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Ashley Iasimone (25/09/2022)
"I'm having a very difficult time breathing, and there's like a stabbing pain whenever I breathe or move," Post Malone said Saturday night, a week after a stage fall in St. Louis.
Post Malone called off Saturday night’s concert in Boston due to pain that brought him to the hospital.
“Boston, I love y’all so f—ing much,” he wrote to fans on his social media accounts on Sept. 24, just before a scheduled performance at the city’s TD Garden. “On tour, I usually wake up around 4 o’clock PM, and today I woke up to a cracking sound on the right side of my body. I felt so good last night, but today it felt so different than it has before. I’m having a very difficult time breathing, and there’s like a stabbing pain whenever I breathe or move.”
“We’re in the hospital now, but with this pain, I can’t do the show tonight,” Malone said. “I’m so f—ing sorry. Everyone’s tickets for tonight’s show will be valid for the reschedule that we’re planning right now. Once again, I’m so f—ing sorry, I love y’all so much. I feel terrible, but I promise I’m going to make this up to you. I love you Boston, I’ll see you soon. I’m so sorry.”
The concert cancelation comes a week after taking a nasty spill during a show in St. Louis on Sept. 17. Malone accidentally fell into an open trap door while on stage performing his Billboard Hot 100 chart-topper “Circles.”
“Whenever we do the acoustic part of the show, the guitar’s on the guitar stand and it goes down,” he’d explained in a short video on on Twitter. “And there’s this big a– hole, so I go around there and I turn the corner and I bust my a–. Winded me pretty good; got me pretty good.”
He said he was taken to the hospital at the time and given a clean bill of health, as well as some pain medication “so we can keep kicking a– on the tour.” Manager Dre London added that Malone didn’t break anything, bud did suffer bruised ribs.
“F U Hole,” Posty wrote a couple days later on Instagram, where he posted a performance picture in which he’s giving the middle finger to the stage shaft.
See his full message from this weekend’s update below.
Ashley Iasimone (24/09/2022)
The honors make the composer and former Disney CEO, respectively, among the last people to receive the honor from the late ruler.
Former Disney CEO Bob Iger and Star Wars composer John Williams are the latest Hollywood industry members to receive an honorary knighthood.
The honor grants both entertainment titans with the title of KBE, which is more formally known as Knight Commander of the Civil Division of the Most Excellent Order of the British Empire. Bestowed by Queen Elizabeth II, who died on Sept. 7 at the age of 96, Iger and Williams are just two among a larger 2022 class of approved honorary British awards.
Iger, who received his honor as part of his contributions to U.S.-U.K. relations, remembered the queen and her “extraordinary life and service” in a statement.
“It is truly special and one of the great honors of my life to have the honorary Knight of the British Empire conferred on me by her before she passed,” he continued. “Our two nations share a strong bond, which I have seen up close over many years through my deep personal and professional connections to the United Kingdom. I have great affection for the people of the UK, and have always appreciated and been inspired by their extraordinary contributions, particularly in the creative arts.”
Williams was honored separately for his services to film music. The KBE honor is typically given to non-Britons who have made important contributions to the relations between Britain and their own country.
Iger led the Walt Disney Company for 15 years between 2005 and 2020, serving as the chief executive officer as well as the chairman of the Board and executive chairman. Williams, a legendary, award-winning composer and conductor, has frequently collaborated with Steven Spielberg and worked on a number of iconic Hollywood scores beyond Star Wars, including Jurassic Park, Harry Potter and Indiana Jones.
The honors make Iger and Williams among the last people to receive the honor from the late queen. Previous recent recipients include Bono, Ralph Lauren and Rod Stewart.
The Hollywood Reporter has reached out to Williams’ reps for comment.
This article originally appeared on The Hollywood Reporter.
Ashley Iasimone (24/09/2022)
Waters was scheduled to perform in Poland in April.
An official with the Tauron Arena in Krakow, where Waters was scheduled to perform two concerts in April, said they would no longer take place.
“Roger Waters’ manager decided to withdraw … without giving any reason,” Lukasz Pytko from Tauron Arena Krakow said Saturday in comments carried by Polish media outlets.
The website for Waters’ This Is Not a Drill concert tour did not list the Krakow concerts previously scheduled for April 21-22.
City councilors in Krakow were expected to vote next week on a proposal to name Waters as a persona non grata, expressing “indignation” over the musician’s stance on the war in Ukraine.
Waters wrote an open letter to Ukrainian first lady Olena Zelenska early this month in which he blamed “extreme nationalists” in Ukraine for having “set your country on the path to this disastrous war.” He also criticized the West for supplying Ukraine with weapons, blaming Washington in particular.
Waters has also criticized NATO, accusing it of provoking Russia.
Mitchell Peters (24/09/2022)
The Netflix film arrives in May 2023.
Jennifer Lopez has a unique parenting style in the first teaser for The Mother.
Lopez plays an assassin who comes out of hiding to protect a daughter she gave up years before in The Mother, which also stars Joseph Fiennes, Lucy Paez, Omari Hardwick, Paul Raci and Gael Garcia Bernal.
The teaser begins with Lopez’s character living in a remote cabin, and builds to show off various locales the film will cover. The Mother hails from director Niki Caro, who most recently helmed Disney’s Mulan live-action remake. The film has a script from Andrea Berloff, Peter Craig and Misha Green, based on a story by Green.
The Mother is slated for a May 2023 release, with the first teaser coming as part of Tudum, the online fan event produced by Netflix to promote its upcoming slate of films and TV shows.
Watch Lopez in The Mother teaser below.
This article was originally published by The Hollywood Reporter.
Paul Grein (24/09/2022)
The singer represents what could be called the 'New Great American Songbook' -- a broad mix of songs and styles.
Michael Bublé engaged in a little market research on Friday (Sept. 23) as he brought his “Higher” tour to Crypto.com Arena in Los Angeles. He asked how many people were seeing him in concert for the first time.
When a large percentage of the audience signaled that they were, in fact, first-timers, Bublé joked about what their preconceptions of him must be — the Christmas guy who would sing a set of ballads and polite toe-tappers like “Haven’t Met You Yet.” His show shattered those preconceptions. It’s a big, wildly varied show, and Bublé is a master showman.
The term “Great American Songbook” long ago came to refer to a specific strain of American music — the timeless songs that were written by the likes of Cole Porter and Irving Berlin from the 1930s to the ’50s. Bublé sang some of those songs in his set, but he represents what could be called the “New Great American Songbook” — a broad mix of songs and styles, from the Latin rhythms of “Sway” to the exhilarating disco smash “You’re the First, the Last, My Everything” (RIP, Barry White). Bublé included songs associated with Nat “King” Cole and Dean Martin, but also Elvis Presley, Sam Cooke and Marvin Gaye. And why not, Bublé seemed to be saying. Let’s enjoy the broad range of popular music rather than limiting ourselves to just a segment of it.
On the “Higher” tour — named after his ninth Reprise studio album, which was released six months ago — Bublé seemed to enjoy his role of introducing his audience to genres they may not have known before. “Enjoy your first big-band song,” he said by way of introducing “When You’re Smiling.”
Bublé is in some ways this generation’s Barry Manilow. Both performers are personable and hammy, and make effective use of self-deprecating humor. (Bublé, catching a glimpse of himself on the video screens, blurted out, “I look like Kermit the Frog.”) Both gained a reputation for showmanship that has allowed them to headline major venues whether they had a current hit record or not.
Bublé is as genial as you would expect from his many TV appearances, but he uses considerably saltier language than they allow on NBC or PBS. Turns out the Christmas guy knows some four-letter words.
Here are five times Bublé reached “higher” on his L.A. tour stop:
Beefing up “Haven’t Met You Yet”
Bublé’s “Haven’t Met You Yet” remains his biggest Billboard Hot 100 hit. The 2009 single, which he co-wrote with frequent collaborators Alan Chang and Amy Foster, has the jaunty quality of Manilow’s sing-along 1977 hit “Daybreak.” But Bublé has beefed the song’s arrangement to something closer to Justin Timberlake’s “Can’t Stop the Feeling!” (which was among the songs piped into the arena as people were taking their seats). There were welcome Beatlesque touches on the song — a horn solo and the “love, love, love” chorus.
Silencing the chatters
While Bublé was singing “Smile,” the lovely ballad written by Charlie Chaplin and popularized by Nat “King” Cole, there was a steady murmur of chatter coming from the audience. Bublé stopped his performance and said, good-naturedly but with an edge, “I hear people talking. I feel I’m getting in the way of the good time they’re having. I’m going to sing this s— even slower if you don’t shut up.” This is almost certainly a recurring bit in his show. Bublé had introduced the song by asking the audience to give the song the respect and reverence it deserves, which set up this pay-off. And sad to say, audiences nowadays often act like they’re watching TV in their living rooms, so Bublé can usually count on hearing audience chatter. But hopefully he got his point across to at least a few audience members that there’s a time and place for chatting and a time for showing a little respect.
Taking it way down
While most of the show was energetic, Bublé brought the tempo way down for his 2005 hit “Home,” which was his first Hot 100 hit. He sat on the stage and sang the ballad, another co-write with Chang and Foster, with little backup. The song has such a strong melody that it lent itself to this stripped-down treatment.
A tribute to the King
Bublé performed most of his set on the main stage, backed by a large band, but one of the most effective segments in the show was on a secondary stage in the middle of the house. He was backed by a five-piece band on a three-song tribute to Elvis. At another point in the show, he name-checked the King as one of the performers from whom he had borrowed. He also cited Tony Bennett, Frank Sinatra, Bobby Darin, Ella Fitzgerald, Sarah Vaughan and The Mills Brothers. And he quoted Bennett, who purportedly told him, “If you steal from one person, you’re a thief. If you steal from enough people, you can call it research.”
Giving his band and back-up singers their props
Bublé had a smart way of sharing the spotlight with his band and backup singers. Their faces were shown, one by one, on the video screens, with their names shown as chyrons. It was a generous way of giving these pros the props they deserve.
Here’s the setlist for Bublé’s Sept. 23 show.
“Haven’t Met You Yet”
“Such a Night”
“When You’re Smiling”
“To Love Somebody”
“I’ll Never Not Love You”
“One Night With You”
“All Shook Up”
“You’re the First, the Last, My Everything”
“It’s a Beautiful Day”
“Bring It on Home to Me”
“How Sweet It Is (to Be Loved by You)”
“Cry Me a River”
“Always on My Mind”
Mitchell Peters (24/09/2022)
The country music star's Velvet Rodeo show rolled into the Zappos Theater at Planet Hollywood on Sept. 23.
Those who have followed her country music career for more than two decades know there isn’t anything that Miranda Lambert can’t and won’t conquer. From winning more Academy of Country Music Awards than any other artist in history to three Grammy statues and eight studio albums, the queen of modern country reigns supreme.
When her Velvet Rodeo residency rolled into Las Vegas’ Zappos Theater at Planet Hollywood Resort & Casino on Friday (Sept. 23) for the first of 24 dates, Lambert ticked another major career box — packing a Sin City venue with a career-spanning repertoire of hits, many of which came from recent albums Palomino and The Marfa Tapes.
The girls-weekend crowd came ready to party and the audience — primarily composed of women a lot like Lambert — packed in with rhinestone cowgirl boots and hats, sequin-and-fringe jackets, denim cutoffs, flannel shirts and trucker hats.
The stage screen, fixed on a graphic similar to Lambert’s pistols and angel wings tattoo, let Lambert fans know they had come to the right place to rock.
As the stage lights rose, the queen appeared center stage in a blue-and-gold mini dress with fringe accents and of course, a sparkly hat. For 90-minutes she rolled through her hits, both new and established, just like the rodeo, from 2022’s “Actin’” Up to 2005’s “Kerosene,” complete with a storm of pyrotechnics. Lambert deftly bounced between albums with almost all represented, showcasing her signature velvety vocal grit. Grabbing the guitar on “Fastest Girl in Town,” she whipped her hair back and forth with ecstatic energy.
For many it was their first time hearing songs from 2022’s Palomino and the 2021’s Marfa Tapes live. “Strange” showed up as an instant classic. To guide the audience, the visuals closely matched the lyrics, with montages of dancing cowboys hats, a small-town theater marquee and starry desert nights.
Noticeable here, Lambert eschewed the Las Vegas residency format. Outside of the standard stage greetings, Lambert kept to the songs, with no long-format storytelling around the music. She also limited it to one outfit with a few modifications, unlike her country-music residency counterparts, such as Carrie Underwood and Shania Twain, whose shows offered multiple looks.
Asking if there are any “cowgirls in the house?” yielded a thunderous response and she also thanked the swarm “for spending your hard earned money on some country music … this is a reminder to be yourself always no matter what … because you might end up on a stage in Vegas with bright lights, who knows?”
During 2010’s “The House that Built Me,” Lambert mustered up a sing-along from the crowd as did “Drunk (And I Don’t Wanna Go Home).” A roar ripped through the room on 2022’s “Geraldene” with the razor sharp line, “You’re too late baby, I’m the only b—- in the band.” “Tin Man,” from the collaborative, raw album Marfa Tapes, was especially beautiful with its pinpoint spotlights rising high above Lambert like a galaxy of heavenly bodies. On “Gunpowder and Lead,” her jacket shot flames. The show closed with a stream of confetti and an audience of Lambert fans well satiated.
The evening capped off with a Velvet Rodeo afterparty, where invited guests drank Pretty Bitchin’ Jack Daniels signature cocktails and feasted on taco and churros. Lambert, dressed in a gold leopard mini dress hung close to the bar with husband Brendan McLoughlin before taking the stage while being presented with a cake topped with a disco ball in a cowgirl hat, presented by Live Nation’s senior vp of Las Vegas residencies Amanda Moore-Saunders.
Pre-show, Lambert peeled back the curtain for her Instagram followers, showing the routine leading up to taking the stage and also the very lucrative marketing and branding opportunities that exist for Las Vegas headliners. Her beloved pups in tow, Lambert showed them riding to the theater, and then posted a thank you to Caesars Entertainment and Live Nation for their donation to her MuttNation Foundation.
Lambert’s residency continues on Saturday (Sept. 24) and has dates scheduled through early April.
Additional reporting by Jennifer Avison Smith.
Willie Nelson’s Farm Aid Reveals Plans for ‘A Major Farmer Mobilization in Washington’ in March 2023
Thom Duffy (24/09/2022)
The organization teams with the National Sustainable Agriculture Coalition in the biggest D.C. gathering of family farmers in decades.
In advance of the annual Farm Aid benefit concert for family farmers in Raleigh, N.C., on Saturday (Sept. 24), the organization revealed plans for “a major farmer mobilization in Washington” in March 2023 to advocate for federal support of climate resilient agriculture.
The march set for the week of March 6 would be “a mobilization the likes of which we have not seen since the 1970s, tentatively called Farmers for Climate, a rally for resilience,” announced Farm Aid cultural impact director Michael Stewart Foley during a live-streamed press conference that preceded the concert at the Coastal Credit Union Music Park at Walnut Creek.
Farm Aid co-founder and board member John Mellencamp, participating in the press conference, recalled when “[Willie Nelson] and I made the effort” to testify before a Congressional subcommittee in the 1980s on behalf of family farmers. And he left convinced that “the government … doesn’t care about you, doesn’t care about anything but greed.”
“So it’s going to take good people like you,” Mellencamp told the audience of farmers and activists at the pre-concert event. “I’m going to come to Washington, D.C., because politics today in the United States has gotten so far out of hand. We’ll get a school bus and we’ll all go down together.”
The mobilization plan results from discussions among “a coalition of 35 farm, food, climate [and] social justice organizations that are actively working on this,” said Foley, citing Farm Aid’s alliance with the National Sustainable Agriculture Coalition.
“Farm Aid hears farmer’s voices practically every day all year long,” he said. “What we need for the Congress to hear those voices. It is especially critical now because Congress is starting to draft the next Farm Bill.” That legislation, passed every five years, determines federal funding of a vast array of agricultural programs.
“Congress needs to get the message that farmers are counting on a Farm Bill that delivers climate solutions — climate solutions that center racial justice, that address on-farm climate challenges and prioritize what works for family farmers,” Foley said.
“So to make sure that Congress gets this message, farmers are going to deliver it in person, peacefully, I might add,” Foley said. “Over three days the week of March 6, farmers are going to march, they are going to rally — and we will be there with them. There will be music. We hope some of the artists who come to Farm Aid every year will join us.”
An earlier era of activism by family farmers, who were facing foreclosure, resulted in “tractor-cades” on state capitals nationwide in late 1977, followed in early 1978 by a demonstration that drew an estimated 50,000 farmers to Washington. One of the leaders of that movement, longtime Farm Aid supporter David Senter, was in the audience as Foley made his announcement.
Mitchell Peters (24/09/2022)
He performed with John Coltrane in the 1960s before becoming a key figure in the spiritual jazz scene.
Sanders’ passing was announced on Saturday (Sept. 24) by his record label Luaka Bop, which released the influential jazz musician’s 2021 album, Promises, a collaboration with Floating Points and the London Symphony Orchestra. A cause of death was not provided.
“We are devastated to share that Pharoah Sanders has passed away,” Luaka Bop wrote on Twitter. “He died peacefully surrounded by loving family and friends in Los Angeles earlier this morning. Always and forever the most beautiful human being, may he rest in peace.”
Born in Little Rock, Ark., on Oct. 13, 1940, Sanders — whose real name was Ferrell Sanders — moved to the Bay Area in the late 1950s before relocating to New York City, where he met fellow jazz artist Sun Ra, who encouraged him to take the name Pharoah.
Sanders initially struggled while trying to establish himself in New York. “Unable to make a living with his music, Sanders took to pawning his horn, working non-musical jobs, and sometimes sleeping on the subway,” the late saxophonist’s website reads.
Sanders eventually made a name for himself while performing alongside fellow jazz luminaries like Don Cherry and Billy Higgins. In 1965, Sanders joined Coltrane’s group on tenor saxophone. During that time, Coltrane released several avant-garde masterpieces, including his 1966 album, Ascension. Sanders played with Coltrane until the jazz icon’s death in 1967. After Coltrane’s passing, Sanders briefly performed with his widow, Alice Coltrane, before forging his own path as a key figure in the spiritual jazz scene.
In 1969, Sanders released his best known album, Karma, which featured the nearly 33-minute track “The Creator Has a Master Plan.” The album peaked at No. 188 on the Billboard 200 in August 1969. Over the next two decades, Sanders continued releasing music as both a leader and sideman, working with fellow jazz acts including McCoy Tyner, Sonny Sharrock, Idris Muhammad and Leon Thomas.
After a lengthy hiatus from the recording studio, Sanders returned in 2021 with the critically-acclaimed album Promises, a collaboration with Floating Points and the London Symphony Orchestra. The set peaked at No. 1 on Billboard‘s Contemporary Jazz Albums chart.
Mitchell Peters (24/09/2022)
The rap star's career-spanning set included hits like 'Super Bass' and 'Only.'
Nicki Minaj ruled over a frigid night at Citi Field in Queens, N.Y., to close out day one of Rolling Loud NYC on Friday (Sept. 23), and she brought along several guests to shake the festival grounds.
With Nicki being the first female rapper to headline Rolling Loud, expectations for a grand show were high, and the hometown girl didn’t disappoint. Fans were scrambling across the festival grounds when the lights at the Fashion Nova stage turned pink, causing them to hurry over and get a good spot to catch the South Jamaica, Queens, native in all her glory. At around 9:15 p.m., she arrived onstage in an all-black outfit with the sounds of screaming fans filling up the Big Apple air.
The mother of one got the party started with a fiery performance of “We Go Up” with Fivio Foreign popping on the stage to dish out his hypnotizing verse. Minaj wasted no time getting fans into a frenzy as she gave them a treat with a medley of her hits such as “Did It On’em,” “Beez In The Trap,” “Feeling Myself” and more.
Just when fans were still reeling from Fivio Foreign’s appearance at the top of the show, Nicki had a few more friends join her onstage to keep the energy flowing rapidly inside Citi Field.
BIA joined Minaj for a booming rendition of “WHOLE LOTTA MONEY (Remix),” while Lil Uzi Vert arrived shortly after that to hold Nicki’s hand for a duet performance of their touching record “The Way Life Goes (Remix).”
Midway through the set, Minaj dug even deeper into her bag of hits once she knew she had festival-goers in the palm of her hands. Fans burst at the seams upon hearing the instrumental to the rapper’s 2018 single “Chun-Li,” and the Barbz faithful got only louder when their idol performed “Only” and “Truffle Butter” sans Chris Brown and her Young Money brethren Drake and Lil Wayne. The late Pop Smoke was also shown some love when Nicki rode the New York drill train to perform “Welcome to the Party (Remix).”
It wouldn’t have been a true Nicki Minaj show if the day one fans didn’t get to hear more of the classics that lured them into the Barbz fandom in the early 2010s. As Nicki went off stage for an outfit change, the Barbz held it down for the 39-year-old by rapping “Up All Night” and “Itty Bitty Piggy” word-for-word with precision. If Nicki wanted to hand the mic to her fans, she could’ve done so with everyone rapping and dancing to her songs in unison.
Minaj had another surprise for her devoted fanbase when she brought out G Herbo to perform “Chi-Raq.” The crowd roared at his arrival, especially when he couldn’t perform his set earlier in the day due to New York City traffic keeping him from getting to Citi Field in time.
The multi-platinum artist returned to her 2010 debut album, Pink Friday, to close out the night starting with “Super Bass,” but there seemed to be a slight hiccup with her set and the allotted timeframe festival organizers gave her.
Nicki stopped reciting her lyrics to “Super Bass” when she told the crowd: “Rolling Loud is not going to let me do ‘Moment 4 Life.’ But I gotta do it a cappella for my people.”
In the most touching moment throughout her entire set, the hip-hop star dropped to her knees while performing her Drake-assisted track before the audience took the reins and closed her set. Fans left the grounds satisfied with the performance with many people chatting about Minaj reigning supreme on day one of Rolling Loud NYC 2022.
“She’s just the best,” one of the Barbz said walking out of the festival before another said, “It’s because she’s the Queen!”