Known for his broad vocal register, he was part of a quartet that helped make popular the genre of operatic pop, or “popera.”Carlos Marín, a Spanish singer and a member of Il Divo, the hit multinational quartet, died in Manchester, England, on Sunday, according to the musical group and local news media reports. He was 53.“It is with heavy hearts that we are letting you know that our friend and partner, Carlos Marín, has passed away,” Il Divo wrote in a post on Twitter on Sunday.“He will be missed by his friends, family and fans. There will never be another voice or spirit like Carlos,” Il Divo added. “We will miss our dear friend.”The musical group did not specify a cause of death. He was admitted to the intensive care unit of a hospital in Manchester on Dec. 8, where he was intubated and put in an induced coma, according to a report on Spanish television.Mr. Marín had already had Covid-19 last year. After suffering the disease, he expressed in a video his relief, as well as hope that this would help protect him from another infection.“I’m lucky enough to be now immune, I’m taking great care of myself, I wear my mask, they will force us to get vaccinated and I hope things relax and they allow us to work,” he said in the video, posted last December. Mr. Marín was born in Rüsselsheim, a German city about 30 miles southwest of Frankfurt, on Oct. 13, 1968. At 8 years old, he released his first album. Later, he moved with his family to Madrid, where he went on to study piano and singing at the city’s Royal Conservatory.In 2003, Mr. Marín, known for his broad vocal register, joined Il Divo together with Urs Bühler, from Switzerland, David Miller from the United States and Sébastien Izambard from France. The quartert, known for their soupy, romantic covers, helped make popular the genre of pop opera, known as “popera,” and went on to sell millions of albums.“Singing is my way of saying what I feel, my way of life,” Mr. Marín is quoted as saying on the musical group’s website. Sometimes, he added, the music could make him feel melancholy and at other times; joyful.“Singing is what makes me feel alive,” Mr. Marín added. “So thank you.”Raphael Minder contributed reporting. More

This obituary is part of a series about people who have died in the coronavirus pandemic. Read about others here.LONDON — Eric Hall, Britain’s most extravagant soccer agent in the 1980s and ’90s, often confessed that he knew little about the sport.Many said that was his greatest strength, even if it also led to the occasional mishap: He once negotiated a bonus for a player on the condition of scoring 10 goals, only to learn afterward that the player was a goalkeeper.To negotiate more lucrative deals for his players, Mr. Hall would watch British soap operas on Saturdays while games were aired, but would still write down how many goals his players had scored. It was the sort of strategy that propelled his role in the explosion of large-sum transfers in the early years of the Premier League, England’s top-tier competition.Mr. Hall died on Monday in London. Michael Hall McPherson, his nephew, who is also an agent, said the cause was the coronavirus.Known for his catchphrase, “Monster, monster,” his love of cigars and his dazzling outfits, Mr. Hall had honed his negotiating skills in the music industry by promoting the likes of Queen and the Sex Pistols, and later applied similar codes to the rapidly changing world of British soccer.“He took showbiz into football and looked at players as stars, which they weren’t really yet in the mid- and late 1980s,” Mr. Hall McPherson said. “And in the negotiation room, he was a lion.”Mr. Hall was born on Nov. 11, 1947, in East London. He quit school as a teenager and went to work at a store on London’s Denmark Street, known for its recording studios and music shops. There, he befriended and packed parcels with Reg Dwight, who would go on to become Elton John.Mr. Hall later worked as a publicist for the British record label EMI, promoting rock bands like T. Rex and Queen. In 1976, he arranged a television appearance for the Sex Pistols that gained lasting notoriety when the band’s guitarist used an expletive against the show’s host, a rare action at the time.The agent long claimed that Freddie Mercury had written the song “Killer Queen” about him, even though Mr. Mercury himself had said the tune was about a call girl. “The truth is, I’ve been telling that story for so long that I’m not really sure myself, but Freddie would’ve loved it either way,” Mr. Hall McPherson recalled his uncle saying.His uncle had always been attracted to showbiz, Mr. Hall McPherson said. “He became famous from creating celebrities, but he preferred to be the celebrity himself.”In the mid-1980s, Mr. Hall left the music industry and, in a career that spanned over a decade, represented dozens of soccer professionals, including Chelsea midfielder Dennis Wise; Neil Ruddock, who played for Tottenham and Liverpool; and Terry Venables, who managed England’s national team.Mr. Hall also negotiated large salary increases for players and helped pioneer the creation of appearance fees, branding rights and other bonuses.In 1997, he fell into a coma for three months and was given a diagnosis of thrombotic thrombocytopenic purpura, a rare blood disease. His list of players dwindled, and a new generation of influential agents like Jorge Mendes and Mino Raiola rose to prominence.Mr. Hall never really recovered in the soccer world. But he remained a fixture of Britain’s entertainment scene and since 2013 had hosted a weekly show on an independent radio station in East London.Mr. Hall is survived by a brother and a sister.“He lived for showbiz,” said Mr. Hall McPherson, his nephew. “And his life was a bit of a show.” More

WENN/Ivan Nikolov

Aside from talking about her dream rendition of her 1974 tune, the country legend claims one of her proudest moments was Whitney Houston’s 1992 take on her song ‘I Will Always Love You’.

Dec 7, 2020
AceShowbiz – Dolly Parton wants Beyonce Knowles to cover her hit “Jolene”.
So many artists have re-recorded the country queen’s hits, making her a stash of cash over the years, and the 1974 tune is a favourite, but Dolly dreams of one more big hit with the track.
“Jolene has been recorded more than any other song that I have ever written,” she tells The Big Issue. “It has been recorded worldwide over 400 times in lots of different languages by lots of different bands.”
“The White Stripes did a wonderful job of it, and many other people. But nobody’s ever had a really big hit record on it. I’ve always hoped somebody might do someday, someone like Beyonce.”

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Meanwhile, one of Dolly’s proudest moments was the reaction to the late Whitney Houston’s 1992 take on her song “I Will Always Love You”.
“I had a number one with ‘I Will Always Love You’ twice – once in the 70s, then I did it in the movie ‘The Best Little Whorehouse’ in Texas, and had another number one in the 80s. And then Whitney did it and it was considered one of the greatest love songs of all time. Still to this day I take a lot of pride in that.”
The 74-year-old made a joke about her and her marriage to Carl Thomas during her appearance in the Wednesday, December 2 episode of “Table Manners” podcast. “My husband and I have been together for 57 years and married for 54, and I’m sick of him and I’m sure he’s sick of me,” she quipped to English singer Jessie Ware and her mom.
Elsewhere in the chat, the “9 to 5” hitmaker additionally opened up about her weaknesses. When asked about her love for food, she lightheartedly confessed, “My weaknesses have always been men, sex and food and not necessarily in that order.”

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“Try That in a Small Town” went from overlooked to almost topping the charts after a week of controversy.In May, the country star Jason Aldean released a single, “Try That in a Small Town,” with lyrics that paint contemporary urban life as a hellscape of crime and anarchy: “Sucker punch somebody on a sidewalk/Carjack an old lady at a red light.”“You think you’re tough,” Aldean sings. “Well, try that in a small town.”Initially, the track got relatively little notice, landing at No. 35 on Billboard’s Hot Country Songs chart. That changed last week, after the song’s music video became a culture-war battlefield, with some accusing Aldean — one of country’s biggest hitmakers for nearly two decades — of employing racist dog-whistle tactics and the singer defending himself as the latest victim of an out-of-control “cancel culture.”The controversy led to a rush on Aldean’s song, with both streams and downloads exploding over the course of last week. “Try That in a Small Town” makes its debut at No. 2 on the Hot 100, Aldean’s best showing ever on Billboard’s all-genre pop chart, beating current hits by Olivia Rodrigo and Morgan Wallen. Aldean was surpassed this week only by Jung Kook of the South Korean supergroup BTS, whose debut solo single, “Seven,” opens at No. 1.The video for “Try That,” released on July 14, opens with Aldean performing before a stately building draped with an American flag; the structure was quickly identified as Maury County Courthouse in Columbia, Tenn., where in 1927 a young Black man named Henry Choate was lynched by a vigilante mob after being accused — falsely, historians believe — of raping a white girl.The video features one montage after another of violent street protests, robberies and people antagonizing police officers in riot gear. Those scenes are juxtaposed with images of American flags being hoisted, children playing and what appears to be a television news segment about farmers helping out a neighbor.Three days after it was released, the video was pulled from rotation on Country Music Television, without explanation. But it has been widely criticized as a thinly veiled attack on the Black Lives Matter protests in 2020.Justin Jones, a Tennessee state representative, wrote on Twitter that lawmakers “have an obligation to condemn Jason Aldean’s heinous song calling for racist violence. What a shameful vision of gun extremism and vigilantism.”Aldean, 46, has denied that race plays any part in the lyrics, or that “Try That” is a “pro-lynching song,” saying on social media, “These references are not only meritless, but dangerous.”Some artists came to his defense, including the country singer Cody Johnson, who said at a concert, “If being patriotic makes you an outlaw, then by God, I’ll be an outlaw.” Ted Nugent, who relishes any scuffle with liberals, said on Fox News, “The idiots hate this Jason Aldean song because they hate when we push back against violence.”At a concert in Cincinnati on Friday, Aldean was defiant. “Cancel culture is a thing,” he told the crowd at the Riverbend Music Center. “It’s something where if people don’t like what you say, they try and make sure they can cancel you, which means try to ruin your life, ruin everything.”“What I am is a proud American,” he added. “I love our country, I want to see it restored to what it once was before all this [expletive] started happening to us.” Chants of “U.S.A.” rang out in the amphitheater.Aldean is no stranger to controversy. In the past he has appeared in blackface for a Halloween costume and worn T-shirts onstage with the Confederate battle flag.As the debate over “Try That in a Small Town” boiled last week, the song’s consumption metrics spiked. According to Billboard, when the video was released the track had been getting about 1,000 download sales and 200,000 streams a day in the United States. But it closed the week with 228,000 sales — up more than 27,000 percent from the week before — and 11.6 million streams, according to data from the tracking service Luminate.While Aldean has long posted country hits, “Try That” is his first song to crack the Top 10 of the mainstream Hot 100 chart since 2011, when “Dirt Road Anthem” went to No. 7. (Aldean’s last single, “That’s What Tequila Does,” peaked at No. 77 earlier this year.)Jung Kook’s “Seven,” featuring Latto, opened at No. 1 on the singles chart with 21.9 million streams, 153,000 sales — as downloads and CD singles — and a radio audience of 6.4 million in the United States.On the latest album chart, Taylor Swift holds at No. 1 for a second week with “Speak Now (Taylor’s Version),” which had the equivalent of 121,000 sales in the United States, including 96 million streams and 47,000 copies sold as a complete package, according to Luminate. It is the third entry in Swift’s project to rerecord her first six albums, and each has gone to No. 1.Swift has three other albums in the Top 10: “Midnights,” her last studio album, is No. 4, “Lover” is No. 6 and “Folklore” is No. 10.Wallen’s latest album, “One Thing at a Time,” holds at No. 2, while his previous LP, “Dangerous: The Double Album,” is No. 5. “Génesis,” by the Mexican songwriter Peso Pluma, is in third place. More

Spike Lee scores, daring jazz: Here are highlights from the varied career of the composer of “Fire Shut Up in My Bones” at the Metropolitan Opera.Like Wayne Shorter — to whom his newest album, “Absence,” is dedicated — Terence Blanchard is the rare jazz star whose renown as a composer almost overshadows his reputation as a daring and stylish improviser. Almost.Blanchard, whose opera “Fire Shut Up in My Bones” opens the Metropolitan Opera’s season on Monday, rose as a jazz phenom in the early 1980s, taking over the trumpet chair in Art Blakey’s fabled Jazz Messengers after Wynton Marsalis left. Barely 20, he was a double threat even then: writing compositions of coiled energy and smartly woven rhythmic interplay, and improvising fiercely, cutting sharp turns and slipping into sly glissandos.He soon became Spike Lee’s musical other half, a relationship that helped to make film scoring into a primary vocation. And in the 21st century, he’s established himself as one of jazz’s most respected educators and spokesmen. Here are a few highlights from his discography.‘Ninth Ward Strut’ (1988)Throughout much of the 1980s, Blanchard led a band along with the alto saxophonist Donald Harrison — a fellow 20-something New Orleans native and Jazz Messenger — that became one of the standard-bearing groups of jazz’s Young Lions movement. In “Ninth Ward Strut,” Blanchard pays tribute to his hometown’s signature sound with a swinging second-line rhythmic underpinning, while pushing his own identity as a composer. The track is rhythmically suspenseful and harmonically jagged in a way that would become characteristic.‘The Nation’ (1992)Spike Lee tapped Blanchard to record the trumpet parts for Denzel Washington’s character in “Mo’ Better Blues” (1990), including on the film’s title tune, which became a kind of Young Lions-era classic. Lee soon began asking Blanchard to write scores — and he hasn’t stopped. “Malcolm X” (1992) was one of the first films Blanchard did, exploring an expanded palette of choral harmonies, strings and brass. He rearranged the music for jazz sextet soon after, and recorded it as “The Malcolm X Jazz Suite,” a restless and ambitious album for Columbia Records.‘A Child With the Blues’ (1997)Blanchard recorded this track with the neo-soul doyenne Erykah Badu for the soundtrack to “Fire Shut Up in My Bones” librettist Kasi Lemmons’s 1997 film “Eve’s Bayou.” Bantering with Badu, he pulls sassy glissandos from the horn and pushes her into pitter-patter rhythmic exchanges. (It later reappeared on a deluxe edition of the album “Baduizm.”)‘Dear Mom’ (2007)After scoring “When the Levees Broke,” Lee’s 2006 documentary about Hurricane Katrina, Blanchard adapted his compositions into a suite, as he had with the “Malcolm X” music. He released the results as “A Tale of God’s Will” the following year.Katrina was deeply personal for Blanchard, whose mother lost her home in the storm. Adoration and enervation course together on “Dear Mom,” as Blanchard plays a pas de deux with a large string section. The album won Blanchard the second of his five Grammys, for Best Large Jazz Ensemble Album.‘Can Anyone Hear Me’ (2018)For years, Blanchard has put a premium on working with younger musicians, and in his current quintet, the E-Collective, he’s assembled a wrecking crew of cutting-edge improvisers who regularly reimagine how jazz-rock fusion might work. On “Can Anyone Hear Me,” from a recent live album, Blanchard’s horn is encased in an electric bodysuit of distortion and effects, but the precision and counter-intuition of his soloing shines through. More