread of Superman, but much like the titular character, Craig Gillespie’s film feels lost, never quite soaring as it should. Alcock undoubtedly does the heavy-lifting as Kara, who celebrates her birthday by boozing across the galaxy. Of course, that seems to be another day at the office for this 23-year-old. While Kara has a good heart, she isn’t always the best role model. In an era where so many female leads have their imperfections sucked out along with any complexities, it’s refreshing to see a heroine who’s an unapologetic hot mess. The early scenes set us up for a lighthearted romp as Kara wakes up beside a cuddly Krypto. Supergirl quickly shifts gears

Meme Encyclopedia Meme Encyclopedia Cultures Events Memes People Sites Subcultures Submit Status Fairs K.J. Genualdo • 7 days ago May 2026 See Who Won The KYM Poll For Meme Of The Month! To All Media Images Trending Most Commented Most Favorited High Score Low Score Most Viewed To All Videos All Videos Chapter 1 Map - SpongeBob SquarePants: Employee of the Month about an hour ago Staff Roll (Extended Version) - Super Mario 64 about an hour ago Bolero of Fire - The Legend of Zelda: Ocarina of Time (Switch 2) about an hour ago Try Yourself Editorials Editorials All Editorials What Happened To 'All Or Nothing'? Tumblr's Infamous Crowdfunding Controversy Explained K.J. Genualdo • about 7 hours ago What's With All Of The 'Tungsten Cube' And 'Banana Bread' Memes? The 'Male Equivalent Of Flowers' Videos Explained Phillip Hamilton • a day ago What Happened To 'Chimptopia'? The Kickstarter Indie Animation Controversy Explained K.J. Genualdo • a day ago News Explainers Collections Interviews White Papers Insights Episode Notes Behind The Scenes Meme Review In The Media Poll Trending More Episodes All Episodes "Who Is He?" Explained Zach Sweat • about 11 hours ago Birds for Some Reason: The Cartoon Bird

Trending on Billboard Over the last several years, music fans have increasingly been faced with sticker shock when buying concert tickets — leading many to ask why they’re paying so much to see their favorite artists. To answer that question, it’s imperative to look under the hood and consider the various factors that help determine the final price. In today’s music industry, the bulk of artists make most of their money on the road. And to make a profit, or at least break even, artist managers, attorneys, booking agents, business managers, production managers and tour directors — as well as the artists themselves — all play a role in helping determine the right price for a show. But with production costs having risen dramatically since the pandemic, the right price is often substantially higher than it was 10 years ago. While touring crews have taken to doing less with more, scaling down their ambitions and juggling multiple jobs, fans spending hundreds of dollars to see a show often expect a spectacle — and a spectacle costs money. Related “There are two pieces that really go into ,” Omar Al-joulani, president of touring at Live Nation, tells Billboard. “One

Clive Davis was a chart enthusiast even before he became a music industry legend. In his 1974 biography Clive: Inside the Record Business (which he co-wrote with James Willwerth), he explained his fascination with charts, which, he said, grew out of an earlier obsession with baseball statistics and Variety’s lists of top box-office hits. Related “It was an extension of the star syndrome,” he wrote, “measuring how singers did against each other, watching their songs climb the Hit Parade. I was a reader of charts and statistics, and I found an excitement in them which is hard to explain, as if they represented a form of energy.” (Emphasis in the original.) Since Davis was a chart fan to begin with, imagine what a kick it must have been for him to see his companies’ records ascend to the top spot on Billboard Hot 100, especially in the nearly four decades that he directly oversaw day-to-day operations at a succession of labels: CBS (Columbia and Epic), Arista and J Records. According to Davis’ official bio, the exec was appointed vp and general manager of Columbia Records in 1966. In 1967, he was named president of the company. He oversaw Columbia and

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Trending on Billboard Following the death of Clive Davis on Monday (June 22) at the age of 94, professionals across the music industry are remembering the legendary executive, who launched the careers of such stars as Whitney Houston, Barry Manilow and Alicia Keys. Davis’ music business career is the stuff of legend and undoubtedly inspired multiple generations of music industry executives. Known as “The Man With the Golden Ear,” he launched his career as assistant counsel at Columbia Records and was eventually named president of Columbia’s parent company, CBS Records. He later founded his own label, Arista, in 1974, where he went on to sign Manilow, Aretha Franklin, Patti Smith and more. That was followed by J Records in 2000, which launched future stars Alicia Keys and Maroon 5. He was later named chief creative officer at Sony Music Entertainment, a role he held until his death. See below for all the reactions. We will update this story as more come through. Related Merck Mercuriadis: “I am so sorry to hear of Clive’s passing. We have all lost an extraordinary man the likes of which you will never see again but you have lost a father — a father to

Sun, June 21, 2026 at 10:55 PM UTC Slayyyter on meticulously curating her Tumblr: " kind of felt like my first hand in creative direction, in a way, because I was very particular about if I would reblog a photo. I wasn't just reblogging random shit. If I would reblog a photo, the next thing I would reblog, there would be like color story links, like if something had a little bit of pink or a little bit of chrome, it would all kind of lead into the next thing. I was very particular about how my blog looked, which sounds so stupid. But I think that was kind of my first introduction to more visual inspiration."

Sun, June 21, 2026 at 11:15 PM UTC Slayyyter on her fond memories of Tumblr: "There were artists who would hit off on Tumblr. I remember seeing like, Lana and Marina, GIFs of like M.I.A. or like random things, or like Tyler, the Creator and like the whole Supreme kind of hypebeast side. I know that there's a lot of talk right now about people being like, oh, like so sick of the nostalgia bait and so sick out it. But I didn't want to do things so on the nose, but I have such fond memories of Tumblr and a simpler time of the internet, that's it's just something I wanted to lean into without like going too, flower crown, studded shorts with it."