Jackson Tops Dead Earners List
GRAMMY winner and Recording Academy Lifetime Achievement Award recipient Michael Jackson topped Forbes' annual list of top-earning dead celebrities with $275 million, earning more than the combined total of the other 12 celebrities on the list. Elvis Presley ranked second with $60 million, John Lennon placed fifth with $17 million and Jimi Hendrix tied for 11th place with $6 million. Forbes compiled the list based on gross earnings between October 2009 and October 2010. (10/26)

UK Arts Council Announces Budget Cut Plans
Following a previous report, Arts Council England has revealed plans to implement the 30 percent cut to the UK's arts funding budget. The cuts will include a 7 percent cash cut for UK arts organizations in 2011–2012, a 15 percent cut for the regular funding of arts organizations by 2014–2015 and a 50 percent reduction to the council's operating costs. (10/26)

GRAMMY Winners To Perform At World Series
GRAMMY winners Kelly Clarkson, Lady Antebellum and John Legend are scheduled to perform "The Star-Spangled Banner" during Major League Baseball's 2010 World Series between the San Francisco Giants and Texas Rangers. Legend and Lady Antebellum will perform at games one and two in San Francisco on Oct. 27 and Oct. 28, respectively, and Clarkson will perform at game three on Oct. 30 in Arlington, Texas. (10/26)

As August temperatures remain hot, so does the new music. With fresh tracks spanning all genres from dance to rap, there's plenty to explore this New Music Friday.

Check out albums like NIKI's Buzz, Logic's Ultra 85, and Little Big Town's Greatest Hits, as well as first tastes of forthcoming projects from Kelsea Ballerini, Katy Perry and Leon Bridges. Plus, there's plenty more new songs from the likes of The Kid LAROI and beabadoobee, as well as thrilling collabs from ATEEZ and G-Eazy, and J Balvin and Feid.

No matter what genre you gravitate towards, there's something new to discover. Be sure to check out these 10 musical offerings before you kick off your weekend.

Just hours before New Music Friday hit, Shawn Mendes celebrated his 26th birthday with a gift to his fans: not one, but two new songs.

The first taste of his upcoming fifth studio album, Shawn, the two tracks — "Why, Why, Why" and "Isn't That Enough" — present a folkier side of Mendes' musicality, leaning into the acoustic sound of his early music but with an indie flair. Mendes also released the official video for "Why Why Why," which sees shots of the singer playing his guitar in nature transposed with footage of him performing on stage.

In celebration of the release, Mendes played an intimate show at Bearsville Theater in Woodstock, New York, performing Shawn in its entirety two full months before its Oct. 18 arrival. He'll play five more full-album shows: London, U.K. on Aug. 13, Nashville, Tenn. on Oct. 14, Brooklyn, New York on Oct. 18, Los Angeles on Oct. 22, and Seattle on Oct. 24.

After scoring hits with Clean Bandit and David Guetta respectively, Anne-Marie brings them both together for another vibrant, upbeat electronic anthem. "Cry Baby" takes inspiration from early 2010s dance music, reminiscent of the era when the genre dominated the airwaves.

Featuring a haunting whistle hook and Anne-Marie's powerful vocals layered over pulsing instrumentals from the dance giants, "Cry Baby" is a powerhouse collaboration showcasing some of the best talents in electronic music.

Three years after 2021's Hall of Fame, Polo G is back with his fourth studio album, Hood Poet. The album was shelved for over a year due to outstanding circumstances, but it's finally here, and rap fans couldn't be more hyped.

The four singles that teased the project include "Barely Holdin' On," "Distraction," "Angels In The Sky," and "We Uh Shoot," featuring Lil Durk. These tracks feature a range of instrumental backgrounds, from soft piano layers to thumping beats, all showcasing Polo G's powerful and passionate vocal lines. 

Although the wait was long it was no doubt worth it, as the tracks on Hood Poet represent some of Polo G's finest work, from the refined production to his evocative, creative storytelling.

Continuing to tease songs from her forthcoming seventh studio album, 143, Katy Perry delivers her latest dance-pop track, "Lifetimes." The song is a lively, upbeat anthem representing unconditional love.

On Instagram, Perry posted a photo with her partner, Orlando Bloom, using a filter that aged her 50 years, with the track playing in the background. However, Perry recently revealed to The Sun that the song is actually about her 3-year-old daughter, Daisy – a sweet ode to the unmatched feeling of maternal love.

"Every night, before we go to sleep, I say, 'I love you', and then I ask, 'Will you find me in every lifetime?' and she says, 'Yes'," Perry revealed.

Two months after ATEEZ released their 10th mini album, GOLDEN HOUR: Part 1, the K-pop group is still breathing new life into the project's single "WORK" — this time, with the help of G-Eazy. Titled "WORK Pt. 4," the song's latest version features some steamy lines from G-Eazy on the second verse, bringing a risqué edge to the punchy rap-pop track.

"WORK Pt. 4" follows two electronic reimaginings of "WORK," as "Pt. 2" featured a remix by Dutch producer Don Diablo and "Pt. 3" was reworked by ATEEZ's production team, Eden-ary. While "WORK Pt. 4" is the closest to the bumping original, a press release teased that the newest version "reflects the ever-challenging spirit of ATEEZ."

Following the 70th anniversary of Elvis Presley's debut single, "That's All Right," RCA Records and Legacy Recordings have released a sprawling 111-track box set, MEMPHIS. The career-spanning collection features recordings from his earliest sessions at Sun Studios through his final works from the Jungle Room in Presley's Graceland home.

Aside from the Sun Studios recordings, all of the tracks were newly mixed by four-time GRAMMY winner Matt Ross-Spang, who removed all of the overdubs to highlight Presley's original vocal recordings. MEMPHIS offers a new perspective on the King of Rock and Roll, providing a clear listening experience that further immortalizes his one-of-a-kind vocal prowess.

With their 26th studio album, Flight b741, King Gizzard & The Lizard Wizard dive into a classic blues-rock sound, a departure from their usual psychedelic, experimental garage rock style.

The album features the Australian band's admirable response to current world issues, such as climate change, set against music that embraces the spirit of traditional rock. The concept focuses on how the music translates during their live performances.

Just after the album's release, the band will embark on a massive world tour, beginning Aug. 15 in Washington, D.C., and concluding at the end of November in Miami. The tour includes four shows billed as "marathon sets," where King Gizzard & The Lizard Wizard will perform for three hours each night.

GRAMMY-nominated rapper Latto pays homage to her Southern hip-hop roots on her fittingly third studio album, Sugar Honey Iced Tea. The LP boasts an impressive list of collaborators, including Playboi Carti, Megan Thee Stallion, Ciara, and Cardi B.

Latto told Billboard that after a decade in the rap game, she feels she's already proven herself. Now, she is returning to her roots and making music that speaks to her, regardless of whether she receives additional flowers for it or not.

"I feel like what I'm doing has not been done before, so let's start there. [Aesthetically], I've been pulling from Mariah Carey, Beyoncé, and Lil' Kim. [Musically], I've been pulling from Kelis, but obviously with a Southern hip-hop twist," Latto says. "They have very feminine energy, but masculine in the sense of confidence."

Embracing both sides of his Mexican and American cultural identity, 20-year-old DannyLux blends elements of Western house music with his tender Spanish lyricism on "Soltera."

Produced by Mexican-American producer 8onthebeat, the track is a fast-paced earworm perfect for hitting the dance floor. In the music video, DannyLux dances around different rooms of a house and singing along — setting the example for what listeners are bound to do once they press play.

LA LOM — 'The Los Angeles League of Musicians'

If you haven't heard of LA LOM yet, prepare for that to change. The Los Angeles-native trio is on the rise, earning an opening slot for Vampire Weekend earlier this year; now, they are unveil their debut album, The Los Angeles League of Musicians.

The project is a guitar-focused masterpiece, drawing inspiration from traditional Peruvian cumbia music. Featuring a diverse range of tracks, listening to The Los Angeles League of Musicians offers a unique sonic experience. The album takes listeners on a journey from laid-back, lo-fi tunes to uptempo dance tracks, perfect for a get-together with loved ones or a night out on the dance floor at your favorite hole-in-the-wall venue — a perfect weekend soundtrack.

As the train of Beatles remixes and expansions — solo or otherwise — chugs along, a fair question might come to mind: why John Lennon's Mind Games, and why now?

When you consider some agreed-upon classics — George Harrison's Living in the Material World, Ringo Starr's Ringo — it might seem like it skipped the line. Historically, fans and critics have rarely made much of Mind Games, mostly viewing it as an album-length shell for its totemic title track. 

The 2020 best-of Lennon compilation Gimme Some Truth: The Ultimate Mixes featured "Mind Games," "Out the Blue," and "I Know (I Know)," which is about right — even in fanatical Lennon circles, few other Mind Games tracks get much shine. It's hard to imagine anyone reaching for it instead of Plastic Ono Band, or Imagine, or even the controversial, semi-outrageous Some Time in New York City.

Granted, these largely aren't A-tier Lennon songs — but still, the album's tepid reputation has little to do with the material. The original Mind Games mix is, to put it charitably, muddy — partly due to Lennon's insecurity about his voice, partly just due to that era of recordmaking.

The fourth-best Picasso is obviously still worth viewing. But not with an inch of grime on your glasses.

The Standard Deluxe Edition. Photo courtesy of Universal Music Group

That's all changed with Mind Games: The Ultimate Collection — a fairly gobsmacking makeover of the original album, out July 12. Turns out giving it this treatment was an excellent, long-overdue idea — and producer Sean Ono Lennon, remixers Rob Stevens, Sam Gannon and Paul Hicks were the best men for the job. Outtakes and deconstructed "Elemental" and "Elements" mixes round out the boxed set.

It's not that Mind Games: The Ultimate Collection reveals some sort of masterpiece. The album's still uneven; it was bashed out at New York's Record Plant in a week, and it shows. But that's been revealed to not be its downfall, but its intrinsic charm. As you sift through the expanded collection, consider these reasons you should give Mind Games another shot.

The Songs Are Better Than You Remember

Will deep cuts like "Intuition" or "Meat City" necessarily make your summer playlist? Your mileage may vary. However, a solid handful of songs you may have written off due to murky sonics are excellent Lennon.

With a proper mix, "Aisumasen (I'm Sorry)" absolutely soars — it's Lennon's slow-burning, Smokey Robinson-style mea culpa to Yoko Ono. "Bring On the Lucie (Freda Peeple)" has a rickety, communal "Give Peace a Chance" energy — and in some ways, it's a stronger song than that pacifist classic.

And on side 2, the mellow, ruminative "I Know (I Know)" and "You Are Here" sparkle — especially the almost Mazzy Star-like latter tune, with pedal steel guitarist "Sneaky" Pete Kleinow (of Flying Burrito Brothers fame) providing abundant atmosphere.

And, of course, the agreed-upon cuts are even better: "Mind Games" sounds more celestial than ever. And the gorgeous, cathartic "Out the Blue" — led by David Spinozza's classical-style playing, with his old pal Paul McCartney rubbing off on the melody — could and should lead any best-of list.

The Performances Are Killer

Part of the fun of Mind Games: The Ultimate Collection is realizing how great its performances are. They're not simply studio wrapping paper; they capture 1970s New York's finest session cats at full tilt.

Those were: Kleinow, Spinozza, keyboardist Ken Ascher, bassist Gordon Edwards, drummer Jim Keltner (sometimes along with Rick Marotta), saxophonist Michael Brecker, and backing vocalists Something Different.

All are blue-chip; the hand-in-glove rhythm section of Edwards and Keltner is especially captivating. (Just listen to Edwards' spectacular use of silence, as he funkily weaves through that title track.)

The hardcover book included in Mind Games: The Ultimate Collection is replete with the musicians' fly-on-the-wall stories from that week at the Record Plant.

"You can hear how much we're all enjoying playing together in those mixes," Keltner says in the book, praising Spinozza and Gordon. "If you're hearing John Lennon's voice in your headphones and the great Kenny Ascher playing John's chords on the keys, there's just no question of where you're going and how you're going to get there."

It Captures A Fascinating Moment In Time

"Mind Games to me was like an interim record between being a manic political lunatic to back to being a musician again," Lennon stated, according to the book. "It's a political album or an introspective album. Someone told me it was like Imagine with balls, which I liked a lot."

This creative transition reflects the upheaval in Lennon's life at the time. He no longer had Phil Spector to produce; Mind Games was his first self-production. He was struggling to stay in the country, while Nixon wanted him and his message firmly out.

Plus, Lennon recorded it a few months before his 18-month separation from Ono began — the mythologized "Lost Weekend" that was actually a creatively flourishing time. All of this gives the exhaustive Mind Games: The Ultimate Collection historical weight, on top of listening pleasure.

"[It's important to] get as complete a revealing of it as possible," Stevens, who handled the Raw Studio Mixes, tells GRAMMY.com. "Because nobody's going to be able to do it in 30 years."

John Lennon and Yoko Ono in Central Park, 1973. Photo: Bob Gruen

Moments Of Inspired Weirdness Abound

Four seconds of silence titled the "Nutopian International Anthem." A messy slab of blues rock with refrains of "Fingerlickin', chicken-pickin'" and "Chickin-suckin', mother-truckin'." The country-fried "Tight A$," basically one long double entendre.

To put it simply, you can't find such heavy concentrates of Lennonesque nuttiness on more commercial works like Imagine. Sometimes the outliers get under your skin just the same.

Read more: We've Thrown Everything We Could At John Lennon's "Imagine." The Song Nonetheless Endures 50 Years Later.

It's Never Sounded Better

"It's a little harsh, a little compressed," Stevens says of the original 1973 mix. "The sound's a little bit off-putting, so maybe you dismiss listening to it, in a different head. Which is why the record might not have gotten its due back then."

As such, in 2024 it's revelatory to hear Edwards' basslines so plump, Keltner's kick so defined, Ascher's lines so crystalline. When Spinozza rips into that "Aisumasen" solo, it absolutely penetrates. And, as always with these Lennon remixes, the man's voice is prioritized, and placed front and center. It doesn't dispose of the effects Lennon insecurely desired; it clarifies them.

"I get so enthusiastic," Ascher says about listening to Mind Games: The Ultimate Collection. "I say, 'Well, that could have been a hit. This could have been a hit. No, this one could have been a hit, this one." Yes is the answer.

Throughout his ongoing Got Back tour, Paul McCartney has reliably opened with "Can't Buy Me Love."

It's not the Beatles' deepest song, nor their most beloved hit — though a hit it was. But its zippy, rollicking exuberance still shines brightly; like the rest of the oldies on his setlist, the 82-year-old launches into it in its original key. For two minutes and change, we're plunged back into 1964 — and all the humor, melody, friendship and fun the Beatles bestowed with A Hard Day's Night.

This week in 1964 — at the zenith of Beatlemania, after their seismic appearance on "The Ed Sullivan Show" — the planet received Richard Lester's silly, surreal and innovative film of that name. Days after, its classic soundtrack dropped — a volley of uber-catchy bangers and philosophical ballads, and the only Beatles LP to solely feature Lennon-McCartney songs.

As with almost everything Beatles, the impact of the film and album have been etched in stone. But considering the breadth of pop culture history in its wake, Fab disciples can always use a reminder. Here are six things that wouldn't be the same without A Hard Day's Night.

All Music Videos, Forever

Right from that starting gun of an opening chord, A Hard Day's Night's camerawork alone — black and white, inspired by French New Wave and British kitchen sink dramas — pioneers everything from British spy thrillers to "The Monkees."

Across the film's 87 minutes, you're viscerally dragged into the action; you tumble through the cityscapes right along with John, Paul, George, and Ringo. Not to mention the entire music video revolution; techniques we think of as stock were brand-new here.

According to Roger Ebert: "Today when we watch TV and see quick cutting, hand-held cameras, interviews conducted on the run with moving targets, quickly intercut snatches of dialogue, music under documentary action and all the other trademarks of the modern style, we are looking at the children of A Hard Day's Night."

Emergent Folk-Rock

George Harrison's 12-string Rickenbacker didn't just lend itself to a jangly undercurrent on the A Hard Day's Night songs; the shots of Harrison playing it galvanized Roger McGuinn to pick up the futuristic instrument — and via the Byrds, give the folk canon a welcome jolt of electricity.

Entire reams of alternative rock, post-punk, power pop, indie rock, and more would follow — and if any of those mean anything to you, partly thank Lester for casting a spotlight on that Rick.

Read more: Living Legends: Roger McGuinn On The History Of The Byrds, His One-Man Show And Editing His Own Wikipedia Page

The Ultimate Love Triangle Jam

From the Byrds' "Triad" to Leonard Cohen's "Famous Blue Raincoat," music history is replete with odes to love triangles.

But none are as desperate, as mannish, as garment-rending, as Derek and the Dominoes' "Layla," where Eric Clapton lays bare his affections for his friend Harrison's wife, Pattie Boyd. Where did Harrison meet her? Why, on the set of A Hard Day's Night, where she was cast as a schoolgirl.

Debates, Debates, Debates

Say, what is that famous, clamorous opening chord of A Hard Day's Night's title track? Turns out YouTube's still trying to suss that one out.

"It is F with a G on top, but you'll have to ask Paul about the bass note to get the proper story," Harrison told an online chat in 2001 — the last year of his life.

A Certain Strain Of Loopy Humor

No wonder Harrison got in with Monty Python later in life: the effortlessly witty lads were born to play these roles — mostly a tumble of non sequiturs, one-liners and daffy retorts. (They were all brought up on the Goons, after all.) When A Hard Day's Night codified their Liverpudlian slant on everything, everyone from the Pythons to Tim and Eric received their blueprint.

The Legitimacy Of The Rock Flick

What did rock 'n' roll contribute to the film canon before the Beatles? A stream of lightweight Elvis flicks? Granted, the Beatles would churn out a few headscratchers in its wake — Magical Mystery Tour, anyone? — but A Hard Day's Night remains a game-changer for guitar boys on screen.

The best part? The Beatles would go on to change the game again, and again, and again, in so many ways. Don't say they didn't warn you — as you revisit the iconic A Hard Day's Night.

Nearly 15 years since its release, it’s still wrenching to watch the documentary Michael Jackson’s This Is It — a glimpse of one of the greatest concerts that never happened.

Revisiting behind-the-scenes footage of the planned residency at London’s O2 Arena, it’s clear Michael Jackson was at the top of his game. The Kenny Ortega-directed film takes us through rehearsals, dancer auditions, costume design, and more, as the run of 50 shows loomed.

Despite any personal or medical issues the embattled King of Pop faced, he danced and sang terrifically. All 50 dates had sold out; after more than a decade off the road, This Is It was bound to be a momentous pop event.

But the residency would never happen, for the most tragic reason possible: on June 25, 2009, after returning home from a past-midnight rehearsal, Jackson passed away from acute propofol intoxication, administered by his personal physician, Conrad Murray. Jackson was 50.

The news rattled the world, causing major internet platforms including Google, AOL Instant Messenger, Twitter, and Wikipedia to be pushed to the breaking point with significant traffic spikes. The following year, Murray was convicted of involuntary manslaughter, and sentenced to four years in prison. (He was released after serving nearly two years, due in part to good behavior.)

“Our beloved son, brother, uncle and father of three children has gone so unexpectedly, in such a tragic way and much too soon,” read a statement from the Jackson family. “It leaves us, his family, speechless and devastated to a point, where communication with the outside world seems almost impossible at times.”

As Jackson's music sales spiked, Jackson’s memorial service was held on July 7, 2009, at the Staples Center. Berry Gordy, Brooke Shields, and Smokey Robinson offered eulogies, and an all-star lineup — including Mariah Carey, Stevie Wonder, Lionel Richie, and others — performed Jackson’s iconic songs.

Of course, true legends never die — but a world without the King of Pop has been a little dimmer. On this day in music, crank up Thriller or Bad, and remember one of the greatest entertainers who ever lived.

Remembering Michael Jackson's Record-Setting Music Career