In the photos, Leni can be seen posing in a stylish and chic outfit, consisting of a dark denim trench coat, strappy gold heels, and a brown Michael Kors bag. Her long blonde hair cascades down her shoulders in waves, and her piercing blue eyes stare confidently into the camera. The overall effect is stunning, and it’s hard to believe she’s only 18 years old.

Leni is the eldest daughter of Heidi Klum and the British musician Seal. She has recently started her own modeling career and is making waves in the industry. Her natural beauty and striking resemblance to her mother have helped her gain attention from top fashion brands and photographers.

Heidi Klum is known for her effortless style and beauty, and it seems that her daughter has inherited these traits. Leni’s photos have garnered a lot of attention on social media, with many people commenting on how stunning she looks and how much she resembles her mother.

It’s not surprising that Leni has chosen to pursue a career in modeling, given her mother’s success in the industry. Heidi Klum has been a model for over 30 years and has worked with some of the biggest fashion brands in the world. She has also been a judge on the popular television show America’s Got Talent, and has her own fashion line.

Leni has clearly inherited her mother’s talent and work ethic, and it’s exciting to see where her career will take her in the future. Her stunning photos are just the beginning, and it’s clear that she has a bright future ahead of her.

In conclusion, Heidi Klum and her daughter Leni are both incredibly beautiful and talented women, and these stunning photos prove just how similar they look. Leni is following in her mother’s footsteps and carving out her own successful career in the modeling industry. It’s clear that she has a bright future ahead of her, and we can’t wait to see where her career takes her next.

As the stars arrive on the red carpet, fashion enthusiasts are eagerly awaiting to see what they’re wearing. From glamorous gowns to sleek suits, the Vanity Fair Oscars after-party is always a showcase for the best and most creative fashion.

One celebrity who is no stranger to the red carpet is actress Hayden Panettiere. Although she wasn’t in attendance at this year’s Oscars or the after-party, she recently made headlines when she opened up about her experience recording music for the television show Nashville.

Hayden played the role of country pop singer Juliette Barnes on the show from 2012 to 2018. However, she revealed that she was not trained in music and was terrified when she was asked to record songs for the show.

“I was not trained. Like, terrified, scared s–tless, shaking,” Hayden told E! News’ The Rundown. “I walk in, apologizing to the producers already because I’m like, ‘Look, it’s gonna take me a long time to warm up but I will get there. I will get it done, I promise.'”

Despite her nerves, Hayden managed to overcome her fear and record some memorable music for the show. And while she may not be at the Vanity Fair Oscars after-party this year, there are sure to be plenty of other celebrities making fashion statements on the red carpet.

From classic Hollywood glamour to edgy and avant-garde looks, the Vanity Fair Oscars after-party always has something for everyone. Stay tuned for updates and photos as the stars arrive and show off their fashion sense.

On the 50th anniversary of the Stonewall riots, right in the heart of Pride Month, Taylor Swift debuted a new music video for her song “You Need to Calm Down.”

And the video, which debuted on Monday, June 17, on ABC’s Good Morning America, is every bit the OTT masterpiece that Swift fans all over the world were waiting for.

Better still? Additionally, it is a politically charged spectacular.
That’s right, Swift has used her song to advise everyone to “cool down” and mind their own business in an effort to increase support for LGBTQ+ rights.

In the song’s accompanying music video, she sings, “I ain’t tryna tamper with your self-expression, but I’ve learnt a lesson that stressin’ and obsessing about somebody else is no fun.”

Control your wants to yell about all the people you despise, Swift continues, “since shade never made anybody less gay.”
Why you mad when you could be GLAAD is a line from Swift’s song, which also encourages listeners to sign her petition in favour of the Equality Act.

An on-screen statement reads, “Let’s show our pride by demanding that, on a national level, our laws actually respect all of our residents equally.”
Swift’s plea for equality comes after she gave the Tennessee Equality Project £86,000 ($113,000) to support the rights of LGBTQ+ people to equality.

Numerous celebrities who identify as LGBTQ are included in the video, including Ellen DeGeneres, Billy Porter, RuPaul, Jesse Tyler Ferguson, Adam Lambert, Hayley Kiyoko, Adam Rippon, Chester Lockhart, Dexter Mayfield, Hannah Hart, Antoni Porowski, Jonathan Van Ness, and Tan France to name a few. Swift also produced and directed the video with Drew Kirsch and Todrick Hall.

In the song video, Todrick Hall and T-Swift are seen enjoying tea alongside Bobby Berk, Antoni Porowski, Karamo Brown, and Jonathan Van Ness, all of whom are members of the Queer Eye cast.

In a different appearance in the video, Tan France is shown swilling tea straight from a teapot.

The top 100 holiday songs are more likely to evoke images of Santa Claus, sleigh bells, and cold weather in 2022 as streaming playlists drive listening than a baby Jesus and the Virgin Mary. According to a Billboard review of Luminate data, religious music’s 4.4% percentage of the top 100 holiday songs’ overall consumption through Dec. 8 was tied with 2021 for the lowest level since 2010. “O Come All Ye Faithful” by Nat King Cole, which has been the top religious song since the first week of November, is at No. 50, the lowest position for a No. 1 religious song since 2010. Pentatonix’s version of “Mary, Did You Know?” is only at No. 68, and Rogers’ rendition of the song is now No. 255.
Religious holiday songs reached their market share peak in 2015, accounting for 18.2% of all digital downloads and streaming of the top 100 holiday songs. Six of the 13 religious songs in the top 100 holiday tunes were held by the vocal group Pentatonix, including the top three (“Mary, Did You Know?,” “Little Drummer Boy,” and “White Winter Hymnal”). The combined consumption of the two versions of “Mary, Did You Know?” by Pentatonix and Jordan Smith, which peaked at Nos. 2 and 3 in that year’s charts, was 17% higher than that of Mariah Carey’s “All I Want for Christmas Is You,” which peaked at No. 1.
The top 100 songs of 2013 had the most religious music, with 14 of the top holiday songs for the last two months of the year falling under this category. There were two renditions of “The Little Drummer Boy,” performed by Harry Simeone Chorale and Pentatonix (No. 3). (No. 74). The Temptations (No. 44) and Kelly Clarkson (No. 21) both had “Silent Night” recordings that were well-liked at the time. Four renditions of “O Holy Night” in the top 100: Pentatonix (No. 96), Martina McBride (No. 96), and Celine Dion (No. 48). (No. 97). The original song “Breath of Heaven (Mary’s Song)” by Amy Grant came in at number 82.

Billboard evaluated the lyrical content of each song to classify holiday music as secular or religious. Religious music often makes allusions to Christian themes or biblical figures (such Jesus, God, or the Virgin Mary) (the nativity scene). Due to its connections to Judaism, Billboard classified Adam Sandler’s song “The Chanukah Song” as religious. Even though it has a religious-sounding title, a song like “Hallelujah,” penned by Leonard Cohen and frequently recorded by artists like Pentatonix and Carrie Underwood, is considered secular music.

Like other types of music, the way that Christmas music is listened to has evolved over time. Between 2015, when religious holiday music attained its highest market share, to 2022, downloads’ proportion of the top 100 holiday songs’ overall consumption fell from 49% to just 1.4%. Many religious songs this year, such as Lauren Daigle’s “Light of the World” and For King & Country’s “Little Drummer Boy,” had reasonably significant download sales but not enough streams to crack the top 100.

Radio stations favour a different collection of religious holiday music than streaming services, for example, Martina McBride, Carrie Underwood, and Whitney Houston’s cover of the 1962 song “Do You Hear What I Hear?” that doesn’t make the top 100 holiday streaming recordings. Barenaked Ladies and Mannheim Steamroller, among others, have recorded traditional tunes like “God Rest Ye Merry Gentlemen,” which consistently does well on American radio. Tom Poleman, chief programming officer for iHeartMedia, writes in an email to Billboard, “Songs like ‘O Holy Night,’ ‘Do You Hear What I Hear?,’ and ‘The First Noel’ still test similarly well for us.”

However, the records indicate that secular music has been playing increasingly frequently on American radio in recent years. 16 religious songs appeared in the top 100 holiday recordings in November and December 2015, as determined by spins. Two renditions of “Do You Hear What I Hear?” by Houston and Bing Crosby came in at Nos. 33 and 34, respectively, and were quickly followed by the top religious album, “The Little Drummer Boy” by the Harry Simeone Chorale, which debuted at No. 25. The renditions of “Mary, Did You Know?” by Rogers and Pentatonix also made the top 100.

Only six religious songs were in the top 100 this year as of December 8; the number-one song, “The Little Drummer Boy” by the Harry Simeone Chorale, had dropped to number 72. Although Amy Grant, a Christian singer, still ranks among the top 100, her covers of “Hark! The Herald Angels Sing,” “Winter Wonderland,” “It’s the Most Wonderful Time of the Year,” “Sleigh Ride,” and “Rockin’ Around the Christmas Tree” have done better than her top religious song.

When Christmas rolls around, the final ranks might include more spiritual tunes. According to Sean Ross, the creator of the Ross on Radio newsletter, radio stations frequently play music with a religious tone as Christmas approaches. That would imply that songs like “The First Noel” by Andy Williams and “Joy to the World” by Nat King Cole, both of which were in the top 100 songs in 2021, might receive more listens and advance in the rankings throughout the course of the following week.

BOOMBAYAH:

One of the two titles for BLACKPINK’s 2016 debut single, “SQUARE ONE,” is “BOOMBAYAH.” Even after six years, it has continued to grow in acceptance among music lovers around the world. With this, BLACKPINK became the first K-Pop group to have three YouTube videos with over 1.5 billion views, joining “DDU-DU DDU-DU” and “KILL THIS LOVE.”

Previous accomplishments of BLACKPINK:

According to Billboard’s most recent chart, which was announced on November 8 (local time), “BORN PINK” moved up 7 spots from the previous week’s “Billboard 200” position, increasing the likelihood of a protracted stay there. The second regular album’s lead single, “Shut Down,” slid six positions to 46th place on the Billboard Global 200 comprehensive list this week. The pre-released single “Pink Venom” debuted at number 61 on the same chart and spent 11 weeks there.

The accomplishments of BLACKPINK’s “BORN PINK”

The music videos for “Shut Down,” “Pink Venom,” and “BORN PINK,” from BLACKPINK’s second full-length album, each earned four views on YouTube. YG Entertainment declared on the 26th that it had surpassed 200 million and 200 million. At 9:37 p.m. the day before, the music video for the previously unreleased song “Pink Venom” had reached 400 million views. The quickest of all K-pop girl groups, “Pink Venom” amassed 100 million views on YouTube in 29 hours and 35 minutes after receiving 90.4 million views in 24 hours. These tracks are from BLACKPINK’s second album, “BORN PINK,” which debuted at the top of both the US Billboard 200 main album list and the UK’s Top 100 official album chart. They made history by being the first Asian female artist to simultaneously top both global charts.

Graça Costa, Maria da Gal Costa, also known as Penna Burgos, was born in Bahia, a state in northern Brazil that was also the birthplace of notable singers Gilberto Gil, Caetano Veloso, Maria Bethânia, and Tom Zé. Together, this daring band of musicians combined ancient rhythms with the erupting (and rebellious) sounds of psychedelic rock in the 1960s when they relocated to So Paulo.

Launch of Costa and Veloso in 1967 The airiness in Domingo’s voice represents the gentle affectation of the time. She was raised on bossa nova, which at the time was enjoying both critical and financial success both inside and outside of her own nation. But by 1968, she had a prominent singing role on the joint album Tropicália: ou Panis et Circencis, which served as both an introduction to the musicians and a manifesto for challenging the status quo in politics and popular culture. On “Baby,” a sweeping tune that would become her signature, Costa’s lovely coo is still there, but amid those sumptuous string arrangements, her voice also evolved into a keen instrument that could cut through the beauty.
According to Costa, who claimed to have received “no professional training at all,” she was self-taught. I don’t read music and I didn’t learn music; I sing intuitively.

Although she never forgot her bossa nova beginnings, Costa’s self-actualization as a vocalist was essential to a string of albums that were released quickly after one another: Gal in 1969, Veloso’s self-titled LP from 1968, and then Costa’s own self-titled record from 1969. Particularly on the final of these three albums, Costa created a zany concoction of Brazilian pop music, psychedelic rock, and avant-garde, using her voice less as the glue and more as the liquid gold gliding over the jagged arrangements and unorthodox structures of Veloso and Gil.

Costa visited Veloso and Gil and continued to play their music when they were banished to London in late 1968 by the Brazilian dictatorship that was in control because they were deemed too radical. Costa, however, stayed in Brazil.

In the decades that followed, Costa would put out a number of albums and go on tour all over the world. Her previous partners were constantly on her thoughts and in the studio; most notably, Recanto from 2011 is a reinvigorated collaboration with Veloso. Nenhuma Dor, a collection of duets by Costa that included Rodrigo Amarante, Seu Jorge, Jorge Drexler, and Caetano’s son Zeca Veloso, was only published last year. She kept on performing, but she had to cancel a set at the Primavera Sound Festival in So Paulo after having surgery in September to remove a nodule from her right nasal cavity.

Gilberto Gil said in a video that “the gentle voice [and] the encanto do canto, which were always her characteristic, are departing with her.” The misery and despair are all that are left for us.

Her last release, 2X Side A, which appeared in 2021, is a follow-up to the album that was made available on October 31. The second album, which was also written and recorded during the lockdown, is more intently focused on the topic of love and its complexities. Kholgade takes pleasure in the voyage. “I’ve realised that music is truly where my high comes from.”

But knowing about it comes from one’s own experiences and observations. “I’ve always looked to my own life for inspiration. The majority of the songs on the record are inspired by images I’ve seen, said the singer. These include the enjoyable Locomoco and Enough of you, the visually appealing Chills, the incisive, rhythmic remarks of Garden variety hater, and

While the songs for both albums were partially composed in 2020, according to Kholgade, the second album is a collection that came together throughout the course of production. “We believed that the songs’ emotional arcs could be distinguished clearly. While the latter could be up-tempo funky music, we believed 2X Side A was easy-listening melodious music. She emphasises that every aspect of making an album involves production.

Through it all, there remains a strong passion for using lyrics to create stories. She starts off by identifying herself as a songwriter and states, “The composition always follows the lyrics. I believe that the music should have a narrative. I need to hear the story I’m attempting to tell expressed poetically rather than melodically. Her improvisational poetry style clearly shows her many inspirations. She continues, “The lyric writing has a framework, but it’s not a traditional structure; it’s kind of like Doja Cat.

However, we wonder if the music and creative style were influenced by the story? Kholgade is indifferent. She notes that there was no intention to confine the aesthetic to a unified framework. According to her, “certain songs, like Chills, changed so much from their demo that they are shockingly different from those tracks, while other songs preserved their character. The album’s coherence was the product of the spontaneous collaboration between guitarist Roland Fernandes, keyboardist ZIA, and producer Sunny MR.

But the lockdown albums also introduced the Mumbai-based singer songwriter to fresh colleagues in addition to composing experience. The CD is graced with the vocals of Vasundhara Vee and Ranj, two of her favourite performers. The cooperation, in her words, brought melody, harmony, and writing together. “For instance, Vasundhara tapped into a phrase in Garden variety hater and changed it to improve the impact. She goes on to say, “Since she is a wonderful writer herself, it made sense to comprehend and keep those adjustments in.

The musician is now looking forward to working with others more. She admits that it will take some time, but she already has a few songs planned for the upcoming year. She admits that “it might not be an album, but single releases potentially.”

Kholgade is enthusiastic in the independent music genre. “I like how this is going. Writing a song, whether or not I perform it, gives me a buzz that I find more exhilarating.