Carrie Underwood is a country music powerhouse, but she’s also a lifelong country music fan, as evidenced by a throwback video the star shared of one of her childhood performances.
The clip begins with a performance from Underwood as a kid, singing the 1993 Patty Loveless classic “Blame It on Your Heart.” Meanwhile, Underwood’s outfit, which included black pants paired with a black and white shirt, gives off ’90s Garth Brooks vibes. The video clip then transitions to footage of Underwood performing the same Loveless song as an adult on the Grand Ole Opry stage.
“How it started –> How it’s going,” Underwood captioned the clip, alongside a push for the upcoming special Opry Live: Opry Loves the ’90s, which will air Saturday (July 23) at 8 p.m. CT on Circle All Access, as well as YouTube and Facebook. The special will feature performances from Underwood, Jimmie Allen, Kelsea Ballerini, Breland, Deana Carter, Cody Johnson, Midland, Keith Urban, Lainey Wilson and Chris Young, all performing ’90s country classics.
Of course, this is far from the first time Underwood has done a country classic justice. During the 2020 Academy of Country Music Awards, Underwood celebrated the Opry’s 95th anniversary with a medley of Patsy Cline’s “Crazy,” Loretta Lynn’s “You Ain’t Woman Enough (To Take My Man),” Barbara Mandrell’s “I Was Country When Country Wasn’t Cool,” Dolly Parton’s “Why’d You Come in Here Lookin’ Like That,” Reba McEntire’s “The Night the Lights Went Out in Georgia,” and Martina McBride’s “A Broken Wing.”
During her 2019 Cry Pretty Tour 360, Underwood teamed with show openers Runaway June and Maddie & Tae for a medley honoring iconic female artists in country music, with the performance including songs made famous by Tammy Wynette, Cline, Lynn, The Judds, Trisha Yearwood and more.
In 2010, Underwood performed the Brooks & Dunn classic “Neon Moon” as part of ACM Presents: Brooks & Dunn.
“I remember the day that I discovered one of my sister’s Brooks & Dunn tapes … you have helped shape so many of us as artists,” she told the duo prior to the performance. “This song that I’m gonna do now is one that I’ve been singing since I was 8 years old.”
Underwood previously collaborated with Willie Nelson on his classic “Always on My Mind,” from his 2013 album To All The Girls…, and fresh off her American Idol win in 2005, Underwood performed alongside Jamie O’Neal to cover the McEntire/Linda Davis classic “Does He Love You” as part of the CMT special 100 Greatest Duets. During her Idol run, Underwood also covered numerous country songs including hits by Jo Dee Messina, Shania Twain, McBride and more.
Underwood also earned a top 5 Country Airplay hit in 2009 with her rendition of “I Told You So,” a previous chart-topper for Randy Travis in 1988. Underwood and Travis also had a collaborative version of the hit.
Watch the eight-time Grammy winner perform Patty Loveless’ “Blame It On Your Heart” when she was a little girl:
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Iggy Azalea Says She’s Making Music Again: ‘I’m Coming Back. Cry About It’
Iggy Azalea’s last release, 2021’s “The End of an Era,” marked the Australian rapper’s final bow — or so we thought. On Monday morning, Azalea seemingly retracted that sentiment.
“A year ago I was willing to walk away from music because I was tired of the negative energy it attracted,” she tweeted. “But what I’ve learned is that even when I’m minding my business, y’all gonna be negative and nosey. So if I can’t have peace, neither can you. I’m coming back. Cry about it.”
A year ago I was willing to walk away from music because I was tired of the negative energy it attracted.
But what I’ve learned is that even when I’m minding my business, y’all gonna be negative AND nosey.
So if I can’t have peace, neither can you.
I’m coming back. Cry about it.
— IGGY AZALEA (@IGGYAZALEA) August 8, 2022
A little over a year ago, Azalea told audiences that “End of an Era” would be her final album so she could take “a few years to focus on other creative projects and things I’m feeling passionate and inspired by beyond music.” She also added that she was looking forward to sharing “different sides” to her in the future.
“End of an Era” is so special to me because after I drop my album next month iam going to take a few years to focus on other creative projects and things I’m feeling passionate and inspired by, beyond music.
I’m excited for you guys to see different sides to me in the future.
— IGGY AZALEA (@IGGYAZALEA) July 15, 2021
In an August 2021 interview on the Zach Sang show, Azalea explained that “End of an Era” was the final album she had to deliver as a part of a distribution deal with her label, Bad Dreams Records (Empire). “That was two albums, contractually. I don’t have anybody that I need to make happy.” She also added that she would possibly get another deal in “three to four years” but also expressed — pretty definitively — that “End of an Era” would be her final studio album release.
She also mentioned her decision to stop releasing music came because of the increased assumptions made about her lyricism in relation to her real-life relationships. It remains unclear whether Azalea has plans to seek another distribution deal or plans to release a full studio album again.
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Justin Timberlake Gives Former ‘N Sync Bandmate JC Chasez a Birthday Shoutout: ‘We’ve Come a Long Way’
JC Chasez has made another trip around the sun, and former ‘N Sync bandmate Justin Timberlake has congratulated him on the journey.
Chasez turned 46 on Monday (Aug.8), and, among his many well-wishes was a shoutout from Timberlake.
“And to my brother,” JT wrote to JC on Instagram Stories. “We’ve come a long way.”
A long way is underselling the story of ‘N Sync, whose classic lineup featured Timberlake, Chasez, Lance Bass, Joey Fatone and Chris Kirkpatrick.
The former pinup had one of the biggest albums in the internet era, with 2000’s No Strings Attached, and continue to keep fans updated with new merchandise. Just last year, they released their 20th anniversary collection on their official website, and in 2019, the five original members reunited for the presentation of a a star on the Hollywood Walk of Fame
In March, the band issued a cryptic message, “Vol. 7 Coming Soon.”
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Taylor Swift Slaps Back at ‘Shake It Up’ Plagiarism Lawsuit, Says She’d Never Heard Plaintiffs’ ‘Playas Gon’ Play’
Taylor Swift clearly believes she’s being played in court, as a declaration she filed to the judge in a “Shake It Off” plagiarism lawsuit laid out her contention that she never heard the song she’s accused of lifting, “Playas Gon’ Play,” until after she was made aware of the legal action.
“The lyrics to ‘Shake It Off’ were written entirely by me,” Swift said in paperwork filed in response to the allegation from two songwriters that her 2014 smash infringed upon a single from the group 3LW that peaked at No. 81 on the Billboard Hot 100 in 2001.
“Until learning about Plaintiffs’ claim in 2017, I had never heard the song ‘Playas Gon’ Play’ and had never heard of that song or the group 3LW,” Swift wrote in a filing first reported on by Billboard. She said she would have had little opportunity to hear it during its brief chart run, since her parents “did not permit me to watch (MTV’s hit countdown show) TRL until I was about 13 years old.”
Regardless of exposure to the tune, Swift and her attorney made the case that any similar phrasing is a result of the terminology being a part of everyday language, and was part of the popular vernacular before Sean Hall and Nathan Butler wrote “Playas Gon’ Play” around the turn of the century — at which point the hitmaker says she was hearing that language on the playground, not on the airwaves.
“I recall hearing phrases about players play and haters hate stated together by other children while attending school in Wyomissing Hills, and in high school in Hendersonville,” the Pennsylvania-bred star wrote. “These phrases were akin to other commonly used sayings like ‘don’t hate the playa, hate the game,’ ‘take a chill pill,’ and ‘say it, don’t spray it.’ … I was struck by messages that people prone to doing something will do it, and the best way to overcome it is to shrug it off and keep living.”
Swift noted that the phrasing was common enough that she had worn a T-shirt bearing the words “haters gonna hate” at a 2013 concert — one that was not custom-made, but purchased at Urban Outfitters.
The songs appear to have nothing in common except the core contested lines — with the 3LW tune repeating the lyrics “Playas, they gonna play / And haters, they gonna hate,” while Swift’s track uses the lines “‘Cause the players gonna play, play, play, play, play / And the haters gonna hate, hate, hate, hate, hate” as the linchpin of its chorus.
Still, that was enough for an earlier judge to overturn a prior dismissal of the lawsuit, which has been making its way through the courts for five years. It was set aside by a federal judge in 2018, but the suit was reinstated by an appeals court the following year. It’s due to be decided by a jury at an undetermined date in the future, but Swift attorney Peter Anderson is arguing that further evidence shows the plaintiffs’ claims are baseless enough to not warrant a trial.
Although “Playas Gon’ Play” made minimal impact on the pop charts in 2001, Billboard did place the song at No. 87 on a 2017 ranking of “the 100 Greatest Girl Group Songs of All Time.”
As internet sleuths have pointed out, the contested phrases or close variations on them have appeared in a number of other 21st century songs, both before and after “Shake It Up,” including Eric Church’s “The Outsiders” in 2014 and BTS’ “Mic Drop” in 2017. The Notorious B.I.G. is often credited as popularizing the phrase “Playa Hata” with his 1997 song of that name.
In his initial dismissal of the case, before it was sent back to him by an appeals court, federal judge Michael Fitzgerald wrote that the lyrics were “too brief, unoriginal, and uncreative” to be protected. “In the early 2000s, popular culture was adequately suffused with the concepts of players and haters to render the phrases ‘playas … gonna play’ or ‘haters … gonna hate’ standing on their own, no more creative than ‘runners gonna run,’ ‘drummers gonna drum,’ or ‘swimmers gonna swim,’” he continued.
Subsequently, upon having the case returned to him by the higher court, the judge said that Swift’s lawyers “made a strong closing argument” but added that it was not so clear-cut that leaving it to a jury was unwarranted.
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