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The ‘Hot Girl Summer’ star slams her record label 1501 for not allowing her to put out any new music because they’re mad at her for asking to renegotiate her contract.
Mar 2, 2020
AceShowbiz – Megan Thee Stallion is feuding with her record label 1501. The “Hot Girl Summer” hitmaker revealed her conflict with the label as she addressed her new album delay in a new video. She claimed she’s not allowed to put out any new music.
According to her, things went left after she asked to renegotiate her contract. “It’s real crazy because all I did was asking to renegotiate my contract,” she said. “And then it became a big old thing. When I signed, I didn’t really know what was in my contract. I was young, I think I was, like, 20.”
She only discovered issues with her contract after she was signed with Roc Nation and got “real management” and “real lawyers.” She said, “I wasn’t upset [with 1501], because I was thinking, ‘everybody cool, we all family, it’s cool, …let me just ask [them] to renegotiate my contract.’ ”
“So now they telling a b***h that she can’t drop no music. It’s really just a greedy game,” she continued. “I wasn’t trying to leave the label, I wasn’t trying to give nobody money that they feel like they entitled to, I just wanted to renegotiate some s**t. I’m not a greedy person. I’m not a person that likes confrontation…I work with everybody. I’m nice. I’m really family oriented.”
She slammed her label, “You mad because I don’t want to bow down, roll over like a little b***h.”
She then gave advice to new artists, “Please, it might seem good, it might sound good, but you definitely got to read [your contract].” She added, “Read all that s**t. Don’t sign that without no lawyer…and get your own lawyer, with their own opinion.”

1501 hasn’t responded to Megan claims, but the label boss Carl Crawford said back in December that the female rapper didn’t bring him any money. “Meg hasn’t brought me nothing I got my own money,” he wrote on Instagram.
Megan said it’s “a whole lie.” Her assistant agreed, claiming Carl was salty because Megan joined Jay-Z’s management. “She still signed to him [Carl] how he not eating? Everyone eating,” the assistant explained. “I swear ever since the Roc nation management deal Mfs turned shade when the whole time all she did was enhance her career .. what’s wrong with growing??”

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With two-for-one cocktails at the Met museum and two-for-one Broadway tickets, New York arts institutions are trying to lure back locals after a long, tough winter.The sounds of a small jazz combo filled the Great Hall of the Metropolitan Museum of Art last Saturday evening. Warm candles lit the space. Over at the museum’s American Wing Café, Christa Chiao and Anna Lee Hirschi were sipping prosecco.It was the first weekend of “Date Night” at the Met, an initiative to lure local visitors back to the museum on Friday and Saturday evenings with two-for-one cocktails, gallery chats and free live music featuring New Orleans jazz bands, Renaissance ensembles and string quartets.The museum’s efforts to woo back visitors from the region comes as many New York cultural organizations worry not only about the pandemic-era decline in tourism, but also the continuing struggle to bring back local crowds. The Met is currently attracting 62 percent of the local visitors it did before the coronavirus pandemic, a change it attributes in part to the continuing prevalence of remote work.“In this new reality, where many outer borough residents are working virtually and do not have to come to Manhattan, it’s on us, on the cultural institutions, to be creative and proactive in finding ways to encourage local visitorship,” said Ken Weine, a spokesman for the museum.“The challenge that the Met faces,” he said, “is really no different than a midtown small business.”Anna Lee Hirschi, left, and Christa Chiao toasted each other with their two-for-one proseccos.Nina Westervelt for The New York TimesThe Met is far from the only arts institution trying to entice local visitors back with deals as the Omicron surge fades and the coronavirus outlook seems to be improving.Lincoln Center recently announced a new “Choose What You Pay” ticketing program for its American Songbook series at the Stanley H. Kaplan Penthouse, with a minimum ticket price of $5.00, and a suggested price of $35, in an effort to make its programing more accessible.The Museum of Modern Art announced this week that it would restart a program offering free admission to New York City residents on the first Friday of every month between 4 p.m. and 8 p.m.And this year NYC & Company, the city’s tourism agency, extended NYC Broadway Week — during which theatergoers can get two-for-one tickets to most Broadway shows — for an additional two weeks, through February 27.Chris Heywood, a spokesman for NYC & Company, said that the move to extend Broadway Week deals was proving popular: As of mid-February, he said, the program’s website had already received more traffic than it did in 2020, before the pandemic closed Broadway.Learn More About the Metropolitan Museum of Art$125 Million Donation: The largest capital gift in the Met’s history will help reinvigorate a long-delayed rebuild of the Modern wing.Recent Exhibits: Our critics reviewed exhibits featuring the drawings of the French Revolution’s chief propagandist and new work by the sculptor Charles Ray.Behind the Scenes: A documentary goes inside the Met to chronicle one of the most challenging years of its history.A Guide to the Met: From the must-see galleries to the lesser-known treasures, here’s how to make the most of your visit.Winter is traditionally a down period for museums and the performing arts, arts officials note, and this season was made even tougher by lagging tourism and the disruption caused by the Omicron variant, which forced some arts institutions to retrench at the very moment the city was seeking to triumphantly bounce back.Now, with spring on the horizon, some arts groups say they hope to essentially restart the reopening that began in the fall. Deals, they hope, will help.The Met hopes that deals will lure back locals. It is currently attracting 62 percent of the local visitors it did before the pandemic.Nina Westervelt for The New York TimesThe Met, which already allows New York State residents to pay what they wish for admission, is trying to sweeten the deal. As it began its second “Date Night” last Saturday, the museum was busy and bustling, with a line out the door late into evening.As they sipped their proseccos and shared a box of dips and veggies that had been classified as a date-night special, Chiao, 28, of Harlem, and Hirschi, 29, of Washington, said it was their first time back inside a museum since before the pandemic began. They had not known about the “Date Night” promotion, but they were on a date and were happy to partake.“It feels like it’s time,” Chiao said. “It’s your own risk assessment. I think more about what I’m going to do — is this thing going to be worth it? I do think I’m going to try to go out and do more stuff.”Patrick Driscoll, 34, and Kathryn Savasuk, 33, of the Upper West Side, were also on a date at the Met, and said they were feeling increasingly at ease about going out. They had already taken advantage of the two-for-one Broadway tickets, having snagged tickets to “Company,” the revival of the Stephen Sondheim musical.“We’d be comfortable either way, but it’s definitely an enticement to go out, be active and get into the flow of going to these types of events again,” Driscoll said of the deals. And they plan to keep going to the theater even for those shows that do not offer the two-for-one deals: They already have tickets to see Daniel Craig and Ruth Negga in the upcoming Broadway production of “Macbeth.”Back inside the Great Hall, Allan Shikh, 21, had his arms wrapped warmly around Ami Kulishov, 21, as the jazz band finished its first set. They, too, were unaware that their romantic evening had fallen on an official “Date Night.” They would have been there anyway.“We consider ourselves pretty artsy people,” Shikh said. “I don’t really need much enticing.” More

The chef and owner of Noma, the acclaimed Copenhagen restaurant, wants to engage all the senses.René Redzepi is the chef and owner of the acclaimed restaurant Noma in Copenhagen. His menus are heavy on local, seasonal, foraged ingredients, as well as the use of fermentation to make things like pine cones edible.For a conversation with him based around an exchange of pieces of music, I chose the “Water Cadenza” from Tan Dun’s “Water Passion” as an amuse-bouche, followed by the first movement of “Cantus Arcticus” by Einojuhani Rautavaara. Redzepi chose Philip Glass’s “Floe,” from “Glassworks.” Here are edited excerpts from the discussion.I wanted to pick pieces that speak to your sense of adventure when it comes to using ingredients that people haven’t considered edible before.There is something so spontaneous and simple about the “Water Cadenza” that I truly enjoyed. I felt it was something we could actually listen to in the test kitchen. I came to work and had it on my headphones, and it was really upbeat — a positive, energetic song.What made me think of you in these sounds of water being slapped and poured and decanted is also the quality of synesthesia, of engaging multiple senses. When I ate at Noma, the first course was a broth contained inside a pot of living herbs, with a hidden straw. In order to drink it, I had to bury my face in the living plant and there was the enveloping sense of smell and the leaves tickling my face.It’s a way of shaking people and saying: Stop everything else, be here. This is the natural world right now as we see it; please take it in. Some come here and are already attuned to being curious. But other people? It’s the same with music. People eat and listen to the same seven or eight things all of their lives.The second piece I picked for you is the beginning of the “Cantus Arcticus” by Rautavaara, a Finnish composer who died in 2016. It includes field recordings from a bog near the Arctic Circle so that the birdsong mixes with the orchestra. I thought there was an analogy to your cooking in the wild and the cultivated sounds, the foraged “found” sounds from the field and the composed ones.First of all, I loved the piece. I thought it was incredibly dramatic, like I was waking up in a jungle somewhere.Many things that I enjoy in art and design and crafts is when those two fuse: something raw and wild with something ultrarefined and very polished. When those two can meet I generally think that’s the future of our society. Becoming a little more wild and listening a little more to the wilderness so that we can be more attuned to it.The other thing is that it’s very local. The birdsong ties it to a specific place and a specific season. And that made me want to ask you about seasons. Music is the art of change over time, and I think you are making an argument for returning food to that context.It could also connect, as you said, to variety. We need to be better at using it. Eating variety. Listening to variety. And not having everything be the same all the time. It’s incredibly boring and it makes us lazy people.My childhood was spent partly in Denmark and partly in Yugoslavia. When we decided that Denmark would be our permanent home, I was very rootless for many years. As soon as I entered cooking I found myself with something I loved. I fell in love with flavor immediately. But I was still not 100 percent sure if I actually belonged here. I didn’t have a sense of belonging anywhere.When Noma opened in 2003 nobody foraged. I mean, they had done so out of desperation, but not for flavor or any exquisite texture. And we found ourselves on the shorelines and in the forest. And that’s when I found my sense of belonging, with my feet in some rotten seaweed or my hands deep in a bed of ramps. And I’d like to pass that along to anyone who is rootless: Go out and learn the seasons. See what’s edible. See what changes week by week. See how an ingredient is not that one thing you think it is. It can be five different ingredients as it grows from a little shoot to a berry.I guess another part of that is fermentation, which is another way of making time work on ingredients. It has its own logic and span that you can’t hurry.It’s an antidote to the world where everything is so fast; on-demand; lightning speed. To actually have things that you have to wait for and then something magic happens, I love that. The happiest people I know are people who are in nature all the time: foragers, bakers, fermentation experts. Sometimes I envy that focus. My job is to be at the center of everything that is going on.Speaking of a lot of things going on, let’s talk about the Philip Glass piece you picked, “Floe.”The first time I heard it I thought maybe it was techno, and then I thought: No, it’s something completely different. I got pulled into the rhythm and the way it just keeps building and building. A lot of our staff listen to it. There’s something about the energy in that beehive of sounds that resonates with us when we’re just about to get very busy.Listening, I was actually picturing a busy kitchen as well. It’s a demonstration of how much richness you can get out of changing just one variable, because the harmonic progression is the same over and over. So there are no surprises there. But there are constant surprises in how he changes the texture. He plays with these simple ingredients, but they’re quite weird put together: flutes, French horns, and synthesizers and saxophones. So you have airy, mellow and brash and — I don’t know what I would call a synthesizer. Sharp?People get focused by listening to this song. If you play it loud enough, no matter what’s going on you’ll think: I need to focus. A lot of cooks have Glass on their playlist now. There’s something about his music that really works in the kitchen.It doesn’t impose a story on you the way maybe the Rautavaara does. The Glass is very abstract. And to me, it’s fermentation: I picture things fizzing and bubbling.Maybe we should play it in our fermentation room. Do you know Mort Garson’s “Plantasia”? It’s an electronic album that was meant for plants. And we play that in our greenhouse for our plants. I know there are quirky farmers who play music to their animals.When you said “Plantasia” I thought it might be the amplified sounds of plants growing. John Cage wrote a piece for amplified cactus. And you can laugh or roll your eyes at that, but ultimately it comes down to the same thing you are doing — expanding people’s awareness of what’s audible and what’s edible.I think our senses are the biggest gift we have, and we use them poorly. We don’t eat well, we don’t listen well, we don’t see well. And our senses could be like ninjas. More

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Fans are not the only ones who are eager to listen to the Fenty founder’s new music as Ariana Grande reveals in a new interview that she can’t wait for Rihanna’s new album.
May 14, 2020
AceShowbiz – Fans have been pestering Rihanna about the release of her new album since it has been 4 years since she released her latest album “ANTI”. They have been asking the singer about it at any given chance and recently, the “Umbrella” hitmaker responded to some of the inquiries on her Instagram account.
This started after a fan wrote in the comment section underneath Rih’s recent Instagram post, “WHERES THE ALBUM.” Rihanna noticed the comment and hilariously replied, “I lost it,” adding a shrug emoji.
That was not the only comment that Rih responded to. She playfully asked her fandom, The Navy, to come at someone whom she said was responsible of the album delay. “DON’T DROP DAT ALBUM,” the person wrote, to which Rih replied, “Navy this who to blame. right here look.”

Fans were not the only ones who were eager to listen to the Fenty founder’s new music. Just like others, Ariana Grande revealed in a new interview that she couldn’t wait for Rihanna’s new album. “I get it, I appreciate it, and I’m really glad that she’s putting in so much effort,” Ari said of waiting for the new album.
“It means a lot. But I also, really, I listen to Anti every day. Like, I think it’s time. I need it. Sorry, she’s gonna, like, hate me for saying that but I want it so bad,” she continued.
Rihanna previously talked about when will she release the album in an interview with British Vogue. “I can’t say when I’m going to drop,” she explained. “But I am very aggressively working on music.”
“I don’t want my albums to feel like themes.. there are no rules. There’s no format. There’s just good music, and if I feel it, I’m putting it out,” she added. “I feel like I have no boundaries. I’ve done everything — I’ve done all the hits, I’ve tried every genre — now I’m just, I’m wide open. I can make anything that I want.”

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The ‘If I Ain’t Got You’ songstress shows her love for the K-pop sensation by posting a mini piano version of the group’s latest single off their new album ‘BE’.

Nov 26, 2020
AceShowbiz – Alicia Keys is apparently one of BTS’ (Bangtan Boys) stans. On Wednesday, November 25, the R&B singer surprised fans of the seven-piece group, collectively called ARMY, by sharing an English cover of their latest single “Life Goes On”.
In the less-than-50-second clip, the Grammy Award-winning artist sat in front of a piano while wearing a white turtleneck top, with her hair being parted in the middle and styled in two braids. “I bet y’all didn’t think I would play this one. Tell me if you know it,” she opened the video, which she captioned with “Can ya’ll guess this??”
She then belted out the song’s chorus in English. “Life an echo in the forest/ The day will come back around/ As if nothing ever happened/ Yeah…life goes on,” she sang soulfully while playing the piano. “Like an arrow in the blue sky/ Another day flying by/ On my pillow, on my table/ Yeah…life goes on/ Like this again.”
It didn’t take long for BTS to catch Alicia’s cover, replying via their official joint account, “Thank you.. such a big honor” with a smile and a purple heart emoji.

BTS replied to Alicia Keys’ video.

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Fans were excited to see Alicia’s video, with one loving their interaction, “this is so cute, legends supporting legends. a collaboration would be ART.” Another has a similar wish, tweeting, “WE NEED A COLLAB.”
It’s not the first time for Alicia and BTS to show their support for each other. Earlier this month, V, a member of the K-pop group, posted a video of him listening to Alicia’s song “Love Looks Better” in the car. “love looks better,” he captioned it.
Alicia then returned the love by hyping up the anticipation for BTS’ then-upcoming new album “BE”. “Big love!!! Good morning. Ya’ll ready for BE?!?” she replied.

Alicia returned the love to BTS.
“Life Goes On” is lifted off “BE” which debuted on November 20. BTS recently made history as the first-ever K-pop group to be nominated at the Grammy Awards. They are up for the Best Pop Duo/Group Performance award for their hit song “Dynamite”, which was released in August and is also included in the new album.

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