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      Rossini at the Drive-In, as San Francisco Opera Returns

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      SAN FRANCISCO — It feels almost too good to be true after a pandemic closure of Wagnerian scale: an audience watching a cast of singers enter the War Memorial Opera House here to rehearse and perform Rossini’s classic comedy “The Barber of Seville.”And, indeed, we’re not quite there yet. After 16 months, San Francisco Opera did return last week to live performance with “The Barber of Seville,” but not indoors at the War Memorial, its usual home. Rather, it is presenting the work through May 15 some 20 miles north, in a Marin County park. The cast for this abridged version is pared down to six main characters, who appear as singers coming back to work at the opera house to embody their Rossinian counterparts.Much of the plot has been reconfigured as a day of rehearsals, culminating in a performance of the final scenes “on” the War Memorial stage. By then, contemporary street clothes have been replaced with 18th-century-style costumes — the illusion of art restored, at long last.“We wanted to ignite and celebrate the return of this living, breathing art form with a sense of joy and hope and healing,” Matthew Ozawa, who adapted the opera and directed the production, said in an interview. “Audiences really need laughter and catharsis.”About 400 cars form the capacity crowd for this open-air “Barber” at the Marin Center in San Rafael, Calif. The orchestra’s sound is mixed with that of the singers and transmitted live as an FM signal to each car’s radio. Kelsey McClellan for The New York TimesSan Francisco Opera needs it, too. With its centennial season fast approaching, in 2022-23, the company is trying to write the most dramatic crisis-and-comeback chapter of its history at breakneck speed.The damage has been brutal. Arts organizations around the world have been devastated by pandemic shutdowns, but San Francisco has been closed significantly longer than most. Because of the structure of its season, which splits its calendar into fall and spring-summer segments, its last in-person performance was in December 2019.This enforced silence has come at great cost: Eight productions had to be canceled, wiping out some $7.5 million in ticket revenue. The company, which struggled with deficits even before the pandemic, has had to make around $20 million in cuts to its budget of roughly $70 million. In September, its orchestra agreed to a new contract containing what the musicians have called “devastating” reductions in compensation.Top, Catherine Cook, familiar to San Francisco audiences as the housekeeper Berta, warms up before the performance.Kelsey McClellan for The New York TimesMatthew Shilvock, the company’s general director, said of the production, “I see this as a signpost to something new in our future.”Kelsey McClellan for The New York Times“We felt that it was so important to get back to live performance when we could,” said Matthew Shilvock, the company’s general director. “There has been such a hunger, a need for that in the community.”Like opera companies in Detroit, Chicago, Memphis, upstate New York and elsewhere, San Francisco’s return has a retro precursor: the drive-in. “The Barber of Seville” is being presented on an open-air stage erected at the Marin Center in San Rafael. Audience members, in their cars, can opt for premium “seats” with a head-on view of the stage, or for a neighboring area where the opera is simulcast on a large movie screen — for a total capacity of about 400 cars.A cellist gets ready in the tent that serves as the production’s orchestra pit.Kelsey McClellan for The New York TimesThe drive-in presentation meant jettisoning the company’s house production and conceptualizing and designing a brand-new staging in a just few months.Kelsey McClellan for The New York TimesRoderick Cox, in his San Francisco Opera debut, conducts the singers by video feed — while wearing a mask.Kelsey McClellan for The New York TimesThe logistics necessary to bring this off have been complex — not only to adapt to an unaccustomed space, but on account of Covid protocols, which in the Bay Area have been among the strictest in the country. The company has adhered to a rigorous regimen of testing and masking; wind players have used specially designed masks, and in rehearsals the singers wore masks developed by Dr. Sanziana Roman, an opera singer turned endocrine surgeon. Even during performances, the cast members must remain at least eight and a half feet away from each other — 15 feet if singing directly at someone else.Shilvock realized in December that it might be possible to bring live opera back around the time of the company’s originally planned April production of “Barber,” but only if he could “remove as many uncertainties as possible.” The idea of a drive-in presentation began to take shape. But that meant jettisoning the company’s house production and conceptualizing and designing a brand-new staging in a just few months.“I’ve had to rethink some of my tempi and how to keep that excitement,” Cox said. “To know when to press on the gas a little bit more.”Kelsey McClellan for The New York TimesA village of tents behind the stage houses the infrastructure and staff needed to run the show. One tent acts as an orchestra pit, where the conductor Roderick Cox, making his company debut, leads a reduced ensemble of 18 players. Along with adapting to using video screens to communicate with the singers — while wearing a mask — Cox noted an added layer of challenge in the absence of audible responses from the audience.“I’ve had to rethink some of my tempi and how to keep that excitement,” he said. “To know when to press on the gas a little bit more.”The orchestra’s sound is mixed with that of the singers and transmitted live as an FM signal to each car’s radio. “Rather than sound coming through big speaker clusters, across a massive parking lot,” Shilvock said, “it comes straight from the stage and from the orchestra tent into your vehicle.”Alek Shrader, who sings the opera’s dashing tenor hero, said he felt “a combination of nostalgia and excitement for what’s to come.”Kelsey McClellan for The New York TimesDaniela Mack, Shrader’s lover in “Barber” and his wife in real life, spoke of the cathartic effect of finally being able “to perform for actual people.”Kelsey McClellan for The New York TimesA sense of drive-in populism — keeping in mind the comfort and attention spans of automobile-bound listeners — resulted in the decision to present a streamlined, intermission-less, English-language “Barber,” about 100 minutes long. All of the recitative is cut, along with the choruses.The familiar War Memorial Opera House is conjured through projections of the theater’s exterior and replicas of its dressing rooms as part of Alexander V. Nichols’s two-level set. Ozawa’s staging takes as a poignant underlying theme the transition back to live performance: The singers, with sometimes witty self-consciousness, must negotiate a labyrinth of distancing precautions, but with a hopeful sense of soon being able to return to much-missed theaters.The mezzo-soprano Daniela Mack, who stars as Rosina, spoke in an interview of the cathartic effect of finally being able “to perform for actual people, to have that connection with an audience.” The tenor Alek Shrader, her lover in the opera and her husband in real life, said he felt “a combination of nostalgia and excitement for what’s to come.”For all of the production’s novelty, there was something reassuring about the familial ease with which the cast interacted. Mack and Shrader are reprising roles they have performed previously here in San Francisco opposite Lucas Meachem’s charismatic Figaro. And Catherine Cook’s sympathetic housekeeper Berta has been a fixture of “Barber” at the company since the 1990s. All four, as well as Philip Skinner (Dr. Bartolo) and Kenneth Kellogg (Don Basilio), emerged from San Francisco’s Adler Fellowship young artists program.Much of the plot has been reconfigured as a day of rehearsals, culminating in a performance of the final scenes “on” the War Memorial Opera House stage, conjured through projections.Kelsey McClellan for The New York TimesShilvock said the production costs for “Barber” were comparable to what the company would have spent for the 2021 summer season it had planned prepandemic — but building the temporary venue and Covid restrictions added between $2 and $3 million in extra costs.Still, Shilvock said it has been worth it — and on opening night on April 23, the curtain calls were greeted with an exuberant chorus of honks. Shilvock said that around a third of “Barber” ticket buyers were new to the company.“I’m not seeing this in any way just as a band-aid to get us through to the point where we go back to normal,” he said. “Rather, I see this as a signpost to something new in our future. It’s creating this energy for opera for people who would never have otherwise given us a thought.” More

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      Marilyn Manson Accused of Sexual Assault in Suit Filed by Esmé Bianco

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      The lawsuit also accuses Manson’s former manager, Tony Ciulla, of violating trafficking laws.Esmé Bianco, an actress known for her work on “Game of Thrones,” filed a lawsuit Friday in which she accused the singer Marilyn Manson of sexual assault and sexual battery and described a series of violent incidents when they lived together in 2011.The lawsuit, filed in federal court in California, said that Marilyn Manson, whose real name is Brian Warner, had used “fraudulent offers of movie and music video roles to convince Ms. Bianco to travel to Los Angeles, whereupon Mr. Warner then made threats of force and performed violent sexual acts on Ms. Bianco to which she did not consent.”The suit also named Mr. Manson’s longtime manager, Tony Ciulla, and his management company, accusing Mr. Manson and Mr. Ciulla of violating trafficking laws.Ms. Bianco flew to Los Angeles in 2009 for a video shoot that, the lawsuit said, turned into a multiday assault during which she was whipped and suffered electric shocks. The footage was never released, the suit said. She and Mr. Manson later began a consensual relationship, it said, and in 2011 he convinced Ms. Bianco, who is British, to live with him in Los Angeles “while he helped her secure a visa and launch her career in the United States.” During that time, the lawsuit said, she endured “constant abuse” at his hands, and he raped her.A lawyer for Mr. Manson, Howard King, called the claims against him “provably false” and said they were “based on conduct that simply never occurred.” In a statement, he accused Ms. Bianco and her lawyer of a shakedown attempt. “We will vigorously contest these allegations in court and are confident that we will prevail,” he said in the statement.The lawsuit comes almost three months after Mr. Manson was accused by another ex, the actress Evan Rachel Wood, of domestic abuse, rape and assault.After Ms. Wood, the Emmy-nominated star of “Westworld,” detailed her experiences on Instagram, and more people came forward with similar accusations against Mr. Manson — including Ms. Bianco — he was dropped by his record label and agents, cut from various TV guest roles and eventually jettisoned by Mr. Ciulla, who had represented him for 25 years.Mr. Ciulla is also known for representing acts including the Yeah Yeah Yeahs and First Aid Kit. In a statement, Edwin F. McPherson, a lawyer for Ciulla Management, said that naming the company in the lawsuit “is not only legally meritless but also offensive and absurd. We look forward to formally contesting these completely frivolous allegations.”The actress Esmé Bianco said in a lawsuit that she was sexually assaulted by Marilyn Manson after he lured her to live with him with “fraudulent offers of movie and music video roles.”Angela Weiss/Agence France-Presse, via Getty ImagesIn February, when Ms. Wood, a longtime advocate for survivors of sexual and domestic abuse, named Mr. Manson as her abuser, he denied her claims broadly in an Instagram post: “Obviously, my art and my life have long been magnets for controversy, but these recent claims about me are horrible distortions of reality,” he wrote. “My intimate relationships have always been entirely consensual with like-minded partners. Regardless of how — and why — others are now choosing to misrepresent the past, that is the truth.”The Special Victims Bureau of the Los Angeles County Sheriff’s Office began investigating the domestic violence allegations against Mr. Manson in February, it said in a statement.Ms. Bianco, who played Ros on “Game of Thrones,” was promised a starring role in a film Mr. Manson said he was making when she moved from London to Los Angeles in 2011 to be with him, the suit said. Instead, the suit said, he began to control her movements, kept her awake for days at a time, forbade her from receiving visitors at his home and threatened to interfere with her visa process. She eventually escaped, the suit said, while he was sleeping.Mr. Ciulla and others around Mr. Manson knew of or witnessed his abuse of Ms. Bianco, according to the lawsuit, which called them “complicit” in the conduct: “Mr. Warner’s management had a vested interest in supporting his violent tendencies to encourage the creation of his ‘art’ and the promotion of the brand of Marilyn Manson.”Ms. Bianco said the relationship left her with post-traumatic stress disorder and panic attacks, and disrupted her career. Like Ms. Wood, she has become an advocate for survivors. Both women helped sponsor the Phoenix Act, California legislation which took effect last year. It lengthens the statute of limitations for domestic abuse felonies to five years, and expands training for officers working on domestic violence cases.In a statement, Ms. Bianco said that, even as she worked to amend the legal system on behalf of survivors, “I am also pursuing my right to demand my abuser be held to account, using every avenue available to me.”“For far too long my abuser has been left unchecked, enabled by money, fame and an industry that turned a blind eye,” Ms. Bianco said in the statement. Her hope, she added, is that by coming forward, “I will help to stop Brian Warner from shattering any more lives and empower other victims to seek their own small measure of justice.” More

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      Al Schmitt, Maestro of Recorded Sound, Is Dead at 91

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      The winner of multiple Grammys, he engineered or produced records by Frank Sinatra, Ray Charles, Paul McCartney, Bob Dylan, Jefferson Airplane and many others.Al Schmitt, who as a boy watched Bing Crosby and the Andrews Sisters record music in his uncle’s studio, and who went on to become a Grammy Award-winning engineer for a long roster of artists including Paul McCartney, Bob Dylan, Frank Sinatra, Ray Charles and Diana Krall, died on Monday at his home in Bell Canyon, Calif. He was 91.His death was confirmed by his wife, Lisa Schmitt.For more than 60 years, Mr. Schmitt brought deft engineering skills and a sixth sense about what made a song great to his collaborations with dozens of musicians and singers. He was renowned for his ability to make subtle but critical changes during a recording session.His gentle, informed guidance from behind the recording console was an essential, if unseen, element in 15 of Ms. Krall’s studio albums.“It’s how he heard things,” she said by phone. “Sometimes he’d adjust the mic a bit or put his hand on my shoulder and say, ‘It’s OK.’ I don’t know if he was adjusting the mic or me.”While recording at Capitol Studios in Los Angeles, she added, “Al would say, ‘Why don’t we bring out the Frank Sinatra stool?’ And you’d do the best take in your life.”Mr. Schmitt, whose engineering credits also included Sinatra’s popular “Duets” albums in the 1990s, won 20 Grammys, the most ever for an engineer, and two Latin Grammys. He also won a Trustees Award for lifetime achievement from the Recording Academy in 2006.In 2005, Mr. Schmitt’s contributions to Ray Charles’s own duets album, “Genius Loves Company,” brought him five Grammys. (He shared four with others, for album of the year, record of the year, best pop vocal album and best engineered album. One of the five, for best surround-sound album, he won on his own.)As an occasional producer, his credits include albums by Sam Cooke, Eddie Fisher, Al Jarreau, Jackson Browne and, most notably, Jefferson Airplane. In his autobiography, “Al Schmitt on the Record: The Magic Behind the Music” (2018), he described the zoolike atmosphere during the recording of the Airplane’s album “After Bathing at Baxter’s” in 1967.“They would come riding into the studio on motorcycles,” he wrote, “and they were getting high all the time. They had a nitrous oxide tank set up in the studio, they’d be rolling joints all night, and there was a lot of cocaine.” In spite of those obstacles, “After Bathing at Baxter’s” was well received, and Mr. Schmitt went on to produce the group’s next three albums.A tamer atmosphere existed in 2015, when Mr. Schmitt engineered “Shadows in the Night,” Mr. Dylan’s album of songs associated with Frank Sinatra. (Mr. Dylan produced the album under the name Jack Frost.) Between sessions over three weeks, they listened on Mr. Dylan’s small player to Sinatra’s renditions of the songs that they were about to record.Mr. Schmitt recalled that they were trying not to approach each song “in the same way” that Sinatra had, “but to get an idea of the interpretation,” he told Sound on Sound magazine in 2015.“We then would talk for maybe a couple of hours about how we were going to do the song,” he said.He was initially uncertain about whether Mr. Dylan could sing the Sinatra standards, he said, but he was thrilled by what emerged from the speakers from the start.“If there was something slightly off-pitch, it didn’t matter because his soul was there, and he laid the songs open and bare the way they are,” he told Sound on Sound. “He also wanted people to experience exactly what was recorded, hence no studio magic or fixing or turning things or moving things around and so on.”Mr. Schmitt at the 2014 Grammy Awards in Los Angeles with the 20th and final Grammy of his career, which he won for the Paul McCartney DVD “Live Kisses.” He also won two Latin Grammys and a lifetime achievement award.Frazer Harrison/Getty ImagesAlbert Harry Schmitt was born in Brooklyn on April 17, 1930. His father, also named Albert, made PT boats at the Brooklyn Navy Yard and later worked for a printing company and for a record processing plant. His mother, Abigail (Clark) Schmitt, was a homemaker.In his Uncle Harry Smith’s recording studio in Manhattan, Al discovered his future.“I loved my mother and father, but life with Uncle Harry was glamorous,” Mr. Schmitt wrote in his autobiography. (His uncle had changed his surname from Schmitt.)At first his father escorted him to the studio on weekends. But by age 8 Al was taking the subway on his own. He reveled in listening to Crosby, being asked by Orson Welles if he believed in Martians (soon after Welles’s nation-rattling radio broadcast of a Martian invasion in “The War of the Worlds”) and being taken to bars by his uncle and his close friend Les Paul.His uncle put Al to work — setting up chairs for a big band, cleaning cables. And Al learned about the proper placement of musicians in a one-microphone studio.After Mr. Schmitt was discharged from the Navy in 1950, his uncle helped him get a job as an apprentice engineer at Apex Studios in Manhattan. He had been working there for three months, still not certain of his capabilities, when he was left alone in the studio on a Saturday. He was taken aback when the members of Mercer Ellington’s big band arrived, along with Mr. Ellington’s father, Duke.Fearful of fouling up the session, he fetched a notebook with diagrams about how to set up the seating and place the microphones. He apologized to Duke Ellington.“I’m sorry, this is a big mistake,” he recalled telling him. “I’m not qualified to do this.”“Well,” Ellington said, “don’t worry, son. The setup looks fine, and the musicians are out there.”Over three hours, Mr. Schmitt said, he successfully recorded four songs.He worked at other studios in Manhattan before moving west in 1958 to join Radio Recorders in Los Angeles, where Elvis Presley had recorded “Jailhouse Rock” and where Mr. Schmitt in 1961 was the engineer for both the celebrated album “Ray Charles and Betty Carter” and Henry Mancini’s “Breakfast at Tiffany’s” soundtrack, indelibly featuring the Mancini-Johnny Mercer song “Moon River.”Mr. Schmitt was nominated for a Grammy for “Breakfast at Tiffany’s,” but he did not win. His first Grammy came the next year, for his work on Mancini’s score for the film “Hatari.” (He was also nominated that year for “The Chipmunk Songbook,” by Alvin and the Chipmunks.)After five years at Radio Recorders, Mr. Schmitt was hired by RCA Studios, where he moved into production. He left RCA after three years to become an independent engineer and producer.Those years were among his busiest as an engineer. In 2018, during an interview on “Pensado’s Place,” an online series about audio engineering, he remembered one two-day period.“From 9 to 12 I did Ike and Tina and the Ikettes; we’d take a break, and from 2 to 5 I’d be doing Gogi Grant, a singer with a big band, and that night I’d be doing Henry Mancini with a big orchestra. The next day, Bobby Bare, a country record, and then a polka record.“I hated polka music,” he added, “but what I’d concentrate on was getting the best accordion sound anybody ever heard.”Mr. Schmitt began his career after leaving the Navy and continued working well into the digital age.Chris SchmittMr. Schmitt kept working until recently, helping to shape artists’ sound well into the digital era. His most recent Grammy, in 2014, was for Mr. McCartney’s DVD “Live Kisses.”In addition to his wife, Mr. Schmitt is survived by his daughter, Karen Schmitt; his sons, Al Jr., Christopher, Stephen and Nick; eight grandchildren; five great-grandchildren; his sister, Doris Metz; and his brothers, Russell and Richy. His previous three marriages ended in divorce.In 2015, Mr. Schmitt received a star on the Hollywood Walk of Fame.Speaking at the unveiling of that star, the record producer Don Was said that Steve Miller had recently played him several new songs.“I listened for a minute and I said, ‘Did Al Schmitt record this?’” Mr. Was said. “He was taken aback and said, ‘Yes, how did you know?’ I said, ‘Because your vocals sound better than I ever heard them before.’” More

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      Teyana Taylor Feels 'Underappreciated' at Kanye West's Record Label

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      The ‘We Got Love’ singer refuses to make new music at G.O.O.D Music because she felt ‘underappreciated’ at the record label owned by the ‘Gold Digger’ rapper.

      May 1, 2021

      AceShowbiz –
      Teyana Taylor is convinced her music was “underappreciated” by bosses at Kanye West’s record label G.O.O.D Music.

      The singer-songwriter was signed by the “Gold Digger” star in 2012 while she was working on his album “My Beautiful Dark Twisted Fantasy” but, after releasing her third LP, “The Album”, last June (20), she shocked fans by announcing her retirement.

      Speaking on Cam Newton’s “Sip ‘n’ Smoke Web” series, Teyana confessed part of the reason for her exit from the industry was because she felt let down by West’s label.

      “I am going to feel underappreciated if I’m putting in 110 per cent and my label is giving me… what, 10 percent of that,” she said.

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      “I put in a lot of work (and) I felt like the label wasn’t really hearing me and (seeing) me. I feel underappreciated. It’s not that I retired permanently, it’s more like, I don’t want to move another inch for a company.”

      Announcing plans to quit the industry, she wrote on social media, “Retiring this chapter of my story with the comfort that I can depart with peace of mind seeing that all the hard work and passion put in was indeed loved and supported somewhere in the world.”

      In the same post, she also complained about the lack of support from the label.

      “I ain’t gone front (I’m) feeling super underappreciated as an artist, receiving little to no real push from the ‘machine,’ constantly getting the shorter end of the stick, being overlooked, I mean the list (goes) on and on,” she wrote.

      Kanye has yet to respond to Teyana’s claims.

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      Michaela Coel Supports Noel Clarke’s Alleged Victims Amid Sexual Misconduct Allegations

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      Billie Eilish’s Portrait of Power Abuse, and 11 More New Songs

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      Hear tracks by Willow featuring Travis Barker, girl in red, DJ Khaled featuring Cardi B, and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Billie Eilish, ‘Your Power’Cozy, pristine, Laurel Canyon-style acoustic guitars accompany Billie Eilish as she whisper-sings “Try not to abuse your power.” Then she proceeds to sketch a creepy, controlling, exploitative and possibly illegal relationship. The quietly damning accusations pile up: “You said she thought she was your age/How dare you?” Meanwhile, in the video that she directed, an anaconda slowly tightens around her. JON PARELESWillow featuring Travis Barker, ‘Transparentsoul’The return of Willow — daughter of Will and Jada — is brisk, breezy pop-punk throbbing with a very particular sort of famous-child agonizing. She lashes out at deceptive former friends (and maybe some current ones, too) who “smile in my face then put your cig out on my back.” JON CARAMANICAgirl in red, ‘Serotonin’Whatever slams, girl in red — the Norwegian songwriter Marie Ulven — can use it. In “Serotonin,” from her new album “If I Could Make It Go Quiet,” she sings about trying to stabilize her wildly whipsawing, self-destructive emotions with therapy and medications: “Can’t hide from the corners of my mind/I’m terrified of what’s inside,” she announces. The music veers from punk-pop guitars to EDM crescendos and bass drops, from distorted rapping to ringing choruses, only to crumble as it ends. PARELESDJ Khaled featuring Cardi B, ‘Big Paper’It is perhaps the strongest testament to the A&R savvy of DJ Khaled that on an album filled with glossy cameos from Megan Thee Stallion and Lil Baby, and contemplative elder moments from Nas and Jay-Z, he opts to include the endlessly charismatic and exceedingly famous Cardi B on “Big Paper,” a song that sounds like she’s rapping on an old D.I.T.C. beat. It’s relentless, sharp-tongued and slick: “House with the palm trees for all the times I was shaded.” CARAMANICAQ, ‘If You Care’The power of “If You Care” isn’t in the conventional come-on of lyrics like “If you care you’ll come a little closer.” It’s in the persistent rhythmic displacement, top to bottom: the way beat, bass line, vocals and rhythm guitar each suggest a different downbeat, enforcing disorientation from the bottom up. They only align when the vocals turn to rapping at the end; it had to finish somewhere. PARELESPriscilla Block, ‘Sad Girls Do Sad Things’If you didn’t know better, you’d think the young country singer Priscilla Block was perennially gloomy, the sum of one bad decision after the next. That’s the mood on her impressive debut EP, which is sturdy, shamelessly pop-minded and full of songs about regret like “Sad Girls Do Sad Things”:Don’t get me wrong, I love a beer on a FridayBut lately I’ve been at the bar more than my placeAnother round of shutting it downTwo-for-ones ’til too far goneBlock has a crisp and expressive voice, and she telegraphs anguish well. But this EP skips over the rowdy cheer and randy winks of her breakthrough single, “Thick Thighs.” Which is to say, there’s more to Block’s story than heartbreak. CARAMANICABrye, ‘I’d Rather Be Alone’The teenage pop songwriter and producer Brye Sebring lilts through the wreckage of an overlong relationship in “I’d Rather Be Alone.” Everything is crisp: her diction, her rhymes and the pinging syncopations of an arrangement that builds from single keyboard tones through percussion and handclaps to teasing back-and-forth harmonies. “I doubt you’ll even bother listening to this song,” she notes, one more good reason to break free. PARELESHalf Waif, ‘Swimmer’The drama never stops building in “Swimmer,” from the coming album “Mythopoetics” by Half Waif: the electronics-driven songwriter Nandi Rose Plunkett. It’s a song about everlasting love — “they can’t take this away from me,” she vows — that evolves from an anxious rhythmic pulse to a chordal anthem, all larger than life. PARELESChristian McBride, ‘Brouhaha’The eminent bassist Christian McBride has just released “The Q Sessions,” a three-song collection that he recorded in high-definition for Qobuz, an audiophile streaming platform. The EP features three top-flight improvising musicians who, like McBride, tend to play their instruments in hi-def already: the saxophonist Marcus Strickland, the guitarist Mike Stern and the drummer Eric Harland. The group chases McBride’s syncopated bass line through the ever-shifting funk of “Brouhaha,” which he clearly wrote with Stern — and his roots on the frisky 1980s fusion scene — in mind. GIOVANNI RUSSONELLOJen Shyu and Jade Tongue, ‘Living’s a Gift — Part 2: Everything for Granted’The singer, composer and multi-instrumentalist Jen Shyu draws on jazz, Asian music and much more. Her new album, “Zero Grasses: Ritual for the Losses,” reflects on loss, memory and perseverance. It opens with “Living’s a Gift,” a suite of songs using lyrics written by middle schoolers during the pandemic: “We’ve lost our minds, lost our time to shine.” The music is ingenious and resilient; leading her jazzy quintet, Jade Tongue, Shyu multitracks her voice into a frisky, intricately contrapuntal choir, folding together angular phrases as neatly as origami. PARELESBurial, ‘Space Cadet’The elusive English electronic producer Burial has re-emerged yet again, splitting a four-track EP, “Shock Power of Love,” with the producer Blackdown. “Space Cadet” hints at post-pandemic optimism — a brisk club beat, arpeggiators pumping out major chords, voices urging “take me higher” — but Burial shrouds it all in static and echoey murk, letting the beat collapse repeatedly, until the track falls back into emptiness. PARELESSofía Rei, ‘La Otra’As she prepared to make her forthcoming album, “Umbral,” Sofía Rei embarked upon a trek through Chile’s mountainous Elqui Province. She brought a charango and two backpacks full of recording gear; on the trip, she recorded herself playing and singing, as well as the babbling sounds of the natural world around her. The album begins with “La Otra,” out Friday as a single, on which Rei sets a poem by the Nobel Prize-winning Chilean poet Gabriela Mistral to music. Flutes flutter over ricocheting synth bass, a stop-and-start beat and strummed charango, as Rei’s overdubbed voice harmonizes with itself in fierce exclamations, lapping at the sky like a flame. RUSSONELLO More

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      Rascal Flatts Claim Pandemic Gave Them Time to Think Over Farewell Tour

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      WENN/Judy Eddy

      Speaking about his country band’s scrapped ‘Farewell Life Is a Highway Tour’ due to COVID-19, Jay DeMarcus admits it’s been so hard on them since they did not get to say goodbye with their fans.

      Apr 30, 2021

      AceShowbiz –
      Rascal Flatts are reconsidering their farewell tour, revealing the pandemic may have actually kept them together.

      The trio was forced to scrap its “Farewell Life Is a Highway Tour” when COVID-19 hit and shut down venues and festivals throughout 2020 and into 2021, and Rascal Flatts have yet to reschedule the dates.

      “It sucked, let’s be honest about it,” Jay DeMarcus tells Taste of Country Nights. “It’s been so hard to know that it was stripped away from us, and we didn’t get to go out on our terms, and we didn’t get to say goodbye and celebrate with our wonderful fan base. It’s been a hard thing.”

        See also…

      He jokes, “[Some people have] blamed us for the pandemic, because as soon as we announced our farewell tour, the world blew up. So some people are like, ‘All you have to do is say you’re not going to retire and the world will go back to normal’. I wish that were the case.”

      But Jay admits the lockdown gave him and his bandmates time to reflect on their plans.

      “The way this year’s gone… it puts a lot of things in perspective, and really makes you take stock of things that are really, really important to you and the things that you just thought were important to you,” he says. “I think all of us are at this place right now to where it might not even be a farewell tour – who knows? We may feel compelled enough to go back out and do the music.”

      “I’m just speaking theoretically, but… 10, 15 shows a year, enjoy our Rascal Flatts music along with the other things we have going on in our lives?”

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      The Kid LAROI and Miley Cyrus Singing Under Translucent Tree in 'Without You' Music Video

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      The visuals, which is directed by Miley herself, sees the 17-year-old rapper linking up with the ‘Malibu’ hitmaker for the remix of his breakthrough hit as they unite during the verses while sharing hugs in front of a bonfire.

      Apr 30, 2021

      AceShowbiz –
      The Kid LAROI has unveiled a new music video for “Without You” remix featuring Miley Cyrus. Arriving on Thursday, April 29, the visuals, which is directed by Miley herself, sees the 17-year-old linking up with the “Malibu” hitmaker for LAROI’s breakthrough hit.

      The pair can be seen cuddling under translucent tree. They later unite during the verses while sharing hugs in front of a bonfire. Elsewhere in the video, they sing about hoping for a lasting relationship in front of and on the top of and a graffiti-adorned truck.

      Miley leads before they harmonize on the chorus, “So there I go, oh, can’t make a wife out of a ho/ Oh, I’ll never find the words to say I’m sorry, but I’m scared to be alone.” They continue to belt out, “You cut out a piece of me, and now I bleed internally/ Left here without you (No, no, no), without you (Ooh-ooh, ooh)/ And it hurts for me to think about what life could possibly be like/ Without you (No, no, no), without you (No, no).”

        See also…

      In an interview with Entertainment Tonight, LAROI, whose real name is Charlton Kenneth Jeffrey Howard, revealed what it was like to collaborate with Miley for the remix. “I’m happy for people to hear it. It’s crazy!” LAROI told ET’s Denny Directo. “I grew up with my older cousins watching [Miley’s show] ‘Hannah Montana’ at my auntie’s house, so yeah, it’s funny. It’s fire!”

      The Waterloo, Australia singer shared that he first met Miley through his friend and producer Omer Fedi. “They had been working together, and I guess he had told her about me,” he said. “They were in the studio one day and my Jimmy Fallon performance came on TV, and apparently they watched it together. She was like, ‘Whoa, this is sick,’ and then I guess Omer must have asked her, ‘Hey, so would you do a remix?’ Then he came to me and was like, ‘Hey, she wants to do a remix. Let’s do it.’ And I was like, ‘Yeah, let’s do it!’ ”

      LAROI also shared that Miley gave him some advice about dealing with fame. “She just told me stay focused … and don’t get so caught up in all the other extra s**t,” he divulged. “Just stay focused on the music, and creating the best music possible.”

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      Morgan Wallen Excluded From Billboard Music Awards Despite 6 Nods After N-Word Scandal

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      According to Dick Clark Productions, the ‘Whiskey Glasses’ singer will not be ‘performing, presenting or accepting’ any possible trophies at the 2021 music awards show.

      Apr 30, 2021

      AceShowbiz –
      Morgan Wallen has been banned from Billboard Music Awards following his N-word controversy. On Thursday, April 29, it was announced that the “Whiskey Glasses” singer is not invited to the 2021 music awards show and nixed his chance to win any award despite getting six nominations.

      “With our content reaching millions of viewers, dcp and MRC have the privilege and responsibility to effect change by creating a more inclusive dialogue in our productions and across the industry,” so read a statement from Dick Clark Productions. “Morgan Wallen is a finalist this year based on charting. As his recent conduct does not align with our core values, we will not be including him on the show in any capacity (performing, presenting, accepting).”

      “It is heartening and encouraging to hear that Morgan is taking steps in his anti-racist journey and starting to do some meaningful work,” the message continued to read. “We plan to evaluate his progress and will consider his participation in future shows.”

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      At the 2021 Billboard Music Awards, the former contestant of “The Voice” season 6 garnered six nominations thanks to his “Dangerous: The Double Album”. They included Top Country Male Artist, Top Country Artist, Top Country Album, Top Song Sales Artist and Top Country Song. He got two nods in the last category.

      Morgan was excluded from the show after he was caught using the N-word in a video filmed by his neighbor in late January. In the following month, he issued his apology via Instagram by saying, “Obviously the natural thing to do is apologize further and just continue to apologize but because you got caught and that’s not what I wanted to do… My words matter. My words can truly hurt a person and at my core, that’s not what I’m okay with.”

      Earlier this month, Morgan informed his fans that he will not return to the stage this summer. “I wanted to let you guys know that I’ve taken a couple months away and feel like I’ve really worked on myself. I’m proud of the work I’ve put in and in many ways thankful to have had the time to do it. I’ve needed this time off,” he penned in a handwritten note shared on Instagram.

      “I found this time away to be very valuable to me in many ways, but I feel like I need a little more of it and therefore will not be performing tour dates this summer,” the 27-year-old added. “It means I won’t be playing festivals or the Luke Bryan tour dates. But it’s important to me personally, if you can, still go to these shows – support country music. Country music is back and that’s a beautiful damn thing.”

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