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    The Game Denies Allegations That He Scams Unsigned Artists

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    The rapper says the allegations grab people’s attention better, even though there’re others he’s helped, because people are naturally attracted to negative headlines.

    Mar 4, 2021
    AceShowbiz – The Game has set the record straights. Amid accusations that he conned unsigned artists for money, the “Hate It or Love It” spitter has denied the allegations in an interview with HipHopDx.
    The Game alluded that the accusations emerged as the artists were mad because getting their mixtapes uploaded on The Game’s unofficial Soundcloud account did not make them overnight celebrities. “So when someone that doesn’t happen with some unsigned artists, well that person is mad, right? Because they thought that this drop or this mixtape slot was going to change their lives, when in reality it’s just a step on the ladder,” he revealed to HipHopDX.
    He went on to explain himself, “Use it as you may and get as much as you can off of it, but it’s not going to make you DaBaby. Basically, I’m just trying to uplift artists with dope opportunities.”

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    The Game also said that the allegations grabbed people’s attention better, even though there’re others he’s helped, because people were naturally attracted to negative headlines. “If you posted an article right now that said, ‘French Montana helps out needy children in Africa,’ I would be like, ‘That’s sweet. That’s sweet’ and I would f***ing keep scrolling,” he divulged. “If you post, ‘French Montana socks a kid in Africa,’ I’m clicking on that because I want to see if there’s a video. We can’t help our human nature. So of course the negative stories are going to f***ing have that type of impact.”

    According to a report, The Gama slided “into rappers DM’s talking about ‘I see you working’ and then goes on to offer them a $500-$1,000 slot on one of his SoundCloud mixtapes.”
    The report added, “He doesn’t upload on his verified SoundCloud account, he uploads on a separate account with only 266 followers. In addition, he doesn’t market it on Instagram or Facebook, nor makes an appearance on any on the songs.”

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    New York to Allow Limited Live Performances to Resume in April

    AdvertisementContinue reading the main storySupported byContinue reading the main storyNew York to Allow Limited Live Performances to Resume in AprilThe state will allow plays, concerts and other performances to start again April 2 for audiences of up to 100 people indoors, or 200 outdoors.New York State is relaxing coronavirus restrictions and allowing venues to reopen next month to limited audiences. The musicians Jon Batiste and Endea Owens performed at a pop-up concert last month at the Javits Center.Credit…Nina Westervelt for The New York TimesMarch 3, 2021Updated 5:32 p.m. ETPlays, concerts and other performances can resume in New York starting next month — but with sharply reduced capacity limits — Gov. Andrew M. Cuomo said Wednesday.Mr. Cuomo, speaking at a news conference in Albany, said that arts, entertainment and events venues can reopen April 2 at 33 percent capacity, with a limit of 100 people indoors or 200 people outdoors, and a requirement that all attendees wear masks and be socially distanced. Those limits would be increased — to 150 people indoors or 500 people outdoors — if all attendees test negative before entering.A handful of venues immediately said they would begin holding live performances, which, with a handful of exceptions, have not taken place in New York since Broadway shut down last March 12.The producers Scott Rudin and Jane Rosenthal said they expected some of the earliest performances would take place with pop-up programs inside Broadway theaters, as well as with programming at nonprofit venues that have flexible spaces, including the Apollo Theater, the Park Avenue Armory, St. Ann’s Warehouse, the Shed, Harlem Stage, La MaMa and the National Black Theater.“That communion of audience and performer, which we’ve craved for a year, we can finally realize,” said Alex Poots, the artistic director and chief executive of the Shed, which plans to begin indoor performances for limited-capacity audiences in early April.The new rules will not affect commercial productions of Broadway plays and musicals, which are still most likely to open after Labor Day, according to Charlotte St. Martin, the president of the Broadway League.“For a traditional Broadway show, the financial model just doesn’t work,” she said. “How do we know that? Because shows that get that kind of attendance close.”Mr. Cuomo announced his plan to ease restrictions as New York, along with New Jersey, has been adding new coronavirus cases at the highest rates in the country over the last week: both reported 38 new cases per 100,000 people. (The nation as a whole is averaging 20 per 100,000 people.) And New York City is currently adding cases at a per capita rate roughly three times higher than that of Los Angeles County.The labor union Actors’ Equity responded by calling on Mr. Cuomo to “prioritize getting members of the arts sector vaccinated.”Many nonprofit leaders welcomed the new rules as a sign of hope and a first step toward recovery. “We have suffered immense loss and there’s a way to go,” said Oskar Eustis, the artistic director of the Public Theater, “but this policy change signals that we are turning a corner on the worst crisis the American theater has ever experienced.”Lincoln Center and the Glimmerglass Festival have already announced plans to perform outdoors this year, and the new rules clarify how many people can attend.“We welcome the new guidelines and want to serve as many people on our campus as is safe,” said Isabel Sinistore, a spokeswoman for Lincoln Center, which is planning to open 10 outdoor performance and rehearsal spaces on April 7.For many New York music venues, operating at 33 percent capacity still may not be enough to make reopening economically feasible, give the costs of running the venues and paying performers.“It doesn’t make financial sense for the Blue Note to open with only 66 seats for shows,” said Steven Bensusan, the president of the Blue Note Entertainment Group, whose flagship jazz club is in Greenwich Village.Smaller music venues, which are among the eligible recipients of $15 billion in federal aid, have been anxiously awaiting permission to reopen. But even with growing vaccination numbers and New York’s latest rule change, it may still take months for the touring industry to resume, and even then venues say they will need help.The Blue Note, along with some other jazz spots that serve food, had reopened last fall for dinner performances, allowing them to put on some shows without running afoul of state regulations that had banned anything but “incidental” music. (Some venues, and musicians, had filed lawsuits challenging those rules.) Then the city shut down indoor dining again, and some clubs did not reopen when it was allowed to resume last month.Michael Swier, the owner of the Bowery Ballroom and Mercury Lounge, two of New York’s best-known rock clubs, said that the state’s order that venues require social distancing and mask-wearing means that the true capacity at many spaces may be much lower.“Given that social distancing is still part of the metric, it brings us back down to an approximate 20 percent capacity, which is untenable,” Mr. Swier said.Several promoters and venue operators said they were holding out to reopen at 100 percent capacity, which many hope can happen this summer.But some small nonprofits immediately expressed interest. At the Tank, a Midtown Manhattan arts venue with a 98-seat theater, Meghan Finn, its artistic director, said that within hours of the governor’s announcement she started hearing from comedians eager to resume indoor performance.“Having the ability to use our space is not something we will pass up,” Ms. Finn said.The Joyce Theater in Manhattan had been expecting to bring audiences back to see live dance in September, but Linda Shelton, its executive director, said that she and her team had “hard work” to do in the coming days, as they assess whether staging a performance in the near term makes financial sense and can be done safely.“We’ve got a few things that we could present pretty quickly,” she said.Leon Botstein, the president of Bard College, home to the Fisher Center for the Performing Arts in Annandale-on-Hudson, the site of a respected music festival each summer, called the moves a “welcome first step.”“One hundred is a good beginning number,” Mr. Botstein said. “That’s April’s number. Let’s hope June’s number is larger.”A variety of nonprofit theaters said they found the news encouraging.Paige Evans, the artistic director of Signature Theater, said that she had already commissioned the playwright Lynn Nottage and the director Miranda Haymon to create a multimedia performance installation in the theater’s capacious lobby this summer, and that the new rules should allow for audiences to attend.Rebecca Robertson, the founding president and executive producer of the Park Avenue Armory, said she, too, is eager to welcome people back. “To have live audiences responding to the work is going to be thrilling,” she said.Other organizations said the relaxed rules would allow them to imagine new programming. El Museo del Barrio said it would seek to develop outdoor work for parks, on streets, or in borrowed spaces.“Finally,” said Leonard Jacobs, interim executive director of the Jamaica Center for Arts & Learning in southeast Queens, “we have good guidance from the state to help us take the first steps back to normal life.”Ben Sisario and Matt Stevens contributed reporting.AdvertisementContinue reading the main story More

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    Britney Spears’s Father Says He Hopes She Won’t Need a Conservatorship

    #masthead-section-label, #masthead-bar-one { display: none }Britney Spears’s Legal BattleControl of Spears’s Estate‘We’re Sorry, Britney’Justin Timberlake ApologizesWatch ‘Framing Britney Spears’ in the U.S.AdvertisementContinue reading the main storySupported byContinue reading the main storyBritney Spears’s Father Says He Hopes She Won’t Need a ConservatorshipThe father’s lawyer shared his opinions on the conservatorship on CNN and NBC News recently, almost a month after a documentary examining the arrangement was released.Jamie Spears, left, Britney Spears’s father, has been one of her conservators for more than a decade. He’s telling his side of the story, through a lawyer, on television.Credit…Associated PressMarch 3, 2021Updated 2:48 p.m. ETAs the legal battle and public fallout over Britney Spears’s finances and personal life continue, a lawyer for her father, Jamie Spears, has told CNN that Jamie “would love nothing more than to see Britney not need a conservatorship.”The comments came not long after “Framing Britney Spears,” a TV documentary by The New York Times, released last month, revisited the details of the conservatorship that has shaped this pop singer’s life. Since it aired, Jamie Spears’s lawyer has sought to tell her client’s side of the story on national television programs, including “Good Morning America” last week and NBC News this week.The #FreeBritney campaign, which was also explored in the documentary, has for years campaigned to portray the conservatorship arrangement as an unjust means to control Spears’s life and finances.On Tuesday night, Vivian Lee Thoreen, Jamie Spears’s lawyer, defended the singer’s conservatorship to NBC News.“Britney being safe and not being taken advantage of is his No. 1 priority,” Thoreen said about Jamie Spears as Britney Spears’s co-conservator.Spears has been in a conservatorship, or guardianship, since 2008, after a series of public meltdowns captured by paparazzi. The complicated arrangement designates a representative to manage someone’s personal affairs and their estate if they are unable to care for themselves or if they are vulnerable to outside manipulation.Thoreen told CNN that Jamie Spears “would love nothing more than to see Britney not need a conservatorship.”“Whether or not there is an end to the conservatorship really depends on Britney,” Thoreen added. “If she wants to end her conservatorship, she can file a petition to end it.”Thoreen, who once represented Jamie Spears before the documentary, has rejoined his legal team. She did not return calls seeking comment on Tuesday.In the documentary, though, she told The Times: “Of the cases I’ve been involved in, I have not seen a conservatee who has successfully terminated a conservatorship.”Jamie Spears has been one of his daughter’s conservators for more than a decade, controlling crucial aspects of her life such as her finances and her mental health care. In 2019, citing health problems, he walked back his role, and a professional conservator filled in temporarily.Britney Spears’s court-appointed lawyer, Samuel D. Ingham III, made clear for the first time in a court filing in August that the singer “strongly opposed” having her father as the conservator. Spears had rarely commented on her conservatorship. Ingham, who declined to comment on Tuesday, said at that hearing that Britney Spears believed that the conservatorship “must be changed substantially in order to reflect the major changes in her current lifestyle and her stated wishes.”Then, at a hearing in November, Ingham said that Britney Spears would not perform again as long as her father was in charge of her career. “My client has informed me that she is afraid of her father,” he told the judge.The judge, Brenda Penny, fulfilled a request by Britney Spears that Bessemer Trust, a corporate fiduciary, be added as a co-conservator. But Judge Penny did not remove Jamie Spears as a conservator of Spears’s estate. Britney Spears and her father were back in court on Feb. 11, but the judge did not order any substantive changes.In the week after the release of The Times’s documentary, some media outlets responded with apologies for their past coverage of Spears’s mental health, mothering skills and sexuality. Spears’s former boyfriend Justin Timberlake also apologized to her after the documentary re-examined their breakup.Joe Coscarelli and Julia Jacobs contributed reporting.AdvertisementContinue reading the main story More

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    Jhene Aiko Set to Host 2021 Grammy Awards' Pre-Show Ceremony

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    A triple nominee herself, the ‘Worst’ hitmaker will be joined by Rufus Wainwright among others during the Premiere Ceremony, and is expected to help announce early winners.

    Mar 3, 2021
    AceShowbiz – R&B star Jhene Aiko is taking on hosting duties to help fans gear up for the 2021 Grammy Awards with the pre-show ceremony.
    She will be joined by singers Rufus Wainwright, Burna Boy, Lido Pimienta, and Poppy, as well as classical pianist Igor Levit, jazz band Terri Lyne Carrington + Social Science and blues musician Jimmy ‘Duck’ Holmes, who will all perform during the event, dubbed the Premiere Ceremony.
    Aiko, a triple nominee herself, will also have the honor of helping to announce a number of early Grammy winners before the main televised prizegiving, and introduce a tribute set celebrating the 50th anniversary of Marvin Gaye classic “Mercy, Mercy Me (The Ecology)”.

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    The special performance will feature the likes of nominees Kamasi Washington, Ledisi, Anoushka Shankar, Alexandre Desplat, PJ Morton, Gregory Porter, Grace Potter and Thana Alexa, among others.
    The Premiere Ceremony will begin at 3 P.M. ET on March 14, and will be livestreamed on Grammys’ official site. The 63rd Annual Grammy Awards will then be broadcast live on U.S. TV from 8 P.M. ET.
    Aiko was up for the prestigious Album of the Year prize and the Best Progressive R&B Album kudo at the upcoming Grammys thanks to her “Chilombo” album. She also collected Best R&B Performance nomination for “Lightning & Thunder”.
    The triple nominations, however, was “bittersweet” for the “Worst” hitmaker. During an interview on “The Late Late Show with James Corden”, she revealed that the announcement came on the same day her uncle lost his battle with COVID-19.
    “I didn’t remember that the Grammy nominations were happening that day, and when I looked at my phone, I saw all these [texts saying], ‘Congratulations…,’ ” she recounted. “At the same time, I was getting messages from my family because I found out that my uncle had passed from COVID that same moment.”

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    Robin Thicke Turns Bank Robbery Experience Into Song for Lil Wayne's Grammy-Winning Album

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    During an appearance on ‘The Kelly Clarkson Show’, the ‘Blurred Lines’ hitmaker claims that the armed hold-up incident, which took place when he was 18, did not leave him traumatized.

    Mar 3, 2021
    AceShowbiz – Robin Thicke wrote a song about a teenage bank robbery experience that made it onto a Grammy-winning album for Lil Wayne.
    The “Blurred Lines” hitmaker once found himself in the middle of an armed hold-up, while grabbing some cash in a bank, and it inspired him to write a song about the drama years later.
    “When I was around 18 years old, I was in the bank getting some cash for a weekend vacation and the bank just got robbed,” he remembered during an appearance on “The Kelly Clarkson Show”. “These two guys came in with masks [and] automatic weapons, and told everyone to get down on the ground.”
    “So I ended up writing this whole song about my experience going through a live bank robbery and years later, Lil Wayne ended up doing a verse on it and put it on his album, and won a Grammy on that album actually.”

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    And Thicke admits the event itself wasn’t too scary, because it was just “like a movie.”
    “It was a little traumatising,” he admits, “but once it was over, I was OK with it. It reminded me of the movies. It seemed kind of surreal at the time, but I didn’t really feel threatened as much as I thought [I would].”
    “[I thought], ‘Wow this does look like a movie.’ It was probably because they [bankrobbers] were very young. They seemed like they were like, 19, 18 years old… They looked just like my friends, dressed up in masks.”
    [embedded content]
    “I didn’t see these big muscular adult men, I saw these two slim teenage men come in – and they looked my buddies.”

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    Karol G and J Balvin Dominate 2021 Latin AMAs Nominations

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    The ‘Secreto’ hitmaker and the ‘Ginza’ star lead the nominations at the upcoming 7th annual Latin American Music Awards with a total of nine nods each.

    Mar 3, 2021
    AceShowbiz – Karol G and J Balvin lead the 2021 Latin American Music Awards nominations list with nine mentions apiece.
    The Colombian stars will go head to head for the Artist of the Year honour, alongside Anuel AA, Bad Bunny, Christian Nodal, Eslabon Armado, Daddy Yankee, Maluma, Ozuna, and Sech, and Song of the Year, while Balvin is up for Album of the Year and Favorite Artist – Male, while Karol G will compete for the Favorite Artist – Female prize.
    Bad Bunny follows the pair with eight nominations and Ozuna lands seven nods.
    The 2021 Latin AMAs are set to take place on 15 April (21), live from the BB&T Center in Sunrise, Florida.
    The list of selected nominees is:
    Artist of the Year:

    New Artist of the Year:
    Camilo
    Eslabon Armado
    Los Dos Carnales
    Myke Towers
    Natanael Cano
    Rauw Alejandro

    Song of the Year:

    Album of the Year:

    Favorite Artist – Female:

    Favorite Artist – Male:

    Favorite Duo or Group:
    Banda MS de Sergio Lizarraga
    Eslabon Armado
    Jowell & Randy
    Reik

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    Favorite Artist – Pop:

    Favorite Album – Pop:

    Favorite Song – Pop:

    Favorite Artist – Urban:

    Favorite Album – Urban:

    Favorite Song – Urban:

    Favorite Artist – Crossover:

    Collaboration of the Year:

    Social Artist of the Year:

    Favorite Video:

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    Bunny Wailer, Reggae Pioneer With the Wailers, Dies at 73

    AdvertisementContinue reading the main storySupported byContinue reading the main storyBunny Wailer, Reggae Pioneer With the Wailers, Dies at 73He was the last surviving original member of the group, which also featured Bob Marley and Peter Tosh. Together they helped spread the music of Jamaica worldwide.Bunny Wailer, one of the founders of the seminal reggae group the Wailers, in performance in 2016.Credit…Mediapunch/ShutterstockMarch 2, 2021Updated 6:28 p.m. ETBunny Wailer, the last surviving original member of the Wailers, the Jamaican trio that helped establish and popularize reggae music — its other founders were Bob Marley and Peter Tosh — died on Tuesday at a hospital in Kingston, Jamaica. He was 73.His death was confirmed by Maxine Stowe, his manager, who did not state a cause.Formed in 1963, when its members were still teenagers, the Wailers were among the biggest stars of ska, the upbeat Jamaican style that borrowed from American R&B. On early hits like “Simmer Down” and “Rude Boy,” the three young men — who in those days wore suits and had short-cropped hair — sang in smooth harmony, threading some social commentary in with their onomatopoeic “doo-be doo-be doo-bas.”“The Wailers were Jamaica’s Beatles,” Randall Grass of Shanachie Records, an American label that worked extensively with Bunny Wailer in the 1980s and ’90s, said in a phone interview.By the early 1970s, the Wailers — now in loose clothes and dreadlocks — became one of the flagship groups of a slower, muskier new Jamaican sound: reggae. The group’s 1973 album “Catch a Fire,” with songs like “Concrete Jungle” and “Slave Driver,” is one of the canonical releases of so-called roots reggae, with a rock-adjacent production style and socially conscious lyrics.Marley and Tosh were the group’s primary songwriters and lead vocalists. But Bunny, who also played percussion instruments, was a critical part of their harmony style. Among fans at least, the three men settled into character roles like reggae superheroes.“Peter Tosh was the real militant one, then Bob was the poetic revolutionary humanist,” said Vivien Goldman, the author of “The Book of Exodus: The Making and Meaning of Bob Marley and the Wailers’ Album of the Century” (2006). “Bunny was regarded as the spiritual mystic.”Born Neville Livingston, he took the name Bunny when he joined the group; he was variously credited as Bunny Livingston or Livingstone before settling on Bunny Wailer in the 1970s.The Wailers toured Britain and began to build international acclaim, but by 1973 the original trio had split up. Marley, heading toward global stardom, began performing under the billing of Bob Marley and the Wailers. Bunny disliked touring and, as a follower of the Rastafari faith, he’d been uncomfortable performing in bars, viewing them as unsuitable venues for the group’s spiritual message.Neville Livingston was born in Kingston on April 10, 1947, and grew up in the village of Nine Mile in St. Ann Parish, off the northern coast of Jamaica. He and Marley met as children there, and for a time Marley’s mother, Cedella, lived with Neville’s father, Thaddeus, in the Trench Town section of Kingston.The two friends met Peter Tosh — whose real name was Winston McIntosh — through Joe Higgs, of the Jamaican pop duo Higgs and Wilson. Early on the Wailers also included Junior Braithwaite and Beverly Kelso, and they recorded with top producers of the day like Coxsone Dodd, Leslie Kong and Lee (Scratch) Perry.After leaving the Wailers, Bunny continued to make music, including his first solo album, “Blackheart Man,” in 1976; he produced it himself, wrote most of the songs and released it on his own label, Solomonic. But while Marley and Tosh toured widely, Bunny largely stayed in Jamaica, where he built a powerful mystique.He made his New York debut in 1986 at Madison Square Garden, with opening acts and backup groups, like the vocal ensemble the Psalms, that he had chosen to represent Jamaican musical history. Three years later, when he performed at Radio City Music Hall, Jon Pareles of The New York Times described the show as being “like a gospel service with a reggae beat,” with Bunny dressed in a robe decorated with the silhouette of Africa, a Star of David, the Lion of Judah and marijuana leaves.Bob Marley died of cancer in 1981. Peter Tosh was shot to death in 1987.According to Ms. Stowe, Bunny Wailer’s survivors include 13 children, 10 sisters, three brothers and grandchildren. Ms. Stowe said that Jean Watt, his partner of more than 50 years, had dementia and had been missing since May.Bunny won the Grammy Award for best reggae album three times. Two of those albums were tributes to Marley.He was given Jamaica’s Order of Merit in 2017. Peter Phillips, a minister in Jamaica’s parliament, said that his death “brings to a close the most vibrant period of Jamaica’s musical experience” and called him “a good, conscious Jamaican brethren.”AdvertisementContinue reading the main story More

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    Aretha Franklin’s Estate Signs Tentative Deal Over Back Taxes Owed

    AdvertisementContinue reading the main storySupported byContinue reading the main storyAretha Franklin’s Estate Signs Tentative Deal Over Back Taxes OwedWhile the estate continues to dispute the amount sought by the I.R.S., it has agreed to pay or put aside the bulk of its earnings from royalties and other revenue streams.Aretha Franklin’s estate will set aside 45 percent of all revenue it receives to pay off the tax liability she accrued from 2010 to 2017.Credit…Ross Marino/Getty ImagesMarch 2, 2021The estate of Aretha Franklin has reached a deal with the Internal Revenue Service to pay off millions of dollars in federal income taxes that the singer owed during her life, resolving a major financial issue that has been hanging over the estate since Ms. Franklin died in 2018.Under the agreement, which must be approved by the judge overseeing Ms. Franklin’s probate case, the estate will set aside 45 percent of all revenue it receives from now on to pay off the tax liability that Ms. Franklin accrued from 2010 to 2017.An initial payment of $800,000 is to be made to the I.R.S. within five days of the deal’s approval by the judge, Jennifer S. Callaghan of Oakland County Probate Court in Michigan, according to the document submitted in court on Feb. 19. It was signed by the estate’s executor and lawyers for Ms. Franklin’s four sons, as well as by a legal officer at the I.R.S.The document reports the I.R.S.’s claim against the estate as totaling $7.8 million, but that figure apparently does not reflect about $3 million that the estate already declared that it paid at the end of 2018.The deal also lays out a plan as to how the estate will handle ongoing taxes and payments to Ms. Franklin’s heirs. The agreement says 40 percent of the estate’s revenues — which are generated by Ms. Franklin’s music royalties and licensing, as well as from Hollywood productions like a biopic starring Jennifer Hudson — will be held in escrow. That money is being set aside to cover state and federal taxes owed by the estate, as well as estimated taxes owed by heirs.The remaining 15 percent of the revenues are to be used to cover the estate’s administration costs, up to $1 million — any income beyond that point will be paid out in equal amounts to Ms. Franklin’s sons: Edward, Kecalf and Clarence Franklin, and Ted White Jr. The deal also calls for those four men to be paid $50,000 each within five days of the stipulation’s approval.If approved, the deal would remove one of the estate’s biggest hurdles and allow some income to flow regularly to Ms. Franklin’s heirs, even though a detailed plan for the distribution of her assets remains a matter of dispute.The value of Ms. Franklin’s estate has not been decided, but some estimates range as high as $80 million.Since her death, and the discovery of multiple wills she created, there has been disagreement and court fights about exactly who are her heirs, and what were the famed singer’s final wishes in providing for her family.Initially, when Ms. Franklin died in August 2018, at age 76, her family believed she had left no will. Lawyers who represented her said they had tried in vain to get her to write one. Under the law in Michigan, Ms. Franklin’s longtime home, that meant her estate would be divided equally among her children. Ms. Franklin’s sons unanimously nominated a cousin, Sabrina Owens, a University of Michigan administrator who was close to Ms. Franklin, to be the estate’s personal representative, or executor.But nine months later, while going through Ms. Franklin’s Detroit home, Ms. Owens found handwritten documents — one of them was in a spiral notebook under the sofa cushions — that appeared to be two wills. In them, Ms. Franklin criticized various people in her life, including a lawyer, an accountant and the father of one of her sons, and specified how her assets should be split up among her children and grandchildren — in some cases, giving her descendants less money than they would have received if there was no will.That discovery immediately divided Ms. Franklin’s family, with some of her sons asking the court to favor one document or another, and led to the removal last year of Ms. Owens as the estate’s personal representative. She has been replaced by Reginald M. Turner, a Detroit lawyer who is the president-elect of the American Bar Association. Mr. Turner declined comment, saying it would not be appropriate for him to discuss estate matters.The question of whether Ms. Franklin’s wills are valid, and, if so, which of them would govern her estate, is set to be litigated at a trial scheduled to begin in August.The estate is still disputing the tax bill and the agreement with the I.R.S. specifies that if the estate is successful in arguing that a lesser amount is owed, any overpayments would be returned for distribution to the heirs.AdvertisementContinue reading the main story More