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Addressing the delay on her follow-up to 2017 debut album ‘SweetSexySavage’, the ‘Nights Like This’ singer claims she is ‘focused on how to just be a good citizen to society at this time.’
Mar 18, 2020
AceShowbiz – Kehlani is putting the release of her new album on hold amid the ongoing coronavirus pandemic.
The star was due to release the long-awaited follow-up to her 2017 debut album “SweetSexySavage” in the near future but, taking to social media, she explained she and her team are “unable to complete any of our plans or move forward with the album at the moment due to the pandemic.”
“To be transparent, I had a release date,” she started her post, before adding she was, “Not thinking about music at the moment, focused on how to just be a good citizen to society at this time.”

Kehlani delays release of new album due to coronavirus.
The last project Kehlani released was her 2019 mixtape “While We Wait”, and last December (19) she dropped the track “All Me”, which features guest vocals from Keyshia Cole.
The coronavirus outbreak, described by U.S. President Donald Trump as a national emergency, has wreaked havoc across the entertainment industry, with acts including Madonna, Cher, Foo Fighters, Billie Eilish and Mariah Carey all forced to cancel shows as health officials advise fans to practice social distancing and avoid large gatherings.

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Boosie Badazz Gets Into Foul Mood on Instagram Live Over Webbie Question

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The ‘Chromatica’ singer has decided to pull the plug on the party celebrating her sixth studio album amid the ongoing protests to seek justice for George Floyd.
May 30, 2020
AceShowbiz – Lady GaGa pulled the plug on a planned virtual album playback party on Friday, May 29, 2020 because the violence in Minnesota had left her raw and emotional.
The “Stupid Love” singer was looking forward to hosting a listening session for her new release, “Chromatica”, but postponed the online fan get together in light of current events, including the protests regarding the death of African-American George Floyd, who was killed at the hands of white police officers on Monday, May 25, 2020.
On Thursday night, protesters set fire to a police precinct, while U.S. leader Donald Trump was heavily criticised for posting threatening tweets to the activists.
And Gaga wasn’t in a celebratory, album-release mood when she woke up to all the drama on Friday.
“As much as I want to listen to Chromatica together as a global group of kindness punks right now, our kindness is needed for the world today,” she wrote. “I’m going to postpone our listening session right now and encourage you all to take this time to register to vote and raise your voice.”
“I’m so glad the album is bringing you some joy, because that’s what I always wanted it to do. We’ll reschedule this very soon.”
Her comments came hours after Taylor Swift condemned Trump for a tweet in which he threatened, “When the looting starts, the shooting starts.”
The pop star took to social media and wrote, “After stoking the fires of white supremacy and racism your entire presidency, you have the nerve to feign moral superiority before threatening violence? ‘When the looting starts the shooting starts’??? We will vote you out in November. @realdonaldtrump.”

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Colton Underwood and Cassie Randolph Call It Quits: This Isn’t the End of Our Story

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Electronic dance duo Guy-Manuel de Homem-Christo and Thomas Bangalter, famous for their robot characters, have split after making music together for over two decades.

Feb 23, 2021
AceShowbiz – Electronic dance duo Daft Punk have called it quits after 28 years.
The influential hitmakers, Guy-Manuel de Homem-Christo and Thomas Bangalter, broke the news to fans on Monday (22Feb21), in a video, titled “Epilogue”.
The eight-minute clip features the pair’s robot characters walking in a desert, before one turns to the other and removes his leather jacket to unveil an energy pack. The other presses a button on the pack as his pal walks off, and then explodes.
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The footage, taken from their 2006 film “Electroma”, ends with the dates, “1993-2021.”

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Daft Punk’s publicist, Kathryn Frazier, has since confirmed the group has parted ways although no further details have been revealed.
The musicians rose to fame in the late 1990s as part of the French house movement before blending their songs with elements of disco, funk, rock, techno, and synthpop.
They released their first album, “Homework”, in 1997 and scored hits with singles like “Around the World” and “Da Funk”.
They went on to release three more studio projects – “Discovery” in 2001, “Human After All” in 2005, and 2013’s “Random Access Memories”, which became their final album, winning five Grammy Awards, including Album of the Year and Record of the Year for their Pharrell Williams collaboration, “Get Lucky”.
Their other chart smashes include “One More Time”, “Harder, Better, Faster, Stronger”, “Digital Love”, and “Instant Crush”.
They also worked with The Weeknd on his 2016 hits “Starboy” and “I Feel It Coming”.

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Daniel Kaluuya Unsure If He Will Be Back for ‘Black Panther 2’ More

The group lost its lead singer just as it was gaining widespread acclaim. Its members have come up with an unusual solution.MANCHESTER, England — Last month, the six members of Black Country, New Road were joking around in a cramped rehearsal room about to try something new: everyone singing lead vocals.First, Tyler Hyde, the group’s bassist, sat forward and sang — her voice jumping between a smooth pop cry and a raucous shout. Next May Kershaw, usually on piano, took over, her voice gentle and brittle like a folk singer’s. Then Lewis Evans, the saxophonist, crooned two songs.“Dope as hell,” Charlie Wayne, the band’s drummer, said as Evans finished. Evans didn’t seem too sure. “I was a bit too slow!” he said, sounding frustrated.Just six months ago, Black Country, New Road, one of Britain’s rising rock acts, was a very different proposition. Back then, lead vocals were the domain of just one frontman: Isaac Wood, an intense and sometimes anxious-sounding singer, whose lovelorn lyrics helped Black Country, New Road win fan and critical devotion. The group’s debut album, “For the First Time,” was nominated last year for a Mercury Prize, Britain’s most important music award. Its second, “Ants From Up There,” was named a New York Times Critic’s Pick.But just before New Year’s Eve, Wood sent his bandmates a Facebook message. He couldn’t be in the public eye anymore, he said. The stress of pouring his heart out onstage was too much. He was leaving.Wayne said that when that message arrived, the band’s first thought was “the safety of our friend.” But once that was assured — Wood is in a much better place now, Evans said, happily working in a cake shop — the remaining members had to decide what to do next.Several of the bandmates gathered to discuss that moment in a sunny yard after the rehearsal last month. Splitting up was never an option, Kershaw said, since “playing together is so important to us.”The bandmates seemed to disagree on how hard restarting had been, though. When Evans said that beginning again after Wood’s departure “didn’t feel like a big deal,” Hyde and Kershaw gave each other confused looks, and laughed nervously. But his departure did make everyone appreciate more fully just how much pressure a band’s lead singer can be under. So they found a solution: share the load.A crowd gathers for Black Country, New Road’s first Manchester gig with its new lineup.Alex Ingram for The New York TimesThe bassist Hyde’s vocals fall between a smooth pop cry and a raucous shout.Alex Ingram for The New York TimesWhen Evans, center, opened a song with a jaunty saxophone melody, he was greeted by whoops from the audience. Alex Ingram for The New York TimesAt Wood’s urging, they kept the band name but decided to stop playing the tracks he had sung (Wood did not respond to requests for comment for this story). This meant that, before the rehearsal, the musicians had spent five intense, fun, but occasionally stressful, months writing nine songs to fulfill European festival dates this summer. Without the income from those appearances, Evans said, they would have had to get jobs, so they would have hardly been able to play together at all.The growing financial and emotional pressures on musicians have long been the focus of media attention in Britain. In 2017, Help Musicians, a nonprofit, set up a 24-hour help line to offer support for those with mental health issues or financial anxieties. Such worries only grew when the pandemic shut live venues, while the cost of living crisis has caused further concerns.Wood’s departure illustrated those pressures, said John Doran, a music journalist who has long championed Black Country, New Road. Being in a successful indie band could once lead to a good lifestyle. Now, Doran said in a telephone interview, acts exhaust themselves “to maybe one day have a mortgage and not need a side job.” It’s “no wonder musicians are under so much stress,” Doran added. “I do not envy them that at all.”This is, in fact, the second time the members of Black Country, New Road — all still in their early 20s — have had to restart.Four years ago, almost all of them were playing in another act, called Nervous Conditions, which was on the verge of breaking through in Britain’s competitive indie music scene. With only a couple of tracks online, taste-making websites declared the group one of the country’s “most exciting propositions,” and representatives from record labels flocked to its shows. But then its frontman, Connor Browne, facing anonymous accusations of sexual assault, issued a statement apologizing for the hurt caused, and the group disbanded.Hyde said that the bandmates had learned lessons from that moment. After the split, “the whole ethos became, ‘We’re doing this for us and because we want to,’” she said. Since then, the band has rewritten songs and changed lyrics whenever they’ve become bored of them, she added.When asked how they managed to keep reinventing themselves, the musicians said that having so many band members with different interests helped. But for the group’s fans, other factors were more important. Geordie Greep of black midi, a London-based band that is touring the United States with Black Country, New Road in September, said in a telephone interview that the group’s members were virtuosic musicians. That gave them the ingenuity to keep changing their style, he said.The members of Black Country, New Road — most of whom have known each other since they were in high school — also clearly had a strong communal bond, Greep added. “These guys genuinely go out of their way to just hang out as friends,” he said, sounding a little bemused. Most bands, including his own, don’t do that, he noted.Splitting up was never an option, said Kershaw, second from left, since “playing together is so important to us.”Alex Ingram for The New York TimesEven for such a close group of musicians, the process of stepping up to lead vocals has not always been easy. Evans said that he “got shakes” the first time he sang a track he’d written to his bandmates. Kershaw said that she had found it “nerve-racking,” and told everyone “not to worry” if they thought her tracks weren’t “the right vibe.” She squirmed on her seat as she recalled the memory.But with shows looming, the band members had to overcome their nerves again to sing in front of paying audiences. A few days later, the band walked onstage at the Pink Room, a music venue in Manchester, northern England, filled with 250 people (the group canceled a sold-out 1,800-capacity show in the city shortly after Wood left).If Evans was still nervous, he did not need to be. As soon as he started playing a jaunty saxophone melody to open the track “Up Song,” he was greeted by whoops from the audience. When the band got to the raucous chorus, the crowd started jumping up and down and chanting along, as if they’d heard the song hundreds of times. “Look at what we did together,” the band sang in unison, “BC, NR/Friends forever.”A few tracks later, even the bar staff fell silent as Kershaw sang “Turbines/Pigs,” an eight-minute song in which she plays a gentle piano melody while singing, “Don’t waste your pearls on me/I’m only a pig.”After 45 minutes, the band walked offstage with a few polite waves goodbye. Some fans shouted for more, until they realized that Black Country, New Road couldn’t come back for an encore even if they wanted to. The new incarnation had played all the songs it had. More

For evidence that all is not business as usual at Lincoln Center these days, look no further than its stately travertine campus, which, for much of the summer, was dominated by a giant glittering disco ball, pink and purple flowers painted on the sidewalk and a flock of 200 flamingo lawn ornaments.“There are some who will reasonably eye-roll at this,” said Henry Timms, the center’s president and chief executive, standing on the plaza recently. “I get it. But it sends a message that we are here to have some fun.”“We can afford,” he said, “to loosen up a little.”Since taking the helm in 2019, Timms has been on a mission to remake Lincoln Center. Having helped finally push through the long-delayed $550 million renovation of David Geffen Hall, he is working to forge closer ties with the city and to bring more diversity to the center’s staff, board and audiences.Now he wants to tear down the barriers that literally wall the campus off from Amsterdam Avenue, with its neighboring housing projects, schools and new developments. But as Lincoln Center rethinks its programming — this summer’s festival included hip-hop, K-pop and an LGBTQ mariachi group — it has drawn some criticism for presenting less classical music and international theater.For the summer, Lincoln Center hung up a disco ball on the plaza.Evelyn Freja for The New York TimesThis summer’s festival — which included more popular programming than in the past and choose-what-you-pay tickets for some events — attracted more than 380,000 people, officials said, many of whom were new to the campus. Among them was Sandy Mendez, a saleswoman who lives in Washington Heights, and saw her first Lincoln Center performance, a comedy show, after coming across an advertisement at a community center. She took photos in front of the disco ball with her husband and two children.“It feels like a dance club here,” said Mendez, 42, “not a performing arts center.”It is the kind of observation that both Timms’s admirers and his detractors might make.Running Lincoln Center is not easy. The center acts as landlord to the independent arts organizations on its campus, including the Metropolitan Opera, New York City Ballet and the New York Philharmonic, but has little power over them, since each has its own leadership, board and budget.Linc. Inc., as it’s known, also presents its own work, which has sometimes led to tensions with constituents. Reynold Levy, its president for more than a decade, called his memoir “They Told Me Not to Take That Job.” After he left, in 2013, Lincoln Center cycled through four leadership teams in five years before appointing Timms in 2019.The British-born Timms, 46, who previously led the 92nd Street Y, helped create #GivingTuesday and co-wrote “New Power,” a book exploring bottom-up leadership, including movements like #MeToo and social networks like Facebook. Now he is trying to apply some of those participatory principles at Lincoln Center. He said his efforts were not “some new trendy idea” but a response to the fact that the center has for too long been disconnected from the community.“We very much came with an agenda, which was we were going to tell a different kind of story about Lincoln Center,” Timms said, “to fundamentally shift the institution in terms of who leads it, who represents it, who’s on our staff, who’s on our stages, who’s in our audiences.”Tatiana by Kwame Onwuachi, the new restaurant at Geffen Hall, has been a hit with critics and is drawing crowds.Nico Schinco for The New York Times“We have a long way to go as an organization — nobody at Lincoln Center is taking a bow,” he added in an interview at Tatiana by Kwame Onwuachi, the new restaurant at Geffen Hall that critics have named one of the best in the city. “But relative to where we were, I feel like we’ve made good progress.”Nevertheless, the reduction in programming, and the shift away from classical music and theater to other genres, has raised questions. Joseph W. Polisi, a former president of the Juilliard School who has written a history of Lincoln Center, said that Timms’s vision was a “sea change” for the center that could come at a cost.“It leaves a gap in music programming in New York City that is not being filled — it can’t be filled,” he said. “All the artistic leaders I know are fully in support of more program diversity at Lincoln Center. Now the question is, how far does the pendulum swing?”The critic Alex Ross recently wrote in The New Yorker that the new approach seemed “fundamentally out of step with Lincoln Center and its public, both extant and potential.”The conductor Jonathon Heyward will lead a reimagined version of the Mostly Mozart Festival Orchestra.Lawrence Sumulong/Lincoln CenterBut Timms pushes back on such criticism, partly by pointing out that “we have just spent four years through a pandemic, and half a billion dollars, creating a concert hall to house the New York Philharmonic” and noting that the center had hired Jonathon Heyward, who recently became the first Black music director of the Baltimore Symphony Orchestra, to lead a reimagined version of the Mostly Mozart Festival Orchestra.“Lincoln Center was founded as Lincoln Center for the Performing Arts; it was not founded as Lincoln Center for the Classical Arts,” Timms said. “You go back to the beginning and there’s a reason Mahalia Jackson was playing here. And it’s not because we’re only supposed to be about the opera and the ballet.”Summers at Lincoln Center look different now. The old Lincoln Center Festival was scrapped a few years before Timms arrived, and with it the large-scale, ambitious productions it brought each summer from around the world, including Noh theater and Kabuki theater from Japan, Indonesian dance and Chinese opera. Lincoln Center’s programming is now overseen by Shanta Thake, its chief artistic officer, who was formerly an associate artistic director at the Public Theater. She and Timms have replaced the Mostly Mozart Festival, which had focused on classical music and recently celebrated its 50th anniversary, with the more eclectic Summer for the City festival.Portia and the American Composers Orchestra at “Freedom Is a Constant Struggle,” which Lincoln Center staged in Damrosch Park as part of its Summer for the City festival.Lawrence Sumulong/Lincoln Center“How do we build on this promise of being a performing arts center for all New Yorkers?” Thake asked. “How do we not rest on our laurels but push for what a performing arts center needs to be right now? Everybody’s willing to have hard conversations.”The coming fall and winter season will feature an array of classical offerings, including a new production of Henry Purcell’s “The Fairy Queen” and a performance of Philip Glass’s piano études. There will also be more experimental fare in line with the center’s new vision, including a reimagining of “The Sound of Music” through a “utopian, Afrofuturistic lens,” featuring gospel, funk, soul and Afrobeat music.Timms has also prioritized diversity backstage: of the 109 current members of the executive and senior management teams, about 60 percent are women and nearly 40 percent are people of color. In addition, the center recently started a two-year fellowship program to develop a diverse pipeline of potential board members for the resident organizations; three have been placed as trustees and three more have elections pending.Darren Walker, the president of the Ford Foundation, who serves on Lincoln Center’s board, praised Timms as a “once-in-a-generation leader” who “genuinely understands that diversity correlates with excellence.”A summer dance party on the Lincoln Center plaza.Mohamed Sadek for The New York TimesThe ballet dancer Misty Copeland, who joined Lincoln Center’s board under Timms, commended his spearheading of the Amsterdam Avenue project, a long-neglected plan to make right Lincoln Center’s initial razing of the low-income San Juan Hill neighborhood where the performing arts complex was built.“He does not shy away from a history that may not look clean and sparkly,” Copeland said. “I don’t think I could imagine 10 years ago that this is where Lincoln Center would be.”Timms, whose mother was an illustrator from the United States and whose father was a British archaeologist, grew up in Exeter, England, where his family often attended regional theaters.“Our childhood was full of ideas and the arts,” he said. “We had access and experience and ownership. You felt like you were a part of something.”He graduated from Durham University in England and landed a job overseeing programming at the 92nd Street Y in 2008, where he helped start #GivingTuesday, a day of philanthropy after Black Friday and Cyber Monday that became a global success. In 2014, he was named the Y’s executive director.Steven R. Swartz, the new chairman of Lincoln Center, said Timms had won over the center’s board with his energy and ideas, quickly recognizing the organization’s main problems, including tensions with the constituents. “He just so quickly diagnosed what needed to be done,” Swartz said.And after years of false starts and bitter feuds, Timms built a good working relationship with the leaders of the Philharmonic — he and Deborah Borda, who was the orchestra’s president and chief executive, sometimes resolved disputes over coffee or martinis — and finally renovated Geffen Hall. By accelerating construction during the pandemic shutdown, they were able to open the reimagined hall ahead of schedule.“He was intent on moving past the history of animosity that existed between Lincoln Center and the New York Philharmonic,” said Borda, who stepped down at the end of June. “He put a premium on working together. He was essentially the right man at the right time at the right place.”Katherine G. Farley, who stepped down as Lincoln Center’s chairwoman in June, said Timms “has led the transformation of a traditional institution” and that he is “quick and eager to experiment.””Not everything works out,” she added. “When it doesn’t work, he’s quick to shut it down and try something else.”Like other arts institutions, Lincoln Center is still trying to recover from the pandemic shutdown, when the performing arts came to a halt for more than 18 months. The organization is spending less on programming than it did when Timms began his tenure: about $14 million in the fiscal year that ended in June 2022, down from $23 million in 2019, a decrease of about 40 percent that officials attributed in part to the fact that Geffen Hall remained closed for construction through the fiscal year of 2022.But fund-raising remains relatively strong, and the endowment has risen to about $268 million, compared to $258 million in 2019. Moody’s recently affirmed its A3 rating on the center’s $356 million of debt but revised its outlook to stable from negative, noting the completion of Geffen Hall and the center’s efforts to cut expenses and attract new audiences.And relations have eased with the constituent organizations — who historically competed with Lincoln Center for audiences, donors and attention.David Geffen Hall, the home of the New York Philharmonic, reopened last year after a long-delayed renovation.Hilary Swift for The New York Times“He’s been very clear that it’s the job of Lincoln Center to honor and pay attention to and try to help all the constituents that make up Lincoln Center,” said Andre Bishop, the artistic director of Lincoln Center Theater. Peter Gelb, the general manager of the Metropolitan Opera, said Timms had signaled to the constituents early in his tenure that the days of infighting were over. “Here was somebody who understood and really seemed to be listening,” he said. And Damian Woetzel, the president of Juilliard, said Timms had proven “tradition is not at war with innovation.”On a recent day, a team of Lincoln Center staff members inside Geffen Hall was conducting research to prepare for the Amsterdam Avenue project, asking visitors where they spent time on campus and what they would like to do more of: attend cultural events? meet friends? play games? exercise? A poster explained the history of the San Juan Hill neighborhood and said: “Help us make our campus more welcoming!”In a few hours, Timms would join a salsa band on the outdoor dance floor in a pair of coral-colored Nike Air Max sneakers.“Changing with the world isn’t just the right thing to do morally,” he said. “It’s the right thing to do strategically. And if leaders in a position like ours don’t lead this change, what on earth are you doing?” More