“I deeply regret any pain I may have caused,” wrote the rapper formerly known as Kanye West, who is releasing an album next month.Ye, the rapper and producer formerly known as Kanye West, apologized to the Jewish community on Tuesday for a series of antisemitic comments he made last year.“It was not my intention to offend or demean, and I deeply regret any pain I may have caused,” Ye said in an Instagram post that was written in Hebrew. “I am committed to starting with myself and learning from this experience to ensure greater sensitivity and understanding in the future. Your forgiveness is important to me, and I am committed to making amends and promoting unity.”Ye became embroiled in controversy in October 2022 after wearing a shirt at Paris Fashion Week that said “White Lives Matter” and posting an antisemitic tweet in which he threatened to go “death con 3 On JEWISH PEOPLE.” In an Instagram post, he shared a screenshot of a text exchange with the producer and music mogul Sean Combs in which he suggested that Combs was controlled by Jewish people.Many organizations, including Adidas and Creative Artists Agency, eventually cut ties with the rapper.The Anti-Defamation League said on Tuesday that Ye’s apology was welcome, while noting that actions speak louder than words.“After causing untold damage by using his vast influence and platform to poison countless minds with vicious antisemitism and hate, an apology in Hebrew may be the first step on a long journey toward making amends to the Jewish community and all those who he has hurt,” a spokesman said in an email.Ye had previously apologized for the tweet but has continued to make antisemitic comments. In one interview with the right-wing commentator Alex Jones, he said, “I love Jewish people, but I also love Nazis” and “I do love Hitler.”The rapper’s next album, “Vultures,” is set to be released on Jan. 12 after a delay. On its title track, Ye raps that he cannot be antisemitic because he had sex with a Jewish woman. More

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Raking in almost $576 million in 2019, the ‘Umbrella’ hitmaker falls behind Andrew Lloyd Webber and Paul McCartney, but dominates over the likes of Mick Jagger and Ed Sheeran.
May 13, 2020
AceShowbiz – Londoner Rihanna has pipped Sir Elton John to third place on a new list of Britain’s richest musicians thanks to the success of her lingerie and cosmetics lines.
The “Umbrella” singer, who was born in Barbados but now lives in the U.K., raked in almost $576 million (£468 million) last year to land third place on the Sunday Times’ annual list of wealthy hitmakers, behind Andrew Lloyd Webber and Sir Paul McCartney, who share the top spot with $980 million (£800 million) apiece.
Elton comes in fourth place with a not-too-shabby $441,000 (£360 million) and Sir Mick Jagger rounds out the 2020 top five with $349 million (£285 million).
Keith Richards and Ringo Starr also make the top 10, as do Sting, Ed Sheeran and Sir Rod Stewart, who all tie for the 10th spot.
The Sunday Times’ Top 10 Richest Musicians in Britain:

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Organizers behind the annual four-day festival assure music fans that they are working hard to bring the city and the world together through live music from July 30 to August 2.
Jun 10, 2020
AceShowbiz – Lollapalooza 2020 will be going digital after authorities in Chicago, Illinois officially cancelled the summer festival.
A line-up for the big concert was never announced as a result of the coronavirus pandemic, which brought the live industry to a standstill in March and led to the postponement of California’s Coachella and Stagecoach festivals, and the axing of Britain’s Glastonbury and the Ultra Music Festival in Miami, Florida, among other events.
Now Chicago Mayor Lori E. Lightfoot and representatives from the Department of Cultural Affairs and Special Events have formally scrapped this year’s Lollapalooza as restrictions remain in place preventing large gatherings.
Organisers behind the annual four-day festival, founded by Jane’s Addiction rocker Perry Farrell in 1991, have since revealed they will instead be staging a virtual event during the same weekend to give fans in isolation something to look forward to.
“We wish we could bring Lollapalooza to Grant Park again this year, but we understand why things can’t move forward as planned,” they share in a statement online. “The health and safety of our fans, artists, partners, staff and community is always our highest priority.”
“Rest assured, we will be working hard behind the scenes to deliver Chicago a spectacular celebration of Lollapalooza’s 30th Anniversary in the summer of 2021, and we can’t wait to celebrate with you.”
“Keep July 30 – August 2, 2020 on your calendars as we honor our annual tradition by bringing Chicago, and the world, together around our common bond of community, civic engagement, and of course, live music,” they add.
“The weekend-long virtual event will include performances from around the city and beyond, epic archival sets from Chicago and the festival’s six international editions, never-before-seen footage from the 1990’s (sic) and much more.”

A full schedule and further details about the livestream are expected to be released next month.

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The “Safety Curtain” series at the Vienna State Opera has put artwork from all over the world in front of audiences since 1998.The Vienna State Opera is not exactly a go-to place for cutting-edge contemporary art: Inaugurated a century and a half ago, it is housed in an ornate edifice with gilded and velvet interiors.Yet every year since 1998, a contemporary artist has been commissioned to deliver a design for the safety curtain that about 600,000 operagoers gaze at before performances and during intervals all season long — for eight or nine months. More than two dozen artists have designed 176-square-meter (nearly 1,900-square-foot) images for the opera house and produced safety curtains that are nothing like what operagoers see elsewhere.Kara Walker, who was the inaugural artist in 1998, delivered a curtain featuring her signature silhouettes of African American figures. Jeff Koons adorned one with toy monkeys and cartoon characters.And Cerith Wyn Evans treated the public to a brief text (in German) that invited operagoers to “imagine a situation that, in all likelihood, you’ve never been in.”The text began: “Permit yourself to drift from what you are reading at this very moment into another situation, another way of acting within the historical and psychic geographies in which the event of your own reading is here and now taking place.”The Vienna State Opera in January.Maxym Marusenko/NurPhoto, via Getty ImagesThis season, the Chinese-born multimedia artist Cao Fei is showing a female avatar — a dystopian, pale-white head so imposing that signs have been put up all over the opera house to alert spectators to its presence.The “Safety Curtain” series was started by Museum in Progress, a nonprofit established in 1990 by an Austrian couple: the curator Kathrin Messner and the artist and curator Josef Ortner. Their mission was to showcase contemporary art in unexpected places to audiences that might otherwise not engage with it. In more than three decades, Museum in Progress has displayed contemporary art in the pages of newspapers and magazines, on television, on billboards and building facades, and in concert and performance halls.“The core idea of Museum in Progress is really simple: It’s about developing new presentation formats for contemporary art,” said Kaspar Mühlemann Hartl, managing director of the organization.He said it was necessary to present the public with “really high-class art,” adding that although Austrian museums and cultural institutions do put on exhibitions regularly, they are aimed at attracting crowds. “We feel it’s really important not to popularize, not to choose artists whom everybody would like,” he said.The contemporary safety curtains are not just ornamental: They are placed over a curtain with a dark past. That curtain was designed by Rudolf Hermann Eisenmenger, a Vienna-educated artist who went on to become hugely successful in wartime. He joined the Nazi Party in 1933; produced murals for Vienna City Hall showing young Nazi supporters in brown shirts waving swastika flags; and was awarded the title of professor by Hitler himself.The artist Rudolf Hermann Eisenmenger in 1955.Votava/Brandstaetter via Getty ImagesEisenmenger’s career continued after World War II. When the Vienna State Opera — which had been heavily damaged by bombings — reopened in 1955 after a major redevelopment, Eisenmenger was selected to design its safety curtain. And that curtain, with a depiction of Orpheus and Eurydice, was never questioned until the mid-’90s, when the opera house’s director at the time suggested that it should be taken down because of Eisenmenger’s Nazi past — and met with strong opposition in public opinion and the media. In 1997, Museum in Progress stepped in to propose the “Safety Curtain” project.Despite its troubled history, the original safety curtain, which can still be seen outside of the opera season, seems to remain popular with some Austrians. Every time the Vienna State Opera gets a new director, he receives “lots and lots of letters trying to convince him” to stop the contemporary-art project, Mr. Mühlemann Hartl said. In 2010, a far-right politician even raised the question in Parliament, he added.The contemporary “Safety Curtain” project has nonetheless managed to continue for 24 years, as it is well liked overall, and every year’s design gets abundant news coverage in Austria.Artists are chosen by a jury of curators, currently composed of Daniel Birnbaum, artistic director of Acute Art (a London-based digital art platform); Bice Curiger, artistic director of the Fondation Vincent van Gogh in Arles, France; and Hans Ulrich Obrist, artistic director of the Serpentine Galleries in London.The process of choosing the winning artist is “incredibly fast,” Ms. Curiger said in an interview. Judges draw up a long list and rank each artist based on whether they can “come up with a good idea” that will work for an opera house and speaks to 21st-century audiences.“We want to be contemporary,” she said. “We don’t want to just have nice decorative things.”Ms. Curiger noted that the jury felt “a responsibility,” because the Vienna State Opera’s staff and audience “have to live with a work, which is really big, for a whole year.”Hans Ulrich Obrist, a member of the jury that chooses the artist for each new safety curtain, speaking in front of Carrie Mae Weems’ design for the 2020-21 edition, which featured an image of Mary J. Blige.Andreas Scheiblecker/Museum in ProgressFor the 2020-21 season, the chosen talent was the American artist Carrie Mae Weems. She presented a large photographic image of the singer Mary J. Blige — a version of which had appeared in W Magazine — that showed her wearing a crown and sitting at a table covered with flowers, fruit, glassware and an elaborate tablecloth that were reminiscent of an old-master painting.“Mary is a very careful woman, concerned about how Black women are experienced and understood, and what they look like,” Ms. Weems said of the image in a video interview in 2020 with Mr. Obrist. “So it was perfect.”The project costs 80,000 euros (about $85,000) a year to fund, according to Mr. Mühlemann Hartl, a modest amount by the standards of Western cultural fund-raising. Yet he said Museum in Progress still had difficulty raising the money every year, because in Austria, individual and corporate cultural philanthropy were not very developed.In a recent interview, Mr. Obrist described the project as “an interesting oxymoron,” because in a house where most of the music played is not from the 21st or even from the 20th century, the artists are “bringing something extremely contemporary in relationship to a work from the past.”He said he would love to see the initiative spread to other opera houses around the world, as was the intention of the couple who conceived it.“It’s almost like a model that they created,” he said. More

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