Violeta de Outono
Brazilian progressive rock band
Violeta de Outono (Portuguese for Autumn Violet) is a Brazilian psychedelic/progressive rock band from São Paulo. Heavily influenced by The Beatles, The Rolling Stones, Pink Floyd, Led Zeppelin and Gong, they were originally a post-punk band with some psychedelic elements intertwined, but would gradually drop their post-punk influences and add more prog elements to their sonority as time went by.
The band underwent numerous changes in its line-up since its inception; the only founding member remaining today is vocalist/guitarist Fabio Golfetti.
History.
Fabio Golfetti founded Violeta de Outono in 1985 alongside Cláudio Souza; both had just parted ways with pioneering New Romantic band Zero. They would later be joined by Angelo Pastorello, and with this line-up they released a demo tape, "Memories", in the same year. The tape got the attention of independent record label Wop-Bop Records, that released their first recording, the extended play "Reflexos da Noite", in 1986.
In 1987, Violeta de Outono's eponymous debut was released through RCA Records. It was very well-received; particular praise went to their cover of The Beatles' song "Tomorrow Never Knows".
In 1988 they released a four-track EP called "The Early Years", containing cover versions of The Rolling Stones' "Citadel", Pink Floyd's "Interstellar Overdrive", The Beatles' "Within You Without You" and Gong's "Blues for Findlay". Those recordings trace to as far as 1985–1986. In the next year, their second studio album, "Em Toda Parte", was released by Ariola Records. Beginning with this album, Violeta de Outono would drop their previous post-punk instrumentation, heading towards a more progressive and experimental vein.
In 1990, Cláudio Souza left the band, and was replaced by Cláudio Fontes (Souza would return to the band in 1993 though). From 1993 to 1995, Violeta de Outono entered a short hiatus period; they returned to active with a live album, "Eclipse", and their third full-length, "Mulher na Montanha", that began to be recorded in 1995 but would be released only in 1999. In 2000, they would release their second live album, "Live at Rio ArtRock Festival '97", a recording of their performance at the in Rio de Janeiro in 1997. (A DVD containing the footage of their performance at the festival would be released 15 years later.) During Violeta de Outono's hiatus, Golfetti released three albums with The Invisible Opera Company of Tibet (Tropical Version Brazil), a side project he formed in 1988; however, the project was not as successful and memorable as Violeta de Outono itself and would come to an end in 1995, only to return in 2010.
Also in 2000, Violeta de Outono changed its line-up almost completely, with Gregor Izidro replacing Cláudio Souza and Sandro Garcia replacing Pastorello. However, they would return for the recording of the band's fourth studio album in 2003, "Ilhas", that was released in 2005.
"Violeta de Outono & Orquestra", their first video release, came out in 2006, recorded during a performance in São Paulo two years prior, with the special participation of the USP Symphonic Orchestra. In the same year, Pastorello left the band and was replaced by Gabriel Costa, while new member Fernando Cardoso assumed the position of keyboardist. With this line-up they released their fifth full-length album (and seventh studio release overall), "Volume 7", in 2007.
In 2009, Cláudio Souza left Violeta de Outono for the third time, but beforehand they recorded another video release, "", in which they covered songs by Pink Floyd and Syd Barrett live, and also played their first studio album in its entirety in a show which took place in the Theatro Municipal in São Paulo. Souza was replaced by Fred Barley – however, Barley left the band in 2011 in order to join O Terço, and was replaced by José Luiz Dinola (former A Chave do Sol member); Violeta de Outono's line-up remains unchanged ever since.
Their sixth full-length album, "Espectro", was released in 2012.
On September 19, 2016, the band announced that they began work on their seventh studio album, "Spaces", which was eventually released on October 14, 2016.
References.
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Em Toda Parte
Em Toda Parte (Portuguese for "All Around") is the second studio album by Brazilian psychedelic rock band Violeta de Outono, released on June 18, 1989, by Ariola Records. It was also their last release before they entered a hiatus period in 1993 that would last until 1995. Beginning with this album, Violeta de Outono abandons their post-punk influences and gradually shift towards a more progressive-influenced sonority.
"Terra Distante" would be re-recorded for their next studio album, "Mulher na Montanha", while "Dança" would appear on "Ilhas".
It was re-released in 2007 by Voiceprint Records, containing two bonus tracks.
References.
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Texas Hold 'Em (song)
2024 single by Beyoncé
"Texas Hold 'Em" is a song by American singer Beyoncé from her eighth studio album, "Cowboy Carter". It serves as the album's joint-lead single alongside "16 Carriages". The song was a surprise release and debuted during Super Bowl LVIII on February 11, 2024, through Parkwood Entertainment and Columbia Records. Titled after the poker game variant, "Texas Hold 'Em" is an uptempo country pop, western, and soul song featuring elements of folk.
Music critics praised "Texas Hold 'Em" for its playful tone, authentic sound, Beyoncé's vocal performance, and its celebration of the Black roots of country music. Country artists and country radio managers also praised the song for elevating the accessibility of country music for a wider audience. It ignited discussions on Black musicians' place within country music, boosted the listenership of Black country artists and country radio in general, and increased the popularity of Western wear and culture. It was nominated for Record of the Year, Song of the Year, and Best Country Song at the 67th Annual Grammy Awards.
"Texas Hold 'Em" was an international commercial success and marked several historical achievements. In the United States, it topped the "Billboard" Hot 100, becoming Beyoncé's ninth solo number one single. Additionally, the song debuted atop the Hot Country Songs chart, making Beyoncé the first Black woman with a number-one country song in "Billboard" history. Outside of the United States, "Texas Hold 'Em" topped the singles charts in several countries including Belgium (Flanders), Canada, Iceland, Ireland, the Netherlands, New Zealand, and the United Kingdom, as well as the "Billboard" Global 200, earning Beyoncé her first number-one song and the first ever country song to do so since that chart's inception in 2020. The song also peaked within the top ten of the charts in other various countries.
Background.
Beyoncé was born and raised in Houston, Texas, where the city's cowboy heritage and zydeco music played a role in her upbringing. She listened to country music from an early age, particularly from her paternal grandfather. She attended the Houston Livestock Show and Rodeo every year with her family wearing western clothing, and later performed at the Rodeo four times between 2001 and 2007. Throughout her career, Beyoncé has celebrated her Southern roots, such as implementing elements of country music on "B'Day" (2006), performing a country version of "Irreplaceable" with Sugarland in 2007, celebrating her country and Southern identity on "Formation" (2016), releasing the country track "Daddy Lessons" from "Lemonade" (2016) and later performing the song with The Chicks at the 2016 CMA Awards, spotlighting Southern culture during her 2018 Coachella performance, and centering her pride about her Southern country roots on "Black Parade" (2020). In 2021, Beyoncé released the Ivy Park x Adidas "Rodeo" clothing line inspired by "the overlooked history of the American Black cowboy"; Beyoncé commented on the collection saying: "Many of them were originally called cowhands, who experienced great discrimination and were often forced to work with the worst, most temperamental horses. They took their talents and formed the Soul Circuit. Through time, these Black rodeos showcased incredible performers and helped us reclaim our place in Western history and culture."
Release.
During Super Bowl LVIII, Beyoncé starred in a commercial with actor Tony Hale for Verizon. Her appearance was teased by the company in the days leading up to the Super Bowl with teaser trailers featuring her sixth and seventh studio albums, "Lemonade" and "Renaissance" (2022). At the end of the commercial, which sees the singer attempt to "break the Internet" in various ways, Beyoncé says, "Okay, they are ready. Drop the new music" leading to media speculation of the second act of her ongoing album trilogy.
Beyoncé then took to her Instagram account and announced her eighth studio album, tentatively titled "Act II", later revealed to be titled "Cowboy Carter", with a release date of March 29, 2024, through a teaser featuring an unidentified woman starting up a car with a license plate that read "Texas Hold 'Em". As she drives up an empty road, she passes by a group of men staring at a billboard. The billboard features the same slogan as the license plate. It includes a cutout of Beyoncé in a seductive pose. As the Super Bowl continued, she released two tracks from the album to streaming services and digital download: "Texas Hold 'Em" and "16 Carriages".
Composition.
Named after the poker game, "Texas Hold 'Em" is an uptempo country pop and western inspired soul song. It is in the key of D major and feature elements of folk music. It features a "rapid-plucked" banjo and acoustic guitar introduction that moves into a "stomping" beat. Chris Willman of "Variety" likened the song to "Daddy Lessons" for its "playful" sound and danceability, while Ben Beaumont-Thomas of "The Guardian" found whispers of the Jonas Brothers "What a Man Gotta Do" (2020) in its melody.
Beyoncé wrote "Texas Hold 'Em" with Nathan Ferraro, Elizabeth Boland, Atia Boggs, Megan Bülow, and Raphael Saadiq; she produced it with Killah B and Nathan Ferraro. Rhiannon Giddens, an American musician and scholar advocating for the reclamation of country music instruments by Black musicians, contributed by playing banjo and viola on the song. following its release, Giddens commented on the song, writing:My only hope is that it might lead a few more intrepid folks into the exciting history of the banjo. I used to say many times as soon as Beyoncé puts the banjo on a track my job is done. Well, I didn't expect the banjo to be mine.
Critical reception.
In a review for "Variety", Chris Willman described "Texas Hold 'Em" as a "genre-embracing and -transcending" track that acts as a radical venture into "unexplored territory", with Beyoncé reclaiming country music as a Black genre. Willman noted that instead of being "genre tourism", Beyoncé is taking a serious and authentic approach to her embrace of country music, exercising her "natural right" to reach back into her roots as a Texas native. "The Guardian"'s Ben Beaumont-Thomas admired the "rootsy and authentically country" vocal and instrumental arrangements, as well as how Rhiannon Giddens's inclusion on the song highlighted her work to deepen listeners' understanding of how instruments such as the banjo was originated by Black musicians.
In an article for "Time", Taylor Crumpton wrote that Beyoncé's presence in country music signals the "birth of a new era" in which performers "who have continued to carry on the legacy of country's music heart and soul" are celebrated. Crumpton also commented on how, rather than molding herself to the will of the gatekeepers of country music, Beyoncé "has been country for the entirety of her life," growing up in a community that saw a "cultural exchange between Black, Tejano, and Indigenous communities." Craig Jenkins for "Vulture" praised how "thornily" the song "plays dealer with a stack of country clichés like wisdom earned in card games and dive bars but pumps them full of lyrics that would make a "Grand Ole Opry" audience sweat."
Writing for "Consequence", Mary Siroky proclaimed "Texas Hold 'Em" as her early song of the summer while lauding Beyoncé's "inimitable" vocal performance. Kyle Denis of "Billboard" also praised Beyoncé's "impassioned vocal performance", as well as the "slick harmonies" and powerful instrumentation on the track. Will Hodgkinson of "The Times" wrote that the track "sure is fine", praising the "ultra-catchy melody" and describing it as a soon-to-be wedding classic.
In his negative review, Chris Richards of "The Washington Post" wrote that the song felt "dull, dry, unimaginative, unnecessary, unconfident and uncool." "Pitchfork"'s Nadine Smith appreciated how the song brought the "parallel worlds" of country and soul music together through its collaborators, but criticized Beyoncé's attempts at "9-to-5 relatability" and "car commercial"-esque production.
"Rolling Stone" placed the song at #192 on its ranking of the 200 Greatest Country Songs of All Time.
Impact.
<templatestyles src="Template:Blockquote/styles.css" />I was so hyped to see a song like “Texas Hold ’Em” gain worldwide acceptance. Even more exciting was how it helped reinvigorate the country genre across music, fashion, art, and culture, and introduced the world to so much great talent like Shaboozey, Tanner Adell, Willie Jones, Brittney Spencer, Tiera Kennedy, and Reyna Roberts.
Black artists in country music.
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"Beyoncé preserves the best of country past and evolves us into a country future that we have never seen... It's such a full-circle moment for me that I almost want to cry. I wanted to see a Black woman get to the top of the charts, and now I can retire."
 —Alice Randall, the first Black woman to write a number-one song on the country charts
With the release of "Texas Hold 'Em", Beyoncé was seen as reclaiming country music and bringing it back to its Black roots. It also sparked conversations on the inclusion of Black artists within the country genre. The "BBC"'s Daisy Woodward wrote that Beyoncé's embrace of country music "galvanises" the reclamation of western culture by those who have felt excluded by it and subverts the traditional image of cowboys. American author and country songwriter Alice Randall, in an interview for "The Washington Post," affirmed that Beyoncé "is spotlighting and building on a profound tradition" which started with "Modern Sounds in Country and Western Music" by Ray Charles, stressing that "[Beyoncé] is going to take it even further if the things she's already done in country is any indication," even if Charles wasn't prized by the music genre at the time.
"NBC News"'s Emi Tuyetnhi Tran wrote that "Texas Hold 'Em" has the potential to redefine what it means to be a country artist "in the cultural consciousness." In an analysis for "American Songwriter", Thom Donovan reported that "country music's embrace of hip-hop was the natural progression" and "Texas Hold 'Em" is "more than a cheeky metaphor; it's part of the larger arc of Beyoncé's work celebrating the legacy of Black artists". As the singer did with the first act, Donovan wrote that "Beyoncé reminds listeners that country music is another kind of dance music."
The release of the song spotlighted Black musicians in the country music space and boosted their listenership"." Black female country musicians saw a significant increase in streams due to the song, such as Reyna Roberts (250%), Rissi Palmer (110%), Tanner Adell (188%) and K. Michelle (185%). Linda Martell, the first commercially successful Black female country artist and the first to play the "Grand Ole Opry", saw a 275% increase in streams. Other musicians who saw an increase in demand include Adia Victoria, Amri Unplugged, Brittney Spencer, Mickey Guyton, Rhiannon Giddens, and Sacha. Black-led country organizations such as the Black Opry also received a significant increase in followers. "NPR"'s Amanda Marie Martínez also said that the song has highlighted and boosted the profile of Black country artists. The song, Martínez writes, has revealed the "strong demand" for country music made by Black artists and a "growing community" of Black country fans. In an article for "The Nashville Tennessean", Andrea Williams explained how Beyoncé has opened the door for others in country music and proved that Black songwriters, producers, and musicians belong in the genre. Williams wrote that Black people are generally "shut out of country music's creation" and that they "have been waiting for the opportunity to take part in the genre their forefathers helped build, to not be told they're too urban for Nashville studios." With "Texas Hold 'Em", Williams writes, Beyoncé celebrates Black country musicians, proving they are "country enough" and allowing them to receive their due credit and remuneration.
Popularity and accessibility of country music.
"Texas Hold 'Em" marked a cultural shift for country music and boosted its accessibility to a wider audience, according to "CBS News". SiriusXM host Mike Muse told Good Morning America that the song is sparking a "global conversation" and "social discourse" on country music and increasing public interest in the genre. Beyoncé's country music will "open the floodgates" for other country musicians, according to "BBC News". Country artist Kezia Gill said that Beyoncé's presence will make the genre "accessible to everyone" and "bring in a whole generation" of new listeners. Roisin O'Connor, music editor at "The Independent", said that the new track is "a tipping point" for country music, spreading the genre to new audiences. "Texas Monthly"'s Dan Solomon wrote that the song has had a "dramatic" cultural impact, with Beyoncé "remaking country radio in her image."
Country radio.
Country radio managers shared their excitement about the song bringing new listeners. Mike Levine of Go Country 105 said that "anything to make country more approachable is amazing, so it's fantastic," while 93Q Country program manager Travis Moon said it is "exciting not just for country radio, but for the artist and the legacy that she's done in her entire career." Moon noted that instead of just fitting a certain "vibe", "Texas Hold 'Em" has a "fresh" and "exciting" new sound, saying, "Just the way the song is constructed, the vocals are amazing, the instrumentation's fantastic. It fits the vibe of what we're doing on this radio station."
Programmers at Cumulus Media's country stations had a call where they spoke "enthusiastically" about the song, with chief content officer Brian Philips describing it as "a gift". Philips told "Variety" that it "adds a completely unforeseen, unimagined new angle to country radio... We have 55 major country stations and it's very hard to get them to agree on anything. But everybody at country wants to play it." iHeartMedia chief programming officer and president Tom Poleman spoke of his excitement to play the song on iHeartRadio stations, describing Beyoncé as an "innovator" who "continues to push the creative boundaries in music." SiriusXM senior director of country programming Johnny Chiang also shared his excitement to add the track to Pandora country stations, telling "Variety", "It's a good song, and a legit modern country song. And she's iconic, so it's a no brainer...nothing but good for our format."
Response from country artists.
Country icon Dolly Parton recognized the impact that "Texas Hold 'Em" has had, praising Beyoncé as "fantastic and beautiful". Parton continued to laud Beyoncé on social media, posting an image that read: "I'm a big fan of Beyoncé and very excited that she's done a country album. So congratulations on your "Billboard" Hot Country number one single. Can't wait to hear the full album!" Country singer-songwriter Lainey Wilson shared her excitement about Beyoncé's crossover into country, telling "Billboard": "I love it. The more the merrier. Country music is about storytelling and Beyoncé knows how to tell a story, so I think it's awesome and it's awesome for the country music genre. Everybody wants to feel at home and country music makes you feel at home." Hootie & the Blowfish's Darius Rucker expressed himself as a fan of Beyoncé's embrace of country and praised the track as "a great song". Country singer-songwriter Maren Morris described the song as "such a statement," praising Beyoncé's "reclaiming of country music back to Black people."
Controversy.
An Oklahoma country radio station courted controversy after rejecting a request to play "Texas Hold 'Em", igniting a wider debate on Black musicians' place within country music, despite the influence of African-Americans in its origins. "Texas Hold 'Em" was sent to U.S. pop, Hot AC, rhythmic, urban AC, and country radio stations, but in its first 24 hours of release, only 8 out of 150 radio stations considered for Country Airplay played the song. A petition that attributed this to "racism, revisionist history, and gatekeeping" and demanding country radio stations play the song had amassed over 28,000 signatures within a month.
On February 13, 2024, a listener requested Oklahoma S.C.O.R.E. country station KYKC play "Texas Hold 'Em". The general manager Roger Harris replied, writing, "We do not play Beyoncé on KYKC as we are a country music station." The answer went viral and caused a stir on social media against country music stations, leading Beyoncé's fans to flood the radio station with requests to play the song; it started trending on Twitter with #Beyonceiscountry. After adding the song to radio rotation, a representative from S.C.O.R.E. responded to racism and boycott accusations against the singer's music with a statement: "It has to chart a little bit higher for us to add it. But we love Beyoncé here. We play her on our [other top 40 and adult hits stations] but we're not playing her on our country station yet because it just came out." The station further clarified its position, saying it was unaware the song had a country sound until staff members heard it, and subsequently added it to their playlist.
"Variety" reported that Sony Music, owner of Columbia Records who hold a contract with Beyonce's company Parkwood Entertainment, "did not immediately respond to requests for comment about any plans to promote the song at country radio." After the media attention, CMT added "Texas Hold 'Em" to its branded streaming stations. In the afternoon of the same day, after the impact on social media, "Billboard" confirmed that Columbia officially sent the song to country radio stations, pointing out that country stations generally do not broadcast songs not supported by the labels.
Commercial performance.
United States.
In the United States, "Texas Hold 'Em" debuted at number 54 on "Billboard" Country Airplay Chart (despite not servicing the track to country radio), with 1.1 million in audience via 100 stations, becoming Beyoncé's first entry on the chart. Beyoncé became the eighth Black woman to land on the Country Airplay chart in history, and the first since Mickey Guyton in 2016. The song also debuted at number 38 on Pop Airplay Chart, with its plays on 98 chart reporters translating to 1.3 million audience impressions at the format. The song was also the most added track on country stations.
The song was a groundbreaking success and marked several historical achievements. It debuted at number one on "Billboard"'s Hot Country Songs, making her the first Black woman to reach number one. Prior to Beyoncé, only seven black women had charted on the country chart. The previous highest-ranking song by a solo Black woman was Linda Martell's "Color Him Father", which peaked at number 22 in 1969; meanwhile Anita Pointer hit number two in a duet with Earl Thomas Conley in 1986's "Too Many Times". The success of Beyoncé’s song also made her the first black artist to reach the top of Billboard's Hot 100 and Hot Country Songs charts at the same time. As well, with this song she became the first artist to achieve a number-one song on this specific combination of seven of "Billboard"'s charts (over the course of their career): Hot 100, Hot Country Songs, Hot Dance/Electronic Songs, Hot Gospel Songs, Hot Latin Songs, Hot R&B Songs, and Hot R&B/Hip-Hop Songs. The song appeared simultaneously on the chart with "16 Carriages", which debuted at number nine. Beyoncé also became the first black female artist to send a country song to the top of the Apple Music Country chart.
The song debuted at number two on the "Billboard" Hot 100, just 4 days of counting, blocked from the top by "Lovin on Me" by Jack Harlow, becoming Beyoncé's 22nd top-10 and the highest debut of her career on the chart, opening with 19.2 million streams, 4.8 million in airplay audience, and 39,000 downloads. It also debuted at number one on the Digital Songs Sales chart with nearly 40,000 copies sold, becoming her 12th number one. The following week, "Texas Hold 'Em" rose to number one on the Hot 100, becoming Beyoncé's ninth number-one and her 13th including as a member of Destiny's Child. In doing so, Beyoncé became the first black female artist to top the chart with a country song in the chart's history. In its third week, "Texas Hold 'Em" appeared on the Adult Alternative Songs chart, where it became Beyoncé's first chart entry. As Beyoncé's eighteenth entry on "Billboard" airplay charts, "Texas Hold 'Em" managed to reach from a variety of formats, charting, in addition to aforemetioned Country and Pop Airplay, on Rhythmic, Adult R&B, Mainstream R&B/Hip-Hop and R&B/Hip-Hop Airplay charts. She surpassed Mariah Carey as the female artist with most entries on airplay charts, and tied Pharrell Williams overall, with 18 radio-based listings – besides those, Beyoncé also charted on Dance/Mix Show Airplay, Gospel, Latin, Latin Pop, Latin Rhythm, Rap, Rhythmic, Smooth Jazz and Tropical Airplay, as well as on the all-format Radio Songs chart. "Texas Hold 'Em" officially became the first song in music history to simultaneously chart across US Pop, Hot AC, AC, Country, Rhythmic, Hip Hop, R&B and Triple A radio formats. “Texas Hold ‘Em” was simultaneously #1 on all 3 major U.S. on-demand audio streaming platforms: Spotify, Apple Music, and Amazon Music, the first black female artist to do.
International.
"Texas Hold 'Em" debuted at number four on the "Billboard" Global 200, with 31.9 million streams and 48,000 download sold worldwide, becoming her second top-ten hit since the survey began in 2020, after "Break My Soul" reached number six in 2022. The following week the song peaked at number one, becoming Beyoncé's first song to top the chart since the chart's inception in 2020.
In Canada, "Texas Hold 'Em" debuted at number 11 on the Canadian Hot 100. It peaked at number one the following week, becoming Beyoncé's second number one song since the chart's inception in 2007 as well as tenth top 10 on the chart. Furthermore, the song reached number 44 on the "Billboard" Canada Country chart.
In the United Kingdom, the song debuted at number nine on the UK Singles Chart with only three days of sales, becoming the week's highest new entry and Beyoncé's 22nd top 10 song in the country as a solo artist. The following week, the single rose to the top of the UK singles chart, becoming the singer's sixth number one (in addition to two number one singles released as a member of Destiny's Child), and was her first number one single in the UK in almost 14 years. The song went on to top the chart for five non-consecutive weeks, surpassing "Beautiful Liar" (2007) and "Crazy in Love" (2003) as Beyoncé's longest running number one in the country. Official Charts Company stated that "Texas Hold 'Em" became the first female solo country song to reach number one on the chart and the second country record since Lil Nas X's "Old Town Road" in 2019.
In Ireland, the song peaked at number one on the Irish Singles Chart, becoming Beyoncé's first chart topper since 2022's "Break My Soul".
In Australia, the song debuted at number 38 after a partial week of tracking. It later peaked at number two, becoming Beyoncé's 16th top ten single in the country and her highest-charting single since "Telephone" with Lady Gaga (2010). In New Zealand, the song debuted at number 26 and reached number one the following week.
In Brazil, it debuted at number 55 on the "Billboard" Brasil Hot 100 chart dated March 2, 2024, and following the release of its parent album, it reached number 40.
In Norway, the song debuted at number four, becoming Beyoncé's highest-charting single since "Halo" (2008).
In France, the song debuted at number 136 on the French Singles Chart, her biggest entry since "Cuff It" in 2022. It eventually reached number 4, following the "Cowboy Carter" release and the Pony remix of the song, becoming Beyoncé's second top-five hit in the country and her first since "Telephone" with Lady Gaga peaked at number three in April 2010. "Texas Hold 'Em" became the first country song to reach the top 5 on the chart.
Live performances.
2024 NFL Halftime show.
On December 25, 2024, Beyoncé debuted "Texas Hold 'Em" live as the closing song of her 2024 NFL Halftime Show set list, mixing the song's "Pony Up" remix and "Break My Soul" into the live rendition.
Personnel and credits.
Performers
Technical credits
Charts.
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See also.
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Lighthouse (talk show)
Japanese talk show hosted by Gen Hoshino and Masayasu Wakabayashi
Lighthouse () is a Japanese variety talk show hosted by musician Gen Hoshino and comedian Masayasu Wakabayashi. The series sees Hoshino and Wakabayashi meeting monthly at different locations for half a year, discussing worries with aid from journals of their thoughts. Hoshino wrote six songs based on the talk show, which are used as opening and ending themes.
The concept for the series was conceived by television producer Nobuyuki Sakuma after watching Hoshino guest star on Wakabayashi's variety show "Achikochi Audrey". Wishing to showcase the hosts evolution through episodes to almost mimick Japanese television drama, Sakuma conceived of "Gen Hoshino and Masayasu Wakabayashi's One Year", similar to the final product but spanning a year's period. After changing the filming period to half a year due to scheduling constraints, Sakuma renamed the show to "Lighthouse", also attaching this name to Hoshino and Wakabayashi's duo. Production began in October 2022, and featured a focus on preserving entertainment value via comedy throughout the heavier subjects.
"Lighthouse" was released worldwide via Netflix on August 22, 2023, with six episodes. It saw positive response from Japanese critics, who praised its style, theming, and Hoshino and Wakabayashi as presenters. Western reviewers commented that the show was potentially more tailored towards Japanese audiences. Hoshino's theme songs saw release as an extended play (EP) under the same title on September 8, which peaked at No. 6 on the "Billboard Japan" Hot Albums chart.
Format.
"Lighthouse" is a talk variety show with comedy themes, hosted by musician and actor Gen Hoshino and comedian and television presenter Masayasu Wakabayashi. The show sees Hoshino and Wakabayashi meeting roughly once a month for half a year, discussing worries. The 1-Line Diaries, short notes written by the hosts in between episodes based on their present thoughts, serve to aid the conversations. The series features a change of location every episode, such as to a café, a hotel penthouse, or live stage featuring live viewers. Episodes end with a song by Hoshino, inspired by the conversations of the song's respective episode.
Production.
Development.
Hoshino and Wakabayashi had collaborated on several works prior to "Lighthouse", spanning back to 2011. In June 2021, Hoshino guest appeared on Wakabayashi's variety show "Achikochi Audrey", where they discussed what "QJWeb" described as their "ugly" or "murky" emotions. Hoshino's guest appearance inspired "Lighthouse" series director and producer Nobuyuki Sakuma, who was working on "Achikochi Audrey" at that time, to create a show hosted by the two. He was impressed by their chemistry and thought that the duo's "synchronized" conversations resonated with the audience, which would make such a talk show a "masterpiece" with the qualities to be both binge-watchable and rewatchable.
Inspired by stand-up performances from American comedians such as Aziz Ansari, Sakuma wanted the series to showcase the presenters evolution throughout episodes, which would give it a style similar to Japanese drama. Having observed that Hoshino made comments regarding the set in his "Achikochi Audrey" appearance, Sakuma planned a swap of location every episode to change the emotions and contents of Hoshino and Wakabayashi's conversations. The original idea of the show was titled "Gen Hoshino and Masayasu Wakabayashi's One Year", and would feature a similar format to the final product but instead spanning a full year. However, a one-year recording period proved too timely in regards to scheduling and translation, especially since all episodes were to receive a same-day release, and it was shortened to six months. It was renamed to "Lighthouse", a name Sakuma had come up with for the duo of Hoshino and Wakabayashi. Sakuma had learnt the English word for lighthouse through short stories by Ray Bradbury and again saw the word in the title of a play he had viewed around the time of writing the talk show's proposal. He subsequently recalled the 2019 film "The Lighthouse" and then thought that the word was a perfect name for the duo, symbolizing Hoshino and Wakabayashi as lighthouses that shine light for many people whilst their own footsteps remain dark.
Filming and editing.
Under the production company D:Complex, filming for "Lighthouse" began in October 2022. Sakuma thought that this period (late 202