The Queen’s Gambit was the big winner during the first installment of the 2021 Creative Arts Emmy Awards, which was held on Saturday Sept. 11 at L.A. Live in Los Angeles. The Netflix series won seven Emmys, compared to three each for runners-up The Mandolorian, Pose and Saturday Night Live.
The Creative Arts Emmys honor outstanding artistic and technical achievements in television. Two more ceremonies are set for Sunday Sept. 12. FXX will broadcast highlights from the three Creative Arts Emmy presentations on Sept. 18, the night before the 73rd annual Primetime Emmy Awards air on CBS and stream on Paramount+.
Here is a complete list of winners, which Billboard will update as each ceremony ends.
First ceremony: Sept. 11
Outstanding main title design: The Good Lord Bird, Showtime
Outstanding contemporary hairstyling: Pose, FX Networks
Outstanding period and/or character hairstyling: Bridgerton, Netflix
Outstanding contemporary hairstyling for a variety, nonfiction or reality program: Saturday Night Live, NBC
Outstanding interactive program: Space Explorers: The ISS Experience Oculus, Felix & Paul Studios TIME Studios
Outstanding motion design: Calls, Apple TV+
Outstanding innovation in interactive programming: For All Mankind: Time Capsule, Apple TV+, Apple, Tall Ship Productions
Outstanding period and/or character makeup (non-prosthetic): The Queen’s Gambit, Netflix
Outstanding contemporary makeup (non-prosthetic): Pose, FX Networks
Outstanding contemporary makeup for a variety, nonfiction or reality program (non-prosthetic): Saturday Night Live, NBC
Outstanding prosthetic makeup: The Mandolorian, Disney+
Outstanding production design for a variety, reality or competition series: Saturday Night Live, NBC
Outstanding production design for a variety special: The Oscars, ABC
Outstanding production design for a narrative contemporary program (one hour or more): Mare of Easttown, HBO
Outstanding production design for a narrative period or fantasy program (one hour or more: The Queen’s Gambit, Netflix
Outstanding production design for a narrative program (half-hour): WandaVision, Disney+
Outstanding cinematography for a limited anthology series or movie: The Queen’s Gambit, Netflix
Outstanding cinematography for a single-camera series (one hour): The Crown, Netflix
Outstanding cinematography for a multi-camera series:Country Comfort, Netflix
Outstanding period costumes: The Queen’s Gambit, Netflix
Outstanding contemporary costumes: Pose, FX Networks
Outstanding costumes for variety, nonfiction or reality programming (3 winners): Black Is King, Disney+; The Masked Singer, Fox; Sherman’s Showcase Black History Month Spectacular, IFC
Outstanding sound mixing for a variety series or special: David Byrne’s American Utopia, HBO
Outstanding sound mixing for a comedy or drama series (half-hour) and animation: Ted Lasso, Apple TV+
Outstanding cinematography for a single-camera series (half-hour): The Mandalorian, Disney+
Outstanding single-camera picture editing for a limited or anthology series or movie: The Queen’s Gambit, Netflix
Outstanding single-camera picture editing for a comedy series: Ted Lasso, Apple+
Outstanding single-camera picture editing for a drama series: The Crown, Netflix
Outstanding multi-camera picture editing for a comedy series: The Conners, ABC
Outstanding sound mixing for a limited or anthology series or movie: The Queen’s Gambit, Netflix
Outstanding sound mixing for a comedy or drama series (one hour): The Mandalorian, Disney+
Outstanding sound editing for a comedy or drama series (half-hour) and animation: Love, Death + Robots, Netflix
Outstanding sound editing for a limited or anthology series, movie or special: The Queen’s Gambit, Netflix
Outstanding sound editing for a comedy or drama series (one hour): Lovecraft Country, HBO
Outstanding picture editing for variety programming: A Black Lady Sketch Show, HBO
Outstanding fantasy/sci-fi costumes: WandaVision, Disney+
“Due to unfortunate and unavoidable COVID-related circumstances, we will be unable to move forward with our planned fall tour dates — including our festival appearances and our tour with Stone Temple Pilots,” Bush, whose tour was scheduled to begin later this month, posted Friday night (Sept. 10).
“We cannot stress enough how heart-breaking it is to not be able to go out and play after all of this time, and after all of our attempted starts and ensuing stops over the past year and a half. We wish to extend our deepest apologies as this is the last thing we would want for all our great fans as well as our good friends in Stone Temple Pilots,” their message read.
On Stone Temple Pilots’ Twitter account, the band shared the same update and said: “We are of course saddened by this news, but it’s a sign of the times right now.”
Meanwhile, STP’s own headlining tour dates, which kick off on Oct. 17, “are still on,” they confirmed in their message.
The COVID-19 pandemic has been the reason behind countless canceled or rescheduled concerts; see an updated list of 2021’s cancelations here.
“Lalisa” has made its debut on TV.
Wearing a sparkly top and surrounded by dancers in masks, BLACKPINK member Lisa performed the fresh title track from her just-released, debut solo project for a segment on The Tonight Show Starring Jimmy Fallon, marking the song’s first televised performance.
Lisa released her two-song project, also titled Lalisa (her full name) on Friday (Sept. 10). The project features the song “Lalisa” as well as a track titled “Money,” and instrumental versions of both.
“It’s a good opportunity for me to finally let the world know, ‘This is who I am,'” she told Billboard ahead of the release.
Lisa is the third member of BLACKPINK to deliver solo material. Jennie was the first, dropping her single “Solo” in 2018. Rosé followed in March 2021, releasing -R-, which featured the Billboard Global 200 and Billboard Global Excl. U.S. No. 1 hit “On the Ground” and “Gone.” Jisoo will be the final member of the quartet to make a solo debut.
Watch Lisa perform “Lalisa” on The Tonight Show below.
When the Country Music Association announced the 55th annual CMA Awards nominations on Wednesday (Sept. 8), Miranda Lambert received three nods, bringing her career total to 58. That puts her in tie with Brad Paisley for third place on the list of all-time CMA Awards nominees. Who else is in the top 10? And who’s just outside of the top 10? Let’s take a look.
1. George Strait, 83 nods
First nod: 1983
Most recent nod: 2014
Number of awards: 17
Did you know?: Hard to imagine, but Strait didn’t win the horizon award, the former name for new artist of the year. He was nominated in 1983, but lost to John Anderson. In addition to being the overall nominations leader, Strait is also the leader in several individual categories, including male vocalist of the year (25 nods), entertainer of the year (19), album of the year (19) and single of the year (nine).
2. Alan Jackson, 81
First nod: 1990
Most recent nod: 2012
Number of awards: 16
Did you know?: Jackson didn’t win the horizon award either. He was nominated in 1990, but lost to Garth Brooks. (Pretty stiff competition.)
3. Miranda Lambert, 58 (not counting two with Pistol Annies)
First nod: 2005
Most recent nod: 2021
Number of awards: 14
Did you know?: Lambert didn’t win the horizon award either. She was nominated in both 2005 and 2006, but lost to Dierks Bentley and Carrie Underwood, respectively. Lambert has won female vocalist of the year seven times, more than anyone else. But she has yet to win entertainer of the year. She has amassed more overall nominations than anyone else who has yet to take home the big one. Maybe this will be her year.
3. Brad Paisley, 58
First nod: 2000
Most recent nod: 2012
Number of awards: 14
Did you know?: Paisley co-hosted the CMA telecast with Underwood 11 years in a row. He has amassed more nominations than anyone else who ever hosted or co-hosted the show.
5. Vince Gill, 54
First nod: 1990
Most recent nod: 2018
Number of awards: 18
Did you know?: Gill, who took a while to find his footing, was never even nominated for the horizon award. Gill hosted or co-hosted the CMA telecast 12 times, which puts him in a tie with Underwood as the most frequent host. Gill is tied with Strait and Blake Shelton for the most wins for male vocalist of the year – five.
6. Brooks & Dunn, 53 (not counting two individual nods for Brooks; four for Dunn)
First nod: 1992
Most recent nod: 2021
Number of awards: 18 (not counting an individual award for Dunn)
Did you know?: Brooks & Dunn didn’t win the horizon award either. They were nominated in 1992, but lost to Suzy Bogguss. They have more CMA nods than any other group or duo. They have been nominated for vocal duo of the year 22 times, more than anyone else.
7. Reba McEntire, 51
First nod: 1983
Most recent nod: 2020
Number of awards: 6
Did you know?: McEntire didn’t win the horizon award either. She was nominated alongside Strait in 1983, but both lost to Anderson. McEntire has amassed more nominations for female vocalist of the year (18) than anyone else. Yet she has won just six CMA awards, fewer than anyone else in this top 10 list. #shouldawonmore
8. Keith Urban, 50
First nod: 2001
Most recent nod: 2020
Number of awards: 12
Did you know?: Urban, who was born in New Zealand and reared in Australia, has amassed more nominations and awards than anyone else from outside the U.S. This year marked the first time since 2003 that he didn’t receive a single CMA nomination.
9. Kenny Chesney, 48
First nod: 1999
Most recent nod: 2021
Number of awards: 9
Did you know?: At the risk of sounding like a broken record, Chesney didn’t win the horizon award either. He was nominated in 1999, but lost to Jo Dee Messina. Chesney and Alabama are the only acts in CMA history to win entertainer of the year three years in a row. (Chesney has won in that category four times, second only to Brooks’ seven awards.) Chesney has yet to win for male vocalist of the year, despite nine nods in the category.
10. Willie Nelson, 47
First nod: 1976
Most recent nod: 2017
Number of awards: 10
Did you know?: Nelson, widely regarded as one of our greatest singers in any genre, has yet to win male vocalist of the year, despite seven nods in the category.
Next in line: Merle Haggard (46 nods), Dolly Parton (44), Alabama (41), Tony Brown (39), Dann Huff (39), Loretta Lynn (39), Tim McGraw (39), George Jones (38), Carrie Underwood (36), Garth Brooks (35), Eric Church (35)
Notes: Brown and Huff are tied as the most-nominated people in CMA history who aren’t primarily known as artists. Alabama is the most-nominated group of three or more people.
Many Burning Man attendees are quick to point out that Burning Man is not a music festival. Rather, it is a crowdsourced gathering focused on art, community and alternative — and many would argue better — ways of existing in a society.
But any way you swing your fire spinner, the fact remains that there is a lot of music at Burning Man, with DJs in particular serving as a primary source of entertainment out on the playa.
This year, that was the same and also different, given that the official Burning Man was canceled and a “Free Burn” event drawing roughly 15,000 people happened in its place. It looked like Burning Man; it felt like Burning Man, but it many ways it did not sound like Burning Man, with the lack of centralized organization creating key differences in regards to musical offerings.
But the freewheeling nature of this year’s “non-event” did not make for a lesser sonic experience, and in ways, Free Burn actually offered a refreshingly voyage journey into sound. These are five reasons why.
No Massive Stages
Several sound camps on the esplanade — the inner ring of the giant circle at the center of Burning Man — have grown significantly in size during the past few years, with the biggest featuring setups comparable in scale to some of the bigger stages at Coachella. While these stages are often beautifully designed and good hubs for seeing higher-profile artists, swarming to and around them in order to catch a set can create a sort of hectic, overcrowded feeling that’s out of sync with the generally more go-with-the-flow spirit of Burning Man. This clusterf— vibe is especially pronounced when hundreds of bikes are parked in front of these stages during a particularly popular set. Given the size of these stages, the quality of experience can also feel compromised, particularly when so many more intimately sized events are happening throughout Burning Man.
Were these big stages on the playa during Free Burn? Nope! With the temporary restrictions issued by the Bureau of Land Management barring the building of any such structures, the esplanade (which, despite the lack of officially sanctioned infrastructure, was still a perfect circle) instead featured more bespoke experiences. These included, for example, the small tent featuring a Dolly Parton altar and 60 or so people getting super, duper down to remixes of classics by P!nk, Destiny’s Child, Will Smith and other late ’90s and early 2000s icons. This more homespun experience, and others like it, were delightful discoveries. And given that camps didn’t have to apply for permits to be on the playa, and anyone could just roll up and do their thing, these were also finds that would have likely been harder to come across had they been competing with the monolithic stages on-site in other years.
No Big Name DJ Chasing
Cycling hurriedly across the playa to catch a set by Carl Cox, or Damian Lazarus, or Above & Beyond, or Diplo, or Flume, or Slander, or Skrillex or Rüfüs Du Sol or whatever other marquee act you heard is playing at whatever given stage or art car can be exciting, sure. It can also be time consuming, physically draining and a distraction from the many other lesser-known, massively talented DJs one might otherwise discover playing at a random art car or smaller camp.
A few stars like Diplo and Lee Burridge did make the trek to Free Burn (respect), where they both played on the Robot Heart art car, (with Diplo leaning hard into his deep house-oriented Higher Ground output while playing tracks like the Angelos remix of his own “One By One”) beyond that, there were few big names and almost no official lineups. (Sound camps often post lineups on signs for passersby to see, although posting them online before Burning Man itself is typically frowned upon.) This year’s singular nature provided lesser-known artists a chance to shine and all of us who’d typically bike for miles in an effort to see the artists we see at most other major festivals anyways a more go-with-the-flow, discovery-style experience.
Fewer Options, Less FOMO
While it’s sort of bratty to experience FOMO at all whilst attending Burning Man, an event many people in the world would love to experience if given the chance, it does happen. With so much going on musically, one is bound to miss something great, and hearing your campmates expound on the out of body experience they had while contact dancing at the Mayan Warrior during sunset can make one feel slightly sour, if one wasn’t also there. But this year, fewer options meant fewer things to miss out on, and if something big was happening, you probably knew about it beforehand. This included the aforementioned sets by Diplo, Burridge and Ry X on Robot Heart. One of the only major art cars on the playa this year, Robot Heart’s fabled daily sunrise parties were major gathering points, and sleeping through any of them did arouse mild feelings of regret.
Less Playa Tech
In the last decade, the prevailing genre of music at Burning Man has become a style of tech-house commonly referred to as “Playa Tech.” It’s ultra minimal, and it’s everywhere, from ad hoc deep playa stages to the biggest art cars to the vibiest sunrise sets, where the sound facilitates the opportunity to stand in place for upwards of six hours while nodding one’s head slightly with eyes closed. Is it bad? Not at all. Has its prevalence become a bit tired? One could make that argument. But this year, with Free Burn creating so many switch-ups in terms of what artists and sound camps were there, the playa tech was much less abundant, clearing the desert airwaves for a greater diversity of sound.
More Of Everything Else
While it’s certainly possible to hear hip-hop, psych rock, soul, jazz and genres beyond dance/electronic at any given Burning Man, this year — with many of the usual suspects not present — space was opened for a greater diversity of sound. This meant not only the aforementioned pop music (usually a scarce resource on the playa) but the hip-hop sets booming from myriad art cars, the psychedelic rock being performed from the top of a bus on the esplanade Friday night — this six-person group’s cover of The Doors’ “Break On Through (To the Other Side”) was particularly righteous — and the DJ and a very petite art car who fused tribal house with Dolly Parton’s “Jolene.” There was no lack of electronic music either, with legitimately excellent trance, house, bass, techno, progressive house and other genres booming from camps across the gathering.
From career milestones and new music releases to major announcements and more, Billboard editors highlight the latest news buzz in Latin music every week. Here’s what happened in the Latin music world this week.
Superstars at Latin Music Week
With the 2021 Billboard Latin Music Week just a week away, more exciting news was announced, including the participation of Daddy Yankee, Karol G and Nicky Jam. Karol G will take center stage in The Superstar Q&A on Sept. 21 for an in-depth conversation about her career, music, love and upcoming projects. On Sept. 22, fans will get up-close-and-personal with Yankee as he discusses his 25-year career that launched reggaetón around the world in the second installment of The Superstar Q&A. The Puerto Rican hitmaker is also set to perform for a Billboard En Vivo concert that night at the Faena Forum exclusive to Billboard Latin Music Week registrants. Meanwhile, Jam will bring his Rockstar Show live to Latin Music Week with Jhay Cortez as his special guest. This intimate experience set to take place Sept. 22 is exclusive to Billboard Latin Music Week registrants, and capacity is limited.
Natti Natasha’s New Album
This week, Natti Natasha surprised fans with the cover, title and tracklist of what would become her sophomore studio album. NattiVidad, which is a combination of her artistic name and her daughter’s name, Vida, is home to 16 songs including previously released singles “Noches en Miami,” “Las Nenas” and “Ram Pam Pam,” to name a few. On the all-rose gold album cover, we see a baby carriage, flowers and a microphone, all representing Natti’s new motherhood stage. NattiVidad, which follows her 2019 release, Illuminatti, will be released Sept. 24.
Justin Quiles’ Late-Night TV Debut
In celebration of his third studio album, La Ultima Promesa, Justin Quiles made his late-night television debut on The Late Late Show with James Corden. In a quick three-minute interview, the Puerto Rican star talked about the creative process of his album and described it as “exciting.” He also explained how his collaboration with Maluma on “La Botella” was born before performing his focus single on the show. Watch it below.
J Balvin & Jimmy Fallon
This week, J Balvin also appeared on late-night TV, visiting The Tonight Show starring Jimmy Fallon. During the interview, Balvin talked about his new album José, describing it as his “personal playlist.” He also talked about becoming the first Latin artist to have Fortnite skin and his upcoming North America 2022 tour, set to kick off April 19, 2022, in San Antonio. At the end of the interview, Balvin even hyped up host Fallon to do the viral dance challenge of “In Da Getto.” Check it out below.
Billboard Latin’s New Podcast
Billboard launched a new podcast called Latin Hitmaker, which will tell the stories of the executives behind the biggest Latin artists and their hits. Hosted by Billboard’s Leila Cobo, the first episode — featuring Walter Kolm, whose company WK Entertainment manages Maluma, Wisin, and Carlos Vives, among others — aired Wednesday (Sept. 8). Additional confirmed guests include Rebecca Leon, CEO of Lionfish Entertainment; Juan Diego Medina, CEO of La Industria Inc.; and Jimmy Humilde, founder of Rancho Humilde Records. Latin Hitmaker’s new episodes will run every Wednesday, and you can stream the podcast on Spotify, Audible and any other podcaster platform.