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    Trent Reznor Dominates 2021 Society of Composers and Lyricists Awards With Five Nominations

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    The Nine Inch Nails frontman and his longtime collaborator Atticus Ross are vying for Outstanding Original Score for a Studio Film for ‘Mank’ and ‘Soul’ among others.

    Feb 2, 2021
    AceShowbiz – Nine Inch Nails star Trent Reznor and his longtime collaborator Atticus Ross and Ludwig Goransson lead the nominations for the 2021 Society of Composers & Lyricists Awards.
    Reznor and Ross have picked up five nods including Outstanding Original Score for a Studio Film for “Mank” and “Soul” and Outstanding Original Song for Visual Media for “(If Only You Could) Save Me” from “Mank”, while Goransson is a double nominee thanks to his work on “Tenet” and “Star Wars: The Mandalorian”.
    Meanwhile, composer Terence Blanchard and director Spike Lee will receive the SCL’s Spirit of Collaboration Award for their work on films like “Da 5 Bloods”, “Malcolm X”, and “BlacKkKlansman”.
    This year’s awards will be presented virtually on March 2.
    The full list of nominees is:

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    Outstanding Original Score for a Studio Film:
    Outstanding Original Score for an Independent Film:
    Emile Mosseri – “Minari”
    Lolita Ritmanis – “Blizzard of Souls (Dveselu Putenis)”
    Sherry Chung – “The Lost Husband”
    Steven Price – “David Attenborough: A Life on Our Planet”
    Tamar-Kali Brown – “Shirley”
    Outstanding Original Score for Television or Streaming Production:
    Outstanding Original Score for Interactive Media:
    Gordy Haab – “Star Wars: Squadrons”
    Garry Schyman, Mikolai Stroinski – “Metamorphosis”
    Ilan Eshkeri, Shigeru Umebayashi – “Ghost of Tsushima”
    Outstanding Original Song for Visual Media:
    Spirit of collaboration award:

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    The Weeknd to Perform His Super Bowl Halftime Show Set Live Despite COVID Safety Fears

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    Revealing that the ‘Blinding Lights’ hitmaker opted not to pre-record any parts of his Tampa, Florida show, co-producer Jesse Collins promises that it is ‘just going to be fun.’

    Feb 2, 2021
    AceShowbiz – The Weeknd will be all live when he performs during the Super Bowl half-time show on Sunday, February 07.
    Jesse Collins, the co-producer of the show, tells Entertainment Tonight the headliner has opted not to pre-record any parts of his stadium show in Tampa, Florida, despite COVID safety fears.
    “It’s all happening in that stadium, in that moment,” Collins says. “We’re not bouncing off to another stadium and then cutting in, like some people have had to do (before). We are fortunate enough in this situation that we are able to do a live, live show.”

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    “It’s gotta be about entertainment from a truthful perspective. Get away from the massive sets, all the hoopla, the flying this and that. And get to the core of what makes an artist special.”
    And Jesse insists The Weeknd’s set at Raymond James Stadium will wow viewers. “I think there’s a lot of stuff happening in the show that people aren’t going to expect. It’s just going to be fun. It’s so perfect,” he gushes.
    “We started creating this thing back in September, and the message of it really worked out. The world worked out for the message that The Weeknd wants to communicate in this performance… It’s definitely a very special show.”
    The Weeknd previously hinted that he would go all out for his Super Bowl performance as he He revealed that he spent $7 million to make the performance like what he “envisioned.” He told Billboard magazine in January, “We’ve been really focusing on dialing in on the fans at home and making performances a cinematic experience, and we want to do that with the Super Bowl.”

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    Tony Bennett Reveals He Has Alzheimer’s Disease

    AdvertisementContinue reading the main storySupported byContinue reading the main storyTony Bennett Reveals He Has Alzheimer’s Disease“He’s not the old Tony anymore,” his wife, Susan, said. “But when he sings, he’s the old Tony.”The singer Tony Bennett has announced that he has Alzheimer’s disease, writing on Twitter: “Life is a gift — even with Alzheimer’s.”Credit…Evan Agostini/Invision, via Associated PressFeb. 1, 2021Tony Bennett, the 94-year-old singer who has become a beloved interpreter of the American songbook, has been diagnosed with Alzheimer’s disease, his wife, Susan, told AARP The Magazine this week.“Life is a gift — even with Alzheimer’s,” the singer tweeted on Monday morning. “Thank you to Susan and my family for their support.”Susan Bennett, and Tony Bennett’s eldest son, Danny, told the magazine that Bennett was diagnosed with Alzheimer’s — a degenerative brain disease that causes memory loss, among other things — in 2016.According to the magazine, Bennett began showing symptoms in 2015. “Even his increasingly rare moments of clarity and awareness reveal the depths of his debility,” the article states. But it said that he had not experienced the disorientation that prompts some patients to wander off, or episodes of terror, rage or depression.Before the coronavirus pandemic, Bennett had continued to perform extensively. But backstage, relatives told the magazine, he could seem “mystified about his whereabouts.”“But the moment he heard the announcer’s voice boom ‘Ladies and gentlemen — Tony Bennett!’ he would transform himself into performance mode, stride out into the spotlight, smiling and acknowledging the audience’s applause,” the piece said.His wife, Susan, would watch nervously, worrying that he would forget a lyric. “I was a nervous frigging wreck,” she told the magazine. “Yet he always delivered!”The early signs came in 2015, she told the magazine, when he began forgetting musicians’ names onstage, and began stashing a list on the piano, she said. But he knew something was wrong and wanted to see a doctor, she said, and he learned he had Alzheimer’s in 2016.Susan Bennett said that he can still recognize family members, but the magazine reported that “mundane objects as familiar as a fork or a set of house keys can be utterly mysterious to him.”Bennett, who has had a seven-decade-long career, scored his first big hit in 1951, “Because of You.” In 1962 he recorded “I Left My Heart in San Francisco,” which became his signature song. Long after other crooners had died or faded from the airwaves, Bennett experienced a resurgence in popularity: He won a Grammy for his 1994 album, “Tony Bennett: MTV Unplugged.” Since then, he has recorded duets with a string of notables including James Taylor, Sting and Amy Winehouse.He recorded an album with Lady Gaga in 2014, “Tony Bennett & Lady Gaga: Cheek to Cheek,” which debuted at No. 1 on the Billboard’s Top 200 pop and rock chart. According to the AARP article, a follow-up album with Lady Gaga, which was recorded between 2018 and early 2020, will be released this spring.Lady Gaga was aware of Bennett’s condition when they were recording their most recent collaboration, the article said. In documentary footage of the sessions, Bennett rarely speaks, and offers one-word responses like “Thanks” or “Yeah.”But his appetite for all things musical remains robust. According to the magazine, he continues to rehearse a 90-minute set twice a week with his longtime pianist, Lee Musiker — and does so without any of the haltingness that can characterize his speech.More than five million Americans are living with Alzheimer’s, according to the Alzheimer’s Association, including one in 10 people age 65 or older. Symptoms may initially include repeating questions, getting lost in a familiar place or misplacing things, and may eventually progress to hallucinations, angry outbursts, and the inability to recognize family and friends or communicate at all. Alzheimer’s has no cure.Susan Bennett is serving as her husband’s caregiver.“I have my moments and it gets very difficult,” she told the magazine. “It’s no fun arguing with someone who doesn’t understand you.” But she added that they felt more fortunate than many other people living with Alzheimer’s.Bennett’s last public performance was in March at the Count Basie Center for the Arts in Red Bank, N.J. Before the coronavirus shut down live performances, he was touring often, singing a 90-minute set without cluing in audiences or critics that anything was amiss.“He’s not the old Tony anymore,” Susan Bennett told the magazine. “But when he sings, he’s the old Tony.”AdvertisementContinue reading the main story More

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    Dave Grohl Reflects on Nirvana's 'Dysfunction' as He Compares It to Foo Fighters

    While describing his musical relationship with his Nirvana bandmates Kurt Cobain and Krist Novoselic as ‘a match made in heaven,’ the rocker admits he wasn’t as close to them as he is to Foo Fighters’ drummer Taylor Hawkins.

    Feb 2, 2021
    AceShowbiz – Before performing with Foo Fighters, Dave Grohl was part of one of music icons, Nirvana. But despite its worldwide fame, the Kurt Cobain-led band didn’t last song, as it disbanded in 1994 following the vocalist’s suicide in 1994.
    Now, in a new interview with The Big Issue, Grohl reflected on the “dysfunction” that he felt existed within his old band as he compared it to his current band Foo Fighters. While describing his musical relationship with his Nirvana bandmates Cobain and Krist Novoselic as “a match made in heaven,” the rocker admitted he wasn’t as close to them as he is to Foo Fighters’ drummer Taylor Hawkins.
    “But personally it was a bit off, to be honest,” he spoke candidly to the site. “Of course we loved each other. We were friends. But, you know, there was a dysfunction in Nirvana that a band like Foo Fighters doesn’t have.”
    The 52-year-old musician went on detailing his relationship with the late Cobain and his former bandmate Novoselic. “Was I close to Kurt, as I am to Taylor Hawkins? No,” he admitted. “I did live with Krist and his wife when I first joined the band. I think it lasted a month and then they kicked me out, but we always had this sort of loving connection, and it was made even more so after Kurt died. When I see Krist now, I hug him like family. But back then we were young, and the world was just so strange.”

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    Despite their “emotional dysfunction,” Grohl said he and his former bandmates always connected through music. “But that emotional dysfunction in Nirvana was relieved when we put on instruments. If the music hadn’t worked, we wouldn’t have been there together,” he explained.
    Grohl added, “I truly believe that there’s some people you can only communicate with musically. And sometimes that’s an even greater, deeper communication. There are people that I might feel a little awkward talking to but once we strap on instruments, it’s like they’re the love of my life.”
    Following the end of Nirvana, Grohl admitted he wasn’t sure if he “ever wanted to play music again.” He opened up, “There was a particular trauma after the end of Nirvana that lasted for a while, but, you know, I think that love of music I had when I was a child eclipsed everything and I realized that music was going to be the thing that would write me out of that depression.”
    “For a while there I wasn’t sure if I ever wanted to play music again. But it came back. And thankfully, just as I had hoped, it healed me,” he shared. Grohl formed Foo Fighters in 1994, starting it as a one-man project before recruiting more members.

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    Evan Rachel Wood Accuses Marilyn Manson of Abuse

    AdvertisementContinue reading the main storySupported byContinue reading the main storyEvan Rachel Wood Accuses Marilyn Manson of Abuse“He started grooming me when I was a teenager and horrifically abused me for years,” Ms. Wood, said on Instagram. Hours later Mr. Manson’s label dropped him.The rock musician Marilyn Manson last year. Mr. Manson and the actress Evan Rachel Wood publicly became a couple in 2007, when she was 19 and he was 38.Credit…Randy Shropshire/Getty Images for The Art of ElysiumJenny Gross and Feb. 1, 2021Updated 6:09 p.m. ETThe actor and singer Evan Rachel Wood, who has spoken publicly for years about being a survivor of sexual and physical violence, said on Monday that she had been abused by the rock musician Marilyn Manson.“The name of my abuser is Brian Warner, also known to the world as Marilyn Manson,” Ms. Wood wrote in an Instagram post. “He started grooming me when I was a teenager and horrifically abused me for years. I was brainwashed and manipulated into submission. I am done living in fear of retaliation, slander, or blackmail. I am here to expose this dangerous man and call out the many industries that have enabled him, before he ruins any more lives. I stand with the many victims who will no longer be silent.”Ms. Wood, 33, was nominated for a Golden Globe in 2017 for her role in “Westworld” and voiced Queen Iduna in “Frozen 2.” She began acting as a child, receiving her first Golden Globe nomination early in her career for her portrayal of a volatile adolescent in the 2003 drama “Thirteen.”Her relationship with Mr. Manson became public in 2007, when she was 19 and he was 38. The two were briefly engaged.Representatives for Mr. Manson did not respond to several requests for comment on Monday. Last year, Mr. Manson’s representatives issued a statement to Metal Hammer, a music magazine, in response to questions about his relationship with Ms. Wood and her testimony before Congress about being a victim of domestic violence.“Personal testimony is just that, and we think it’s inappropriate to comment on that,” Mr. Manson’s representatives told Metal Hammer. “You then go on to talk about Manson being accused of ‘terrible things’ by unnamed ‘critics’ but offer no guidance on who these critics are and what these things are, so it’s not possible to comment.”Evan Rachel Wood at her home in Los Angeles last year.Credit…Rozette Rago for The New York TimesSeveral other women have also accused Mr. Manson of having abused them. In 2018, the actress Charlyne Yi accused Mr. Manson of harassment in a series of tweets that have since been deleted. In September 2020, Dan Cleary, who said that he had worked as an assistant to Mr. Manson for several years, wrote on Twitter that he had witnessed the singer being abusive.Loma Vista, the label that released Marilyn Manson’s latest recording, said Monday it would stop promoting it and would not work with him in the future.“In light of today’s disturbing allegations by Evan Rachel Wood and other women naming Marilyn Manson as their abuser, Loma Vista will cease to further promote his current album, effective immediately,” it said in a statement posted on Twitter. “Due to these concerning developments, we have also decided not to work with Marilyn Manson on any future projects.”Ms. Wood, who supported a California law that extended the statute of limitations on domestic abuse, testified before the State Senate in 2019 that a man whom she did not identify by name had groomed her when she was 18.“He cut me off from my close friends and family one by one, by exhibiting rage in some form or another when I was in contact with them,” she said in her testimony. “He had bouts of extreme jealousy, which would often result in him wrecking our home, cornering me in a room and threatening me.”She said that she felt terrified for her life, and that he broke her down through starvation and sleep deprivation, and by threatening to kill her. In one instance, he forced her to kneel in their bedroom, tied up her hands and feet, beat her and shocked sensitive parts of her body with a device called a violet wand.When she tried to leave him, he would call her house incessantly, she said.Mr. Manson told Spin magazine in 2009 that he had called Ms. Wood 158 times one day after a breakup. “I have fantasies every day about smashing her skull in with a sledgehammer,” he said.His representatives said last year, in response to questions by Metal Hammer, that Mr. Manson’s comment in Spin was “obviously a theatrical rock star interview promoting a new record.”Mr. Manson described his views on women in a 2015 interview with Dazed, a style magazine.“Girls should always present themselves to you when you come home,” he said. “‘Hi honey, I’m home,’ and she’s wearing lingerie, legs akimbo. ‘Come and get it, honey.’”Ms. Wood told Rolling Stone magazine in 2016 that she had been raped: “By a significant other while we were together. And on a separate occasion, by the owner of a bar.”In recent years, especially after the birth of her son in 2013 and the start of the #MeToo movement, she was galvanized to become an advocate for survivors of domestic abuse, she told The New York Times in a 2018 interview. “If you’re going to be famous, for me it has to mean something, or be used for something, because otherwise it just freaks me out,” she said in the interview.That February, she testified before Congress about what she had endured.“So often we speak of these assaults as no more than a few minutes of awfulness, but the scars last a lifetime,” she said in her testimony, in which she detailed an episode in which she thought she might die at the hands of her abuser. “Not just because my abuser said to me, ‘I could kill you right now.’ But because in that moment, I felt like I left my body. I was too afraid to run, he would find me.”For years afterward, she said, she “struggled with depression, addiction, agoraphobia, night terrors,” and made two suicide attempts; she said she was eventually diagnosed with long-term post-traumatic stress disorder.Before her Congressional hearing about the Survivor’s Bill of Rights, which expanded access to medical care and more for survivors of sexual assault, Ms. Wood said she had hardly uttered the full scope of her trauma to anyone. She had barely processed it herself, she said in the 2018 interview, until she was cast in “Westworld,” the sci-fi drama in which she plays an innocent who slowly awakens to the darkness around her.Ms. Wood has said that she did not report her abuser to authorities because the statute of limitations had long since passed, and that she chose not to name him because she felt she had to come to terms with her own story first. “It took me so long to process everything and to get to a place where I felt even safe enough to speak about the abuse. And it’s scary,” she said in Harper’s Bazaar in 2019.Giving survivors more time was part of her motivation in working on the Phoenix Act, the California bill for which she testified. It passed in 2019, and 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 response to Ms. Wood’s allegations on Monday, Susan Rubio, the California state senator who proposed the legislation, and who is herself a survivor of domestic abuse, called for Mr. Manson to be investigated.She said Ms. Wood had been “instrumental” in getting California’s laws changed. “When survivors speak up, they help victims realize they are not alone and empower them to come out of the shadows,” she said. “The more stories we share, the less power we give our abusers.”AdvertisementContinue reading the main story More

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    Sibongile Khumalo, South Africa’s ‘First Lady of Song,’ Dies at 63

    AdvertisementContinue reading the main storySupported byContinue reading the main storySibongile Khumalo, South Africa’s ‘First Lady of Song,’ Dies at 63Proficient across a range of genres, she had the hall-filling power of an operatic mezzo-soprano and the directness of a pop singer.The South African singer Sibongile Khumalo in performance at the Prospect Park Bandshell in Brooklyn in 2007. Credit…Hiroyuki Ito for The New York TimesFeb. 1, 2021, 3:04 p.m. ETSibongile Khumalo, a virtuoso vocalist whose ease of motion between opera, jazz and South African popular music made her a symbol of the country’s new social order after the end of apartheid, died on Thursday. She was 63.Her family wrote on Instagram that the cause was complications of a stroke, and that she had endured a long illness. The post did not say where she died.Fleet and precise across a wide vocal range but particularly elegant in the upper register, Ms. Khumalo’s voice had the hall-filling power of an operatic mezzo-soprano and the directness of a pop singer. After making her debut as Carmen in a production in Durban, she earned wide acclaim for her roles in South African operas and plays, including “UShaka KaSenzangakhona,” “Princess Magogo KaDinuzulu” and “Gorée,” all of which toured internationally.At home she was equally known for her catchy original compositions and her renditions of South African jazz standards like the straight-ahead anthem “Yakhal’ Inkomo,” written by the saxophonist Winston Ngozi, which became a calling card.When the apartheid government fell and Nelson Mandela became the country’s first democratically elected president in 1994, Ms. Khumalo performed at his inauguration. Mandela famously referred to her as the country’s “first lady of song,” and the title stuck.The next year, when South Africa went to the Rugby World Cup — a moment of national reconciliation later immortalized in the film “Invictus” — Ms. Khumalo was invited to perform both her home country’s national anthem and that of its opponent, New Zealand. It was “the one and only time I’ve ever watched a rugby match, at any level, of any kind,” she told a television interviewer in 2017, laughing.In 1996 Sony released her debut album, “Ancient Evenings,” which included a number of originals and loosely adhered to a vocal-driven South African pop style. Over the next two decades she would release a steady stream of albums, earning four South African Music Awards. For her stage performances, she garnered three Vita Awards.In 2008 she received the Order of Ikhamanga in silver, among the country’s highest honors for contributions to the arts.Sibongile Mngoma was born in Soweto on Sept. 24, 1957, to Grace and Khabi Mngoma. Her mother was a nurse; her father was a scholar and musician who helped found the music department at the University of Zululand.Sibongile began studying at age 8 under a respected local music teacher, Emily Motsieloa, focusing on the violin. She was heavily influenced by the music of local healers and ministers at the nearby church, as well as the Western classical and pop records her parents played around the house.She also inherited her father’s passion for education and went on to earn undergraduate degrees from both Zululand and the University of the Witwatersrand in Johannesburg. She later received honorary doctorates from Zululand, Rhodes University and the University of South Africa.She taught at Zululand, but she also sought opportunities to reach children who lacked access to major institutions. She held teaching and administrative positions at the Federated Union of Black Artists Academy in Johannesburg and the Madimba Institute of African Music in Soweto.Ms. Khumalo’s husband, the actor and director Siphiwe Khumalo, died in 2005. The couple had two children, Ayanda and Tshepo Khumalo. A full list of survivors was not immediately available.In 1993, she won the Standard Bank Young Artist Award at the famed Grahamstown National Arts Festival, and her star rose swiftly. She had already begun turning heads with a concert program, titled “The 3 Faces of Sibongile Khumalo,” that showed off her versatility across genres. Those “faces” were jazz, opera and traditional South African music.When Ms. Khumalo was a girl, her father had brought her to see Constance Magogo kaDinuzulu, a Zulu princess and musician known for her prowess as a singer and composer. “My dad made me sit at her feet to listen to her play ugubhu and sing,” Ms. Khumalo wrote in the notes to her self-titled 2005 album, referring to a Zulu stringed instrument. “I thought he was being very unkind to me because all the other children were out in the yard playing.”But decades later, she drew upon the experience when she collaborated with the scholar Mzilikazi Khumalo (no relation) to create “Princess Magogo KaDinuzulu,” billed as the first Zulu opera, centered on the princess’s own compositions. “It must have been destiny,” she said. “In my professional years the music came back and it began to make sense.”When “Princess Magogo KaDinuzulu” traveled to the United States in 2004, Anne Midgette reviewed it for The New York Times, praising Ms. Khumalo’s “talent and versatility.” Ten years after South Africa had achieved democratic rule, Ms. Midgette noted, Ms. Khumalo seemed to represent “a symbol of its new culture.”In a 2019 interview ahead of her performance at the Joy of Jazz Festival in Johannesburg, Ms. Khumalo said that no matter the symbolism, her main commitment was to the singularity of her own voice. “While exposing yourself and opening yourself up to what is out there, it is also important to remain true to yourself, so that even when you allow yourself to be influenced by others, you retain an identity that clearly defines you,” she said.Whatever the subject matter, she added, “it is the truth in what you express, and how you express it, that is paramount.”AdvertisementContinue reading the main story More

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    Morgan Wallen’s ‘Dangerous’ Earns a Third Week at No. 1

    AdvertisementContinue reading the main storySupported byContinue reading the main storyThe ChartsMorgan Wallen’s ‘Dangerous’ Earns a Third Week at No. 1The Nashville star’s LP is the first country album since Taylor Swift’s “Red” to top the Billboard 200 for three weeks.Morgan Wallen’s “Dangerous: The Double Album” remains the rare country streaming smash, with 154 million clicks in its third week out.Credit…Terry Wyatt/Getty Images for CMAFeb. 1, 2021, 12:22 p.m. ETThe country singer and songwriter Morgan Wallen has the No. 1 album for a third week in a row, the first time in eight years that a country LP has pulled a hat trick at the top of the Billboard album chart.Wallen’s “Dangerous: The Double Album” had the equivalent of 130,000 sales in the United States, according to MRC Data, the tracking service formerly known as Nielsen Music, which is now owned by Billboard’s parent company. “Dangerous” is a rare country streaming smash; about 88 percent of the album’s consumption this week came through streaming, with 154 million clicks. It also sold 12,000 copies as a full package.According to Billboard, “Dangerous” is the first country album since Taylor Swift’s “Red” in late 2012 to top the magazine’s overall Billboard 200 ranking for three weeks. (“Red,” which had pop hits like “We Are Never Ever Getting Back Together” and “I Knew You Were Trouble,” was No. 1 on the Billboard 200 a total of seven times and also topped the country album chart.)Also this week, the rapper Pop Smoke’s posthumous “Shoot for the Stars Aim for the Moon” holds at No. 2 in its 30th week out, and Swift’s “Evermore” is No. 3. “After Hours” by the Weeknd — who is set to perform at the Super Bowl halftime show this Sunday — rose four spots to No. 4. Lil Durk’s “The Voice” is No. 5.The only new release in the Top 10 is “Los Dioses” by the Puerto Rican rapper-singers Anuel AA and Ozuna, which opened at No. 10.AdvertisementContinue reading the main story More

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    Artist of the Week: Sabrina Carpenter

    The former ‘Girl Meets World’ star proves that love always wins as she is climbing up the charts while taking a stand against her haters in a meaningful song called ‘Skin’.

    Feb 1, 2021
    AceShowbiz – Sabrina Carpenter was forced to stand up for herself as she received a lot of hate over her relationship with Joshua Bassett after his ex Olivia Rodrigo dropped a breakup single called “Drivers License”. Staying true to herself as an artist, she picked up her pen and wrote a song to address the situation.
    As Olivia’s “Drivers License” gave an impression that she stole someone else’s boyfriend, Sabrina used her lyrics to tell her side of the story. In a slow jam called “Skin”, the former “Girl Meets World” actress reminded everyone to be careful with what they said because there’s “gravity in the words we write.”
    “Maybe we could’ve been friends / If I met you in another life,” so the 21-year-old blonde singer/songwriter crooned, without giving out any names. “Maybe you didn’t mean it / Maybe ‘blonde’ was the only rhyme.”

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    Recorded for her new studio album, the song quickly trended on YouTube. It also climbed up to the top 10 on both U.S. iTunes and Spotify charts, raking in over 1.8 million streams worldwide on the opening day. It additionally hit the pinnacle in the New Zealand singles chart and peaked at the top 30 in the United Kingdom.
    Many linked the word “blonde” to the “Drivers License” where 17-year-old Olivia talked about “that blonde girl, who always made me doubt.” As the internet went abuzz with speculations that Sabrina took aim at Olivia, Sabrina quickly set the record straight. She insisted she wasn’t “calling out one single person.”
    “I wasn’t bothered by a few lines in a (magnificent) song and wrote a diss track about it,” she explained. “Some lines address a specific situation, while other lines address plenty of other experiences I’ve had this past year..”
    She made it clear that she didn’t condone bullying as she concluded her message by asking fans not to spread hate, “I don’t want this to become an endless cycle so please don’t take this as an opportunity to send more hate anyone’s way.”

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