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    FINNEAS Spills Story Behind Tribute Song to Nick Cordero's Widow During 'The Talk' Performance

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    During their chat about ‘Can’t Wait to Be Dead’ on the talk show, Amanda Kloots admits Billie Eilish’s songwriter brother impressed her for being able to make the song without ever meeting her.

    Feb 17, 2021
    AceShowbiz – Singer/songwriter FINNEAS performed his tribute to Nick Cordero on the widow of the Broadway star’s show “The Talk” on Tuesday, February 16.
    Billie Eilish’s brother released “Can’t Wait to Be Dead” in October 2020 and explained the track was partly inspired by Amanda Kloots’ updates about her actor husband’s COVID-19 battle, before he died in July.
    “I’d been following Amanda Kloots as she documented her husband Nick Cordero’’s time in the ICU while in a coma after being admitted for COVID-19,” he told WENN. “Imagining her sitting by his side, waiting, hopeful for him to wake up, it got me thinking about all the millions of people, all over the world, who also have loved ones, parents, children and extended family members going through the same thing.”
    And on Tuesday, he performed the track on Kloots’ daytime show, explaining he wrote the tune last summer after spending the day protesting in Los Angeles with his girlfriend and sister Billie.

    “I’d come home from these protests every day and immediately check my phone to look at Amanda’s Instagram to see how her husband, Nick, was doing,” FINNEAS said. “Pretty much anything I feel overwhelmed by, I end up writing about… to document how I’m feeling.”

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    Kloots said, “When you listen to this song as much as I have, you hear this incredible heartbeat kick in in the song and then there’s this part where it really kinda feels you are mimicking the sirens of the protests that you were at and it literally takes me back to that moment of being in the hospital and holding Nick’s hand and looking out the window and seeing army tanks drive by…”
    “What’s crazy to me is you were somehow able to capture that journey that I went on without ever meeting me.”

    FINNEAS went on to call Amanda “brave,” admitting her openness made him feel like he knew her and Cordero.
    “I can’t thank you enough for allowing me and people like me to get to know you and your family through all of this,” he shared.
    The pair finally met at a celebration of Cordero’s birthday last year (2020), when FINNEAS fell in love with the late singer’s baby son, Elvis.
    “As soon as I’m vaccined I can’t wait to babysit Elvis (sic),” he added.

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    Emeli Sande Leaves Record Label After Announcing Break From Social Media

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    The ‘Next to Me’ hitmaker has amicably parted ways with her record label in order to ‘take the pressure off’ while she continues to work on her next studio installment.

    Feb 17, 2021
    AceShowbiz – Emeli Sande has reportedly left her record label.
    The “Next to Me” hitmaker is said to have left EMI after a decade as she felt a lot of pressure trying to live up to the success of her 2012 debut album “Our Version of Events”, and is apparently now feeling more relaxed about her musical future.
    “Emeli and her label have decided to go their separate ways after 10 years together,” a source told Britain’s The Sun newspaper. “She had a great time and with their support she became a massive success story thanks to Our Version of Events. But her two follow-up albums haven’t had the same sales figures and it has been difficult for her.”
    “Emeli sat down with the label and decided now was the right time to do her own thing. She is hard at work on a new album. This has allowed her to take the pressure off and she is feeling very relaxed.”

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    The singer revealed in December (20) she was taking a break from social media in order to work on her new music.
    “I’m taking a break offline now to focus fully on finishing the next album and to prepare for when I can perform live for you again,” she said at the time. “I’ll see you on the other side with a whole new chapter of life, love and music to share!”
    Emeli previously admitted she “doubted” whether she should continue as a musician while battling anxiety and depression after she split from husband Adam Gouraguine in 2013, less than a year after they tied the knot.
    She said, “I doubted whether I wanted to continue being a musician. I questioned whether people wanted to hear me, because people were saying I was on TV too much. People said I was overexposed, and then I thought, ‘Maybe I don’t have a place in this music industry, and if people don’t want to hear it, what shall I do?’ ”
    “I was going through my separation, and really trying to get my head around the industry and where I sat in it. It was everything all at once, and I lost my confidence.”

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    Monsta X's I.M. Under Fire for Wearing T-Shirt With Islamic Phrase During Album Promo

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    The agency representing the South Korean musician has since apologized after he landed in hot water for wearing a T-shirt featuring a religious text when teasing his solo debut.

    Feb 17, 2021
    AceShowbiz – Monsta X rapper I.M.’s agency Starship Entertainment has issued an apology after the K-pop star caused controversy by wearing a T-shirt featuring an Islamic phrase.
    The musician had donned the shirt to tease his upcoming solo project “Duality”, with many social media users pointing out that the Arabic phrase was emblazoned on the front.
    “Tw // Islamphobia. for those who don’t know this is the bimilla on his top, it says ‘bismillahirahmanirahim’ which means ‘In the name of God, the Most Gracious, the Most Merciful,’ ” one person wrote on Twitter. “And we say it before reading the Quran. its not an aesthetic, muslims shouldn’t even have Allahname.”
    Following the backlash, Starship Entertainment removed all the images of I.M. in the top from Monsta X’s social media pages, and issued an apology via the group’s official fan cafe.

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    “We should have taken further measures to ensure that there were no religious implications in the concept photos in advance and we regret not being able to scrutinise it fully,” the statement read. “We deeply apologise to those who felt uncomfortable with our actions.”
    “(We) will make every effort to prevent a recurrence. Again, we pay and extend our sincere apologies.”
    I.M. was not the only K-pop star who angered Muslims over the use of Quranic verses in their works.
    Back in 2016, singer CL came under fire for incorporating an Islamic religious text into a song on her Hello B*tches Tour. “To anyone I have offended I sincerely apologize for my mistake,” she said back then. “What happened was my engineer sent the old version of ‘MTBD’ for this tour. I take responsibility for not realizing this sooner. My intention was never to use this version.”
    Last year in October, boyband NCT U faced backlash for using an image of a mosque and a line from Islamic prayer during their live performance.

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    Pink Sweats Harnesses the Power of Niceness

    AdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s PickPink Sweats Harnesses the Power of NicenessWith his debut album, “Pink Planet,” the singer and songwriter from Philadelphia builds a musical refuge.Pink Sweats has been releasing singles and EPs since 2018; now his official debut album, “Pink Planet,” has arrived.Credit…Gabe Ginsberg/Getty ImagesFeb. 16, 2021, 11:35 a.m. ETPink PlanetNYT Critic’s PickPink Sweats — the singer and songwriter David Bowden — just keeps getting nicer. He has already racked up hundreds of millions of streams with singles and EPs since 2018; now, he has released his official debut album, “Pink Planet.” He’s connecting to an audience that craves comfort and reassurance rather than tension and strife.From the beginning of his solo career, with the single “Honesty” in 2018, Pink Sweats revealed a voice filled with longing: a tenor climbing directly into falsetto, steeped in soul music and tremulous with sincerity, in the lineage of Michael Jackson, Usher and, lately, Justin Bieber.He took his time before stepping forward on his own. Bowden, now 28, played music in church — he took his father’s place as a drummer — and went on to work as a songwriter, a producer and a studio musician (at Philadelphia’s renowned Sigma Studios). There’s deep professionalism behind his affability.In the songs on his three Pink Sweats EPs — the bare-bones, guitar-and-vocals “Volume 1” in 2018, the blues-tinged “Volume 2” in 2019 and the R&B productions on “The Prelude” in 2020 — Pink Sweats most often presented himself as a fondly importunate lover. But while he was finding his style, he also suggested he was familiar with the temptations of cocaine and alcohol, and that among his companions (in “Drama” from 2018) were tough guys, “real hitters” who “might shoot.”On “The Prelude” — six songs that also appear on “Pink Planet” — Pink Sweats worked with hitmaking collaborators like the producer John Hill, and he dabbled in the Weeknd’s kind of blingy paranoia in “Icy” and “Not Alright.” But that persona suited him far less than songs like “17,” which hopes to “love you as strong when we’re 92/The same as 17.” (In 2020, he released a remix featuring members of the K-pop group Seventeen.)For nearly all of “Pink Planet,” Pink Sweats is determinedly wholesome, benevolent and sweetly humble. But he makes it clear that his mission is to create music that’s a refuge from bleak realities. The album’s opener, “Pink City,” states — over gospelly organ and choirlike vocal harmonies — “It’s hard in the city, the city where I’m from” and resolves, “You can build you a city and call it home.” Halfway through the album, in the spoken-word “Interlude,” he explains over somber piano chords that listening to all kinds of music on the radio was “an escape, because the world I was living in wasn’t always so beautiful.”The songs call for love, intimacy, devotion and forgiveness, for romance that transcends all the small stuff; it has unironic titles like “Heaven,” “Paradise,” and “So Sweet.” In “Beautiful Life,” over puffy synthesizer tones, he coos, “I want to keep you here for the rest of my life”; in “Magic,” he vows, “I’d travel miles just to see you smile, my love,” with a lead guitar doubling his voice.The album reaches back to vintage soul with 21st-century tools. It’s an affirmation, in its chord progressions and arrangements, of more than half a century of pop, particularly Black pop: of doo-wop, soul and old and new R&B. There are echoes of Earth, Wind & Fire, Sly and the Family Stone, Bill Withers, George Benson, the Jacksons and Prince, along with hints of U2 and Ed Sheeran. Dovetailing past and present, the rhythm track of “At My Worst” starts with 1950s-style finger snaps and swaps them for trap-era drum-machine ticks, as Pink Sweats pleads, “Know I’m not perfect, but I hope you see my worth.” (The album includes two versions: the original and a duet remix with Kehlani.)As an album, “Pink Planet” extols fidelity and continuity, both to a partner and to a long musical heritage. In a precarious moment, it’s cozy, and not from obliviousness but from determination. Its edge is that it refuses to brandish one.Pink Sweats“Pink Planet”(Atlantic)AdvertisementContinue reading the main story More

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    Opera Singers Help Covid-19 Patients Learn to Breathe Again

    #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesVaccine RolloutSee Your Local RiskNew Variants TrackerAdvertisementContinue reading the main storySupported byContinue reading the main storyOpera Singers Help Covid-19 Patients Learn to Breathe AgainA six-week program developed by the English National Opera and a London hospital offers customized vocal lessons to aid coronavirus recovery.The singing coach Suzi Zumpe, top left, leading a rehabilitation program for Covid-19 patients that she runs with the English National Opera. Credit…ENO Breathe, via English National Opera and Imperial College Healthcare NHS TrustFeb. 16, 2021LONDON — On a recent afternoon, the singing coach Suzi Zumpe was running through a warm-up with a student. First, she straightened her spine and broadened her chest, and embarked on a series of breath exercises, expelling short, sharp bursts of air. Then she brought her voice into action, producing a resonant hum that started high in a near-squeal, before sinking low and cycling up again. Finally, she stuck her tongue out, as if in disgust: a workout for the facial muscles.The student, Wayne Cameron, repeated everything point by point. “Good, Wayne, good,” Zumpe said approvingly. “But I think you can give me even more tongue in that last bit.”Though the class was being conducted via Zoom, it resembled those Zumpe usually leads at the Royal Academy of Music, or Garsington Opera, where she trains young singers.But Cameron, 56, isn’t a singer; he manages warehouse logistics for an office supplies company. The session had been prescribed by doctors as part of his recovery plan after a pummeling experience with Covid-19 last March.Called E.N.O. Breathe and developed by the English National Opera in collaboration with a London hospital, the six-week program offers patients customized vocal lessons: clinically proven recovery exercises, but reworked by professional singing tutors and delivered online.While few cultural organizations have escaped the fallout of the pandemic, opera companies been hit especially hard. In Britain, many have been unable to perform in front of live audiences for almost a year. While some theaters and concert venues managed to reopen last fall for socially distanced shows between lockdowns, many opera producers have simply gone dark.But the English National Opera, one of Britain’s two leading companies, has been trying to redirect its energies. Early on, its education team ramped up its activities, and the wardrobe department made protective equipment for hospitals during an initial nationwide shortage. Last September, the company offered a “drive-in opera experience,” featuring an abridged performance of Puccini’s “La Bohème” broadcast over large screens in a London park. That same month, it started trialing the medical program.Jenny Mollica, who runs the the English National Opera’s outreach programs, contacted a respiratory specialist to suggest that the company could help out.Credit…Karla Gowlett, via English National Opera“The program really does help,” said Wayne Cameron. “Physically, mentally, in terms of anxiety.”Credit….In a video interview, Jenny Mollica, who runs the English National Opera’s outreach work, explained that the idea had developed last summer, when “long Covid” cases started emerging: people who have recovered from the acute phase of the disease, but still suffer effects including chest pain, fatigue, brain fog and breathlessness.“Opera is rooted in breath,” Mollica said. “That’s our expertise. I thought, ‘Maybe E.N.O. has something to offer.’”Tentatively, she contacted Dr. Sarah Elkin, a respiratory specialist at one of the country’s biggest public hospital networks, Imperial College N.H.S. Trust. It turned out that Elkin and her team had been racking their brains, too, about how to treat these patients long-term.“With breathlessness, it can be really hard,” Elkin explained in an interview, noting how few treatments for Covid exist, and how poorly understood the illness’s aftereffects still were. “Once you’ve gone through the possibilities with drug treatments, you feel you don’t have a lot to give people.”Elkin used to sing jazz herself; she felt that vocal training might help. “Why not?” she said.Twelve patients were initially recruited. After a one-on-one consultation with a vocal specialist to discuss their experience of Covid-19, they took part in weekly group sessions, conducted online. Zumpe started with basics such as posture and breath control before guiding participants through short bursts of humming and singing, trying them out in the class and encouraging them to practice at home.The Coronavirus Outbreak More

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    Stu Block and Luke Appleton Resign From Iced Earth After Jon Schaffer's Capitol Riot Arrest

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    The heavy metal band’s co-founder is facing six federal charges, including violent entry and disorderly conduct in a Capitol building, after he was caught on camera inside the building along with pro-Trump mob.

    Feb 16, 2021
    AceShowbiz – Heavy metal band Iced Earth have lost singer Stu Block and bassist Luke Appleton in the wake of co-founder Jon Schaffer’s arrest for his alleged involvement in the attack on the U.S. Capitol.
    Schaffer is facing six federal charges, including engaging in an act of physical violence in a Capitol building, violent entry, and disorderly conduct in a Capitol building, after he was apparently caught on camera inside the Washington, D.C. building with other pro-Donald Trump mob members on January 6.
    His bandmates soon issued a statement condemning the actions of the domestic terrorists, although they did not mention Schaffer by name, but now the fall out has prompted Block and Appleton to resign from the group.
    In a statement issued via Facebook on Monday, February 15, Block explained, “I have informed Jon and his current management that I must announce my resignation from Iced Earth with immediate effect.”
    “Before I made any personal decision I needed the last few weeks to process the situation as well as respect others in our camp processing the situation. I thank you all very much for respecting this. It’s the best decision in many ways for my personal/ professional growth going forward. Time to move on, heal and prosper.”

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    “Much love and respect to you all. Don’t fret! Stay tuned for some exciting things to come! Time to embark upon a new chapter. Be good to each other.”

    At the same time, Appleton shared his own message with fans on the social media platform, “In response to recent events & circumstances, I have notified Iced Earth’s management and Jon that I will be resigning as the Iced Earth bassist with immediate effect,” he wrote.
    “I would like to thank everyone who has sent me their support and love during this difficult time. Thank you!!!”

    Their exits leave just Schaffer and drummer Brent Smedley in the Iced Earth official line-up, as guitarist Jake Dreyer has also distanced himself from the band, telling TMZ he was only employed by the group from 2016 to 2018.

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    Taylor Swift's 'Fearless' Re-Recordings to Only Be Eligible for Performance Awards at the Grammys

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    The re-recorded tracks in the ‘Love Story’ hitmaker’s reworked edition of her 2008 LP would not be allowed to be nominated for songwriting accolades, but her six brand new songs could be.

    Feb 16, 2021
    AceShowbiz – Taylor Swift’s re-recordings of her tracks from “Fearless” will be eligible for performance Grammy Awards.
    The “Love Story” star – who had previously revealed plans to release new versions of her early records after Scooter Braun’s Ithaca Holdings bought the writes to her back catalogue – is set to release a reworked edition of her 2008 LP, which comes with six brand new songs.
    And the Recording Academy has stated that the re-recorded tracks will only be allowed to be nominated for performance accolades, not songwriting awards.
    A Grammy Awards spokesperson told Billboard, “Current eligibility guidelines would allow for the new performances and albums to be eligible if they were recorded within the last five years. However, none of the older songs would be eligible for songwriting awards.”

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    However, that doesn’t apply to the six new tracks, which can be nominated for songwriting prizes as well.
    The album is available for pre-order, and a hidden message in an accompanying note suggested it could drop in April 2021.

    In a lengthy statement, she added, “Artists should own their own work for so many reasons, but the most screamingly obvious one is that the artist is the only one who really *knows* that body of work.”
    “For example, only I know which songs I wrote that almost made the Fearless album. Songs I absolutely adored, but were held back for different reasons (don’t want too many breakup songs, don’t want too many down tempo songs, can’t fit that many songs on a physical CD).”

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    Johnny Pacheco, Who Helped Bring Salsa to the World, Dies at 85

    AdvertisementContinue reading the main storySupported byContinue reading the main storyJohnny Pacheco, Who Helped Bring Salsa to the World, Dies at 85A Dominican-born bandleader and songwriter, he co-founded Fania Records, known as the Motown of Salsa.Johnny Pacheco performing in Manhattan in 2009. His company, Fania Records, was a powerhouse in Latin music. Credit…Chad Batka for The New York TimesFeb. 15, 2021, 6:51 p.m. ETJohnny Pacheco, the Dominican-born bandleader who co-founded the record label that turned salsa music into a worldwide sensation, died on Monday in Teaneck, N.J. He was 85. His wife, Maria Elena Pacheco, who is known as Cuqui, confirmed the death, at Holy Name Medical Center. Mr. Pacheco lived in Fort Lee, N.J.Fania Records, which he founded with Jerry Masucci in 1964, signed Latin music’s hottest talents of the 1960s and ’70s, including Celia Cruz, Willie Colón, Hector Lavoe and Rubén Blades. Mr. Pacheco, a gifted flutist, led the way on and off the stage, working as a songwriter, arranger and leader of the Fania All Stars, salsa’s first supergroup.From the beginning, he partnered with young musicians who were stirring jazz, rhythm and blues, funk and other styles into traditional Afro-Cuban music.By the 1970s, Fania, sometimes called the Motown of salsa, was a powerhouse in Latin music, and the Fania All Stars were touring the world. The label gave birth to combustive creative collaborations, like that between Mr. Colón, a trombonist and composer, and Mr. Blades, a socially conscious lyricist and singer; and to cult heroes like Mr. Lavoe, the Puerto Rican singer who battled drug addiction and died of AIDS-related complications at 46.Fania dissolved in the mid-1980s amid lawsuits involving royalties, and in 2005, Emusica, a Miami company, purchased the Fania catalog and began releasing remastered versions of its classic recordings.Mr. Pacheco performed in 2006 at Madison Square Garden in a concert marking his 50th anniversary in the music business, Credit…Chang W. Lee/The New York TimesJuan Azarías Pacheco Knipping was born on March 25, 1935, in Santiago de los Caballeros, in the Dominican Republic. His father, Rafael Azarias Pacheco, was a renowned bandleader and clarinetist. His mother, Octavia Knipping Rochet, was the granddaughter of a French colonist and the great-granddaughter of a German merchant who had married a Dominican woman born to Spanish colonists.The family moved to New York when Johnny was 11, and he studied percussion at the Juilliard School and worked in Latin bands before starting his own, Pacheco y Su Charanga, in 1960.The band signed with Alegre Records, and its first album sold more than 100,000 copies in the first year, becoming one the best-selling Latin albums of its time, according to his official website. It jump-started Mr. Pacheco’s career with the introduction of a new dance craze called the pachanga. He became an international star, touring the United States, Europe, Asia and Latin America.Fania Records was born out of an unlikely partnership between Mr. Pacheco and Mr. Masucci, a former police officer turned lawyer who fell in love with Latin music during a visit to Cuba.From its humble beginnings in Harlem and the Bronx — where releases were sold from the trunks of cars — Fania brought an urbane sensibility to Latin music. In New York, the music had taken on the name “salsa” (Spanish for sauce, as in hot sauce), and the Fania label began using it as part of its marketing.Guided by Mr. Pacheco, artists built a new sound based on traditional clave rhythms and the genre Cuban son (or son Cubano), but faster and more aggressive. Many of the lyrics — about racism, cultural pride and the tumultuous politics of the era — were far removed from the pastoral and romantic scenes in traditional Cuban songs.In that sense, salsa was “homegrown American music, as much a part of the indigenous musical landscape as jazz or rock or hip-hop,” Jody Rosen wrote in The New York Times in 2006 on the occasion of the reissue of the Fania master tapes — after they had spent years gathering mold in a warehouse in Hudson, N.Y.Mr. Pacheco’s first album with Celia Cruz went gold. It mixed hard-driving salsa with infectious choruses. The duo released more than 10 albums together.Credit…FaniaMr. Pacheco teamed up with Ms. Cruz in the early 1970s. Their first album, “Celia & Johnny,” was a potent mix of hard-driving salsa with infectious choruses and virtuosic performances. It soon went gold, thanks to Ms. Cruz’s vocal prowess and Mr. Pacheco’s big-band direction, and its first track, the up-tempo “Quimbara,” helped propel Ms. Cruz’s career to Queen of Salsa status.The two released more than 10 albums together; Mr. Pacheco was a producer on her last solo recording, “La Negra Tiene Tumbao,” which won the Grammy for best salsa album in 2002.Over the years, Mr. Pacheco produced for several artists and performed all over the world, and he contributed to movie soundtracks, including one for “The Mambo Kings,” a 1992 film based on based on Oscar Hijuelos’s novel “The Mambo Kings Play Songs of Love.” For the Jonathan Demme movie “Something Wild,” he teamed up with David Byrne, leader of the Talking Heads, one of his many eclectic partnerships.Mr. Pacheco, the recipient of numerous awards and honors both in the Dominican Republican and the United States, was inducted into the International Latin Music Hall of Fame in 1998. He wrote more than 150 songs, many of them now classics.For many years he spearheaded the Johnny Pacheco Latin Music and Jazz Festival at Lehman College in the Bronx, an annual event in collaboration with the college (streamed live in recent years) that provides a stage for hundreds of talented young musicians studying music in New York City schools. In addition to this wife, Mr. Pacheco’s survivors include two daughters, Norma and Joanne; and two sons, Elis and Phillip.The salsa phenomenon that Mr. Pacheco created hit a new high on Aug. 23, 1973, with a volcanic sold-out show at Yankee Stadium, where the Fania All Stars brought 40,000 fans to a musical frenzy, led by Mr. Pacheco, his rhinestone-encrusted white shirt soaked in sweat. The concert cemented the band’s, and his, legendary stature.The 1975 double-album “Fania All Stars Live at Yankee Stadium” earned the group its first Grammy nomination.Credit…Fania RecordsIn 1975, Fania released the long-awaited double album “Live at Yankee Stadium,” which, despite the name, also included material from a show at the Roberto Clemente Coliseum in Puerto Rico that had much better sound quality. The album earned the Fania All Stars their first Grammy nomination for best Latin recording.In 2004, the Library of Congress added it to the National Recording Registry.Michael Levenson contributed reporting.AdvertisementContinue reading the main story More