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The ‘Wake Up Love’ singer slams Recording Academy over male-only Best R’n’B Album nominees while Kehlani and Paramore’s Hayley Williams are unbothered for not getting any nods.

Nov 25, 2020
AceShowbiz – Singer Teyana Taylor has criticised Recording Academy officials for failing to shortlist any female artists in the Best R&B Album category for the 2021 Grammy Awards.
The nominations were unveiled on Tuesday (24Nov20), when John Legend’s “Bigger Love”, “All Rise” by Gregory Porter, “To Feel Love/d” from Luke James, Giveon’s “Take Time, and Ant Clemons’ “Happy 2 Be Here” all earned nods for Best R&B Album – and Teyana wasn’t impressed.
The star, who dropped her critically-acclaimed “The Album” in June, was among those snubbed for her work, and she made her annoyance known on Twitter.
Reposting the Recording Academy’s nominations news, she remarked, “Y’all was better off just saying best MALE R&B ALBUM cause all I see is d**k in this category (sic).”
She went on to retweet several of her fans’ comments about Teyana and fellow R&B singer Kehlani failing to land nods – although her “Morning” collaborator wasn’t fazed by the lack of recognition.

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Responding to one fan who insisted she should be furious, Kehlani wrote, “HA! i don’t think anyone should ever be mad about these things. we are all hella blessed to do what we do and have so many fans affirming us daily, at shows, when we drop projects! stress makes you sick why you want me to be mad pookiepie (sic)!!”
Paramore’s Hayley Williams adopted a similar attitude towards her band’s snubs, insisting she was thrilled for other female artists leading the way in many rock and alternative categories.
“Stop sending me sorry’s for not getting a nom LOL (laugh out loud) pmore been nominated lots and even won (sic),” she tweeted to her disappointed fans. “thank you for your sweetness but stop! the women leading the rock and alt nom’s are THE story and the moment.”
“congratulations Phoebe f**king Bridgers !!!!!!” she added of the singer/songwriter, who garnered four mentions, including for Best New Artist.
Meanwhile, fans of The Weeknd were outraged as his “After Hours” album was completely shut out, as were recent releases by Luke Combs, Katy Perry, Selena Gomez, The Chicks, and Bob Dylan.

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The Metropolitan Opera offered its orchestra temporary payments of up to $1,543 a week in exchange for simply coming to the bargaining table.The musicians of the Metropolitan Opera orchestra have voted to accept a deal that will provide them with paychecks for the first time in nearly a year in exchange for returning to the bargaining table, where the company is seeking lasting pay cuts that it says are needed to survive the pandemic.The musicians, and most of the Met’s workers, were furloughed in April, shortly after the pandemic forced the opera house to close. Months later, the Met offered the musicians partial pay in exchange for significant long-term cuts, but their union objected. Then the Met softened its position: Since the end of December, it has been offering to pay the musicians up to $1,543 a week on a temporary basis if they agreed to start negotiations. While the union representing the chorus agreed to the deal more than a month ago, the orchestra’s union took longer to accept the deal.On Tuesday, the musicians in the orchestra, which became the last major ensemble in the United States without a deal to receive pandemic pay, agreed to take the offer, according to an email sent by the Met orchestra committee to its members.“We’re very pleased that our agreement with the orchestra has been ratified and that they will begin receiving bridge pay this week,” the Met said in a statement, “along with the start of meaningful discussions towards reaching a new agreement.”The orchestra committee, which represents the players in negotiations, declined to comment. The Met’s relationship with its musicians has been contentious during the pandemic months. Musicians have been frustrated by the extended period without pay, and worried that even when they returned to the opera house, their pay would be significantly reduced.The Met has insisted that economic sacrifices need to be made because of the financial impact of the pandemic, which it says has cost the company $150 million in earned revenues. For its highest-paid unions, the company is seeking 30 percent cuts — the change in take-home pay would be approximately 20 percent, it said — with a promise to restore half when ticket revenues and core donations return to prepandemic levels.Under the deal, musicians will receive up to $1,543 for eight weeks; money they get from unemployment or stimulus payments is deducted from that total. If, after eight weeks, the musicians and the Met have not reached an agreement but the negotiations are productive, the partial paychecks will be extended, according to an email from the Met to the orchestra explaining the offer. The musicians’ labor contract expires at the end of July.The Met offered the same deal to its choristers, dancers, stage managers and other employees who are represented by a different union, the American Guild of Musical Artists. That union accepted the deal at the end of January, and its members have been receiving paychecks for roughly five weeks.The opera company is hopeful that it can start performing for the public in the fall, but opening night will be determined by where the virus and vaccination rates stand, as well as the outcome of the Met’s labor disputes. The company locked out its stagehands in December after their union rejected a proposal for substantial pay cuts.In a note to Met employees sent on Friday, one year after the Met shut its doors, the company’s general manger, Peter Gelb, wrote that there was a “light at the end of the tunnel” because of the accelerated pace of vaccinations that President Biden had announced. Still, Mr. Gelb wrote, the Met needed to “come to terms with the economic necessities” that the pandemic has demanded.“Even before the pandemic, the economics of the Met were extremely challenging and in need of a reset,” Mr. Gelb wrote. “With the pandemic, we have had to fight for our economic survival.” More

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Making pop history when his new album ‘Changes’ hit the top of the Billboard 200 countdown, the ‘Yummy’ singer becomes the youngest solo artist to achieve seven number ones.
Feb 27, 2020
AceShowbiz – Representatives for Elvis Presley have congratulated Justin Bieber for breaking a U.S. chart record previously held by the late rock legend.
Bieber made pop history on Sunday, February 23, when his new album, “Changes”, hit the top of the Billboard 200 countdown, earning the singer an early 26th birthday present as he claimed his seventh chart-topper.
The news made the “Baby” hitmaker the youngest solo artist to achieve seven number ones, beating Elvis’ previous record by almost a year.
On Monday, officials behind Elvis’ verified Twitter account applauded Bieber for the achievement, writing, “Yesterday, music history was made. What does the King of Rock n Roll have in common with the 21st century King of Pop? Congratulations on setting a new record @justinbieber”.
Flattered by the acknowledgement, Bieber responded, “Thank you King and to the entire Presley family.”

The singer’s manager, Scooter Braun, also heaped praise on Bieber for the feat, tweeting, “Proud of who you are. Happy for what you have achieved.”

Justin Bieber’s manager Scooter Braun praised the singer for the milestone.
“Changes” is Bieber’s first album in more than four years, the follow-up to 2015’s “Purpose”.

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The cornetist led a quintet featuring Jason Moran, Bill Frisell, Thomas Morgan and Brian Blade as the 86-year-old establishment came back to life after its pandemic shutdown.Ron Miles has a dusty and unvarnished sound on cornet that hints at his Rocky Mountain roots, and unlike your typical high-brass improviser, he hardly ever resorts to flash or big pronouncements. Onstage he’s unhurried, low-key and playing for the audience, yes, but not directly to it.All of which helped make his quintet’s early set at the Village Vanguard on Saturday night feel comfortable, even familiar, despite it being Miles’s first week leading a band at the storied club — and his shows being the Vanguard’s first after 18 months of lockdown.There was an air of celebration as the 86-year-old establishment came back to life, but the way to engage with it was seemingly to pick up right where things left off, letting the music do its work.Patrons returning to the club found it largely unchanged after the long pause.An Rong Xu for The New York TimesThe tiny white bistro tables and wooden chairs were just as before, knocked closely together between the venue’s obtusely angled walls, all lined with leather benches. The simple laminated drink menus were unchanged, except for a sticker on each one with a handwritten “Modelo” replacing the Stella Artois.But a big part of the night’s easy, familial feeling came from the fact that the members of Miles’s all-star quintet were all Vanguard regulars. Everyone but the band’s leader had previously headlined at the club in his own right: the pianist Jason Moran, the guitarist Bill Frisell, the bassist Thomas Morgan and the drummer Brian Blade.An Rong Xu for The New York TimesMiles, 58, has spent most of his life in Denver and has only recently begun to garner the heavy national attention he was due, and it’s come thanks to this band. He had booked this engagement with the club’s management far in advance, after the quintet had released its debut album but before last year’s equally spellbinding release, “Rainbow Sign.” When the Vanguard decided to align its reopening with Broadway’s, in mid-September, Miles’s became the first date on the schedule that stood.The cornetist first convened the quintet in 2016 as an extension of a trio that he had long maintained with Blade and Frisell. Everyone in the group spent at least his adolescent years west of the Mississippi River — Louisiana, Texas, Colorado, California — and Miles’s slyly swinging compositions are built perfectly to find the natural simpatico between these musicians. Steeped in American roots music, 1950s cool jazz and the musical openness of Don Cherry, it never feels settled but almost always seems centered on a search for shared comfort.Appearing onstage with the band just after 8 p.m., Miles allowed a pregnant silence to build before beaming out one evenly held note; Moran responded with a low and cloudy chord, striking it just half a moment behind Miles. Frisell’s guitar, run through reversed effects and sudden loops, added an electric charge to their earth tones.It was Morgan who started, finally, to set a firm pulse, though he built it in response to Blade’s scattered strokes on the snare and bass drums, which implied a flow. The tune became slowly recognizable as “Like Those Who Dream,” the opener from “Rainbow Sign.” The musicians bent in and out of blues form as they moved into a steady three-beat pattern, and solos folded neatly into composed sections.The drummer Brian Blade and the guitarist Bill Frisell on the Vanguard stage.An Rong Xu for The New York TimesThe set started with long, expansive renditions of original compositions, and ended with a diptych of short, pithy pieces: a quick-hit take on Lee Konitz’s cool-jazz classic “Subconscious-Lee” and a short version of “The Rumor,” a pool of harmony and tone that serves as the centerpiece of the new album.Miles knows about fitting his voice into another musician’s band; most of his higher-profile work had been as a side musician, and he makes himself indispensable by paying attention to a group’s entire sound, in the way that a bassist or a pianist might.He encouraged the same approach from his bandmates here by not only writing to their natural strengths but by presenting each member with a score that shows the entire band’s parts, rather than just their own.Miles’s skills as an accompanist were in evidence too on Saturday. On “Queen of the South,” another original from the new album with a memorable, folklike melody, after the solo section ended and the band reclined back into the melody, Miles capered happily around it, adding bright coloration and cross-swipes of rhythm.He followed with “Let’s,” an up-tempo tune by Thad Jones, the trumpeter and Vanguard icon, hoisting up the energy and the tempo but not the volume. Moran stayed out as Frisell improvised, starting with spare gestures and getting more creative, treating his solo like an engine being rebuilt one part at a time. Miles took his own solo quickly off the harmonic map, tugging against whatever structure had set in with the swing feel.After “Let’s,” Miles took the microphone off its stand for the first and only time that set, and spoke as if this was just a normal night of music in a highly special place. “We are blessed to be here and blessed to be in this hallowed space,” he said. “We’re going to play some more music for you.”There was an air of celebration as the club came back to life.An Rong Xu for The New York Times More

The English pop star has given fans an upbeat album at a very dark time. More