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    Coachella and Stagecoach Officially Canceled Amid COVID-19 Pandemic

    Riverside County’s public health officer Dr. Cameron Kaiser reveals in an order that the decision is made due to ‘concerns of a fall resurgence of Covid-19.’

    Jan 30, 2021
    AceShowbiz – There will be no Coachella and Stagecoach this year as well. Nearly eight months after Coachella and Stagecoach were postponed for a second time due to COVID-19, Riverside County health officials have announced that the festivals have been canceled indefinitely.
    “The Coachella Valley Music and Arts Festival and the Stagecoach Country Music Festival currently scheduled for April 2021 are hereby canceled,” the county’s public health officer Dr. Cameron Kaiser said in an order on Friday, January 30. Kaiser went on noting that the decision was made due to “concerns of a fall resurgence of Covid-19.”
    The order continued, “If COVID-19 were detected at these festivals, the scope and number of attendees and the nature of the venue would make it infeasible, if not impossible, to track those who may be placed at risk.” It didn’t mention whether they show will be canceled for all of 2021 or rescheduled to 2022.

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    The annual festivals, which were held at the 78-acre Empire Polo Club in Indio, CA, were initially scheduled for April 2020 but then were postponed to October due to coronavirus global pandemic. However in June of the same year, Kaiser announced that the festivals would be postponed once again.
    A statement read at the time, “Coachella weekend one will take place April 9-11, 2021 and weekend two will be April 16 – 18, 2021. Stagecoach is set for April 23-25, 2021. We look forward to sharing our new lineups and more information. We can’t wait to be together in the desert again when it is safe.”
    Rage Against the Machine, Megan Thee Stallion, Run the Jewels, Calvin Harris, Travis Scott (II), Thom Yorke, 21 Savage, Danny Elfman, Frank Ocean, Lana Del Rey, Lil Nas X, FKA Twigs and Fatboy Slim were among those included in the 2020 lineup.
    As of now, Riverside County has recorded 271,910 confirmed cases of the virus. Meanwhile, 3,091 COVID-19 related deaths have been reported.

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    Duke Bootee, Whose ‘Message’ Educated Hip-Hop, Dies at 69

    AdvertisementContinue reading the main storySupported byContinue reading the main storyDuke Bootee, Whose ‘Message’ Educated Hip-Hop, Dies at 69His 1982 hit about the “jungle” of urban poverty charted a new, grittier path for rap music in its early days.Edward Fletcher, better known as Duke Bootee, in 2013. He was a studio musician at Sugar Hill Records when he began writing “The Message,” which Rolling Stone has called the greatest song in hip-hop history.Credit…Geoff L JohnsonJan. 29, 2021, 2:53 p.m. ETEdward Fletcher, who as Duke Bootee was the driving force behind “The Message,” the 1982 hit that pushed hip-hop from merry escapism toward chronicling the daily grind of urban poverty, died on Jan. 13 at his home in Savannah, Ga. He was 69.The cause was heart failure, said his wife, Rosita Fletcher.Mr. Fletcher started writing “The Message” in 1980, the same year he became a studio musician at Sugar Hill Records, which released the early work of groups like the Sugar Hill Gang and Grandmaster Flash and the Furious Five. Mr. Fletcher toured with Sugar Hill acts, contributed to the recording of seminal tracks and occasionally composed music.“We wrote the first chapter in the history of rap,” he said in a 2013 interview broadcast on Channel 28 in Savannah.The sound of hip-hop was initially cheerful and upbeat, with lyrics that encouraged dancing crowds to “throw your hands up in the air/and party hardy like you just don’t care,” as the Sugar Hill Gang rapped on their landmark 1979 single, “Rapper’s Delight.”In his mother’s basement one night, in the tough and increasingly impoverished city where he grew up, Elizabeth, N.J., Mr. Fletcher was smoking a joint with a friend and fellow musician, Jiggs Chase. Thinking about his hometown, he began piecing together a different approach to hip-hop.“The neighborhood I was living in, the things I saw — it was like a jungle sometimes in Elizabeth,” Mr. Fletcher told The Guardian in 2013. In another interview, with the hip-hop historian JayQuan, he recalled how often someone would “ride by and you hear a bottle get broken.”The images of the jungle and broken glass contributed two signature motifs to the lyrics of “The Message,” which sought to define everyday life in a tough urban world. The rhymes included “Got a bum education, double-digit inflation/Can’t take the train to the job, there’s a strike at the station.” Mr. Fletcher wrote most of the lyrics and the lurching, ominous electro melody.It baffled Grandmaster Flash and the Furious Five.“It was just too serious,” Melle Mel, a member of the group, told Uncut magazine in 2013. “We were making party tracks,” he added, “and wanted to keep in the same lane. Nobody wanted that song.”Melle Mel eventually caved to pressure from Sylvia Robinson, one of Sugar Hill’s owners. He contributed a final verse to “The Message” and shared rapping duties with Mr. Fletcher, who also played all the instruments except guitar. As a rapper, Mr. Fletcher’s baritone voice registered a cool impassivity that stood in contrast to the excitability of many of his peers.“The Message” was credited to Grandmaster Flash and the Furious Five, although it was mostly the work of Mr. Fletcher (not seen here).Credit…Sugar Hill RecordsThe song was an instant hit. In years to come, it would be sampled nearly 300 times, according to whosampled.com. Rolling Stone called it the greatest song in hip-hop history and a major influence on rappers like Jay-Z and the Notorious B.I.G. It also helped earn Grandmaster Flash and his band a place in the Rock & Roll Hall of Fame, even though Melle Mel was the only one of them to appear on what was called “their masterpiece,” aside from a short closing skit.“The world (me included) absolutely froze in its tracks the week it debuted on radio,” the musician and songwriter Questlove wrote in Rolling Stone. “Hip-hop was once known as party fodder, a fad. ‘The Message’ pulled a 180 and proved it could be a tool of sociopolitical change.”Mr. Fletcher was credited as a co-composer of “The Message” and received royalties for his work on it. But he did not appear on the album cover, and Rahiem of the Furious Five lip-synced to Mr. Fletcher’s voice in the music video.Mr. Fletcher’s feelings about being cut out of the public image of the song were mixed. At times he saw a shrewd marketing strategy. “It worked with a group like Flash and them because they had that threatening, street image,” he said in the interview with JayQuan. “There aren’t any other groups from that time that could have pulled that record off better than them.”But his gratitude had limits. “If I’d known what it was going to do,” he told The Guardian about his hit song, “I’d have kept it for myself.”Edward Gernel Fletcher was born on June 6, 1951, in Elizabeth. His father, Ernest, was a truancy officer, and his mother, Helen (Bridges) Fletcher, taught elementary school. When he was 16, Ed began dating Rosita Ross, a classmate and family friend. They married in 1976 and stayed together for the rest of his life.Ed took drum and xylophone lessons as a boy, and he played in cover bands at Dickinson College in Pennsylvania. After graduating in 1973 with a degree in English, he played with local New Jersey bands. He first gained notoriety for playing on Edwin Starr’s disco single “Contact,” and two years later he started working at Sugar Hill.Mr. Fletcher left the music industry while still a young man; the money he was making, he decided, was not worth all the travel and the time away from his family. Back in New Jersey, he turned to what he called “the family business”: teaching.He got master’s degrees from the New School in media studies and from Rutgers University in education. He worked at a juvenile detention center, a high school and two colleges, spending the last decade of his career as a lecturer in critical thinking and communication at Savannah State University. He retired in 2019.Mr. Fletcher left the music industry while still a young man and turned to what he called “the family business”: teaching.Credit…Geoff L JohnsonIn addition to his wife, Mr. Fletcher is survived by two children, Owen Fletcher and Branice Moore, and five grandchildren.The frank discussion of everyday problems in “The Message” informed Mr. Fletcher’s sensibility as a teacher. He propounded what he called the Fletcherian Principles. In the Channel 28 interview, the rap godfather explained the ultimate Message he had worked out for young students:“Figure out a way to take care of yourself, legal. Find somebody you can stand that can stand you. Pay your taxes. Take care of your teeth.”AdvertisementContinue reading the main story More

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    What Do Lars Ulrich and A.O. Scott Have in Common? A Lot, It Turns Out

    @media (pointer: coarse) { .at-home-nav__outerContainer { overflow-x: scroll; -webkit-overflow-scrolling: touch; } } .at-home-nav__outerContainer { position: relative; display: flex; align-items: center; /* Fixes IE */ overflow-x: auto; box-shadow: -6px 0 white, 6px 0 white, 1px 3px 6px rgba(0, 0, 0, 0.15); padding: 10px 1.25em 10px; transition: all 250ms; margin-bottom: 20px; -ms-overflow-style: none; /* IE 10+ */ […] More

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    Kodak Black Celebrates Clemency From Trump, and 10 More New Songs

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    The Weeknd Reveals His 3 Grammy Wins Mean Nothing to Him After Snub

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    The ‘Starboy’ hitmaker also talks about going all out for his Super Bowl Halftime Show performance by spending $7 million to make the performance like what he ‘envisioned.’

    Jan 29, 2021
    AceShowbiz – The Weeknd continues to put the Recording Academy on blast. The “After Hours” musician got candid about being snubbed at the 2021 Grammy Awards in the latest issue of Billboard magazine, revealing that he changed his mind about the awards that he won previously following the ordeal.
    “Look, I personally don’t care anymore. I have three Grammys, which mean nothing to me now, obviously,” the Canadian singer, who won R&B Performance and Urban Contemporary Album in 2016 as well as the latter award again in 2018, shared. “It’s not like, ‘Oh, I want the Grammy!’ It’s just that this happened, and I’m down to get in front of the fire, as long as it never happens again. I suck at giving speeches anyways. Forget awards shows.”
    Adding that the snub was like an “attack” to him, The Weeknd continued to say, “I use a sucker punch as an analogy, because it just kind of hit me out of nowhere. I definitely felt… things. I don’t know if it was sadness or anger. I think it was just confusion.”

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    The “Starboy” hitmaker, real name Abel Tesfaye, claimed that he “just wanted answers.” He said, “Like, ‘What happened?’ We did everything right, I think. I’m not a cocky person. I’m not arrogant. People told me I was going to get nominated. The world told me, like, ‘This is it; this is your year.’ We were all very confused.”
    After it was revealed that he nabbed zero nominations at the upcoming award-giving event, The Weeknd shared that he received messages of shock and support from people, including those whom “I haven’t spoken to in ages, the entire music community, all my peers.” The Weeknd divulged, “If you were like, ‘Do you think the Grammys are racist?’ I think the only real answer is that in the last 61 years of the GRAMMYs, only 10 Black artists have won album of the year. I don’t want to make this about me. That’s just a fact.”
    In the interview, The Weeknd also talked about going all out for his Super Bowl Halftime Show performance in Tampa Bay, Florida on February 7. He shared that he spent $7 million to make the performance like what he “envisioned.”
    “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,” he told the magazine.

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    Eric Church Breaks Vows to Never Sing National Anthem Publicly Thanks to Jazmine Sullivan

    WENN/Instagram/Mike Fuentes

    When speaking about his upcoming Super Bowl LV collaboration with the RnB singer, the ‘Record Year’ hitmaker admits he initially came close to turning down the offer.

    Jan 29, 2021
    AceShowbiz – Country star Eric Church reneged on a vow never to sing the U.S. National Anthem in public in order to score a Super Bowl duet with R&B singer Jazmine Sullivan.
    The “Record Year” hitmaker admits he was always nervous to tackle “The Star-Spangled Banner” because he doesn’t think he has the vocal ability to pull off the tune, but after hearing Sullivan sing, he jumped at the opportunity to collaborate with her.
    In an interview on Apple Music Country, Church admits he came close to turning down the Super Bowl invite.
    “Let me tell you something. She may be the best singer. I was floored,” he gushed in the chat, which is set to premiere on Friday, January 29.
    “And you know what, the best thing about this, no matter what happens, because that’s a nervy thing that we got to do, but what a fan, I’m a fan (of Sullivan’s). I’ve went in and listened to everything she did (sic). And I had heard her name, but full disclosure, I had not listened (to her songs).”
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    The unlikely duo, which has yet to meet, was suggested by producer Adam Blackstone, and prior to hearing Sullivan’s work, Church wasn’t that keen, reports People.com.
    “Here’s what I said… I’ve said this forever, ‘I will never ever sing the national anthem.’ It’s so hard. Except (for) the Super Bowl…,” he shared. “I mean, I’m not Chris Stapleton. I fully assumed they’re never going to ask me. So, this is the first.”
    “My first response was, ‘Mm-mm. I’m a stylist, not a vocalist,’ ” he added. “I heard it (duet proposal) and I thought, ‘That’s cool, that sounds like me.’ And then I heard her (Sullivan) and I’m not missing a chance to sing with her. And that was it.”
    “Once I heard her voice, I said, ‘OK, I’m in.’ ”
    The duet partners will be hitting the stage together in Tampa, Florida on 7 February, when the Tampa Bay Buccaneers will take on the Kansas City Chiefs for the Super Bowl title.

    The Weeknd will be performing the Super Bowl Halftime Show.

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    Justin Bieber Shares Intimate Clips With Hailey Bieber in 'Anyone' Alternate Music Video

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    The ‘Lonely’ singer cuddles up with his model wife in the grainy black-and-white footage which puts the highlight on the 24-year-old daughter of Stephen Baldwin as his muse.

    Jan 29, 2021
    AceShowbiz – Justin Bieber has dropped a new music video for his latest single “Anyone”. The alternate version of the clip offers a look at life through the Canadian artist’s perspective as it reflects his admiration of his wife Hailey Baldwin.
    The video directed by Joe Termini includes grainy black-and-white footage that shows some intimate moments between the 26-year-old pop star and his model wife as they cuddle in bed. The rest of the scenes mostly put the highlight on Hailey as his muse as she poses on the cliff, swims and boards a yacht among other activities.
    “You are the only one I’ll ever love (I gotta tell ya, gotta tell ya)/ Yeah, you, if it’s not you, it’s not anyone (I gotta tell ya, gotta tell ya),” Justin aptly sings to the love of his life in the chorus. “Lookin’ back on my life, you’re the only good I’ve ever done (Ever done)/ Yeah, you, if it’s not you, it’s not anyone (Anyone), not anyone.”

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    Justin also raved about his wife on his Twitter account. “You,” he posted on Thursday, January 28 with a string of heart emojis alongside a snippet of the video called “Anyone (On The Road)”.
    Justin released “Anyone” on January 1 along with its first music video, which sees the “Love Yourself” hitmaker portraying a 1940s boxer whose powerful love for his other half inspires him to train, fight and eventually overcome a potential K.O. on his journey to becoming a champion. Actress Zoey Deutch plays Justin’s love interest in the video.
    The single, which followed up his 2020 track “Monster”, has peaked at number six on the Billboard Hot 100, making it his 22nd top 10 in the United States. “Anyone” along with “Holy” featuring Chance the Rapper, “Lonely” with Benny Blanco and “Monster” with Shawn Mendes will be featured on Justin’s upcoming new album, Def Jam executive vp/head of promotion Nicki Farag has confirmed to Billboard.

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    Pauline Anna Strom, Composer of Enduring Electronic Sounds, Dies at 74

    AdvertisementContinue reading the main storySupported byContinue reading the main storyPauline Anna Strom, Composer of Enduring Electronic Sounds, Dies at 74Her blindness, she said, enhanced her music, which included homemade recordings from the 1980s prized by aficionados.Pauline Anna Strom in 2017, when her music from the 1980s was rereleased, drawing a burst of attention and new fans.Credit…Aubrey TrinnamanJan. 28, 2021, 6:28 p.m. ETIn the early 1980s, a blind woman stood in her San Francisco apartment with one hand in a bowl of water and the other holding a microphone, recording the burbling sound as she stirred and splashed.“It’s a wonder I didn’t kill myself,” she joked years later.The woman was Pauline Anna Strom, and her beguiling homemade synthesizer recordings were prized by aficionados of electronic music. The water sounds went into one of her first compositions, which appeared on her debut recording, “Trans-Millenia Consort” (1982).Ms. Strom died on Dec. 13 at her home in San Francisco, two months before her first new music in 30 years was to be released. She was 74.Matt Werth, the founder of her record label, RVNG Intl., announced the death. He did not specify the cause.Ms. Strom, who was blind from birth, found in synthesizers a way to create compositions that reflected her complex internal landscape, one that was not confined to the present but roamed freely through time and emotions.“I consider myself the ‘Trans-Millenia Consort,’” she wrote in the liner notes to that recording, “by which title I wish to be known. This to me is a personal declaration that I have been in previous lives, that I am in this life, and that I shall in future lives be a musical consort to time.”“Trans-Millenia Consort,” which Ms. Strom recorded on her own equipment at her home in San Francisco and which was issued in a limited release on vinyl and cassette in 1982, was followed by six more recordings, the last released in 1988. In 2017 a broader audience discovered Ms. Strom when Mr. Werth’s label released “Trans-Millenia Music,” a compilation of pieces from those 1980s efforts.“Angel Tears in Sunlight,” Ms. Strom’s first new music in 30 years, is scheduled to be released in February.Credit…Rvng Intl.“Trans-Millenia Music,” a compilation of her work from the 1980s, was released in 2017.Credit…Rvng Intl.“’Trans-Millenia Music’ captures an artist expressing herself freely and without fear or hesitation,” Daniel Martin-McCormick wrote in a review for Pitchfork, “and it makes good on its title. Work like this may fade into obscurity, but it remains fresh to all who seek it out, still vibrant and pulsing with energy in any age — new or otherwise.”Mr. Werth said his label will release a new recording, “Angel Tears in Sunlight,” on Feb 19.Ms. Strom did not dwell on her blindness (“The blindness to me is a nuisance more than anything,” she once said), although mastering her synthesizers was a process of experimentation, since in the 1980s, when the instruments were relatively new, there were no users’ manuals for the blind. Ultimately, she thought, her lack of sight enhanced her music.“My hearing and inner visualization have, I feel, developed to a higher level than perhaps they would have otherwise,” she told the publication Eurock in a rare early-career interview in 1986. “And it doesn’t affect my abilities from a technical standpoint, either. It’s quite possible to program synthesizers, effects units, accurately record one’s work and handle a mixer. I do this all by sound.”“In fact,” she added, “I rather like working in the dark.”Pauline Anna Tuell was born on Oct. 1, 1946, in Baton Rouge, La., to Paul and Marjorie (Landry) Tuell. She grew up in Kentucky in a Roman Catholic household and said that chants and other types of church music influenced her musical ideas, but that so did the works of Bach, Chopin and others.She was married twice, to Bob Strom and then to Kevin Bierl, but the dates of those marriages and how they ended are, like many details of her life, hard to come by. She moved to San Francisco when her husband — it is unclear which — was stationed there while in the military. Reclusive by nature, she lived in the same San Francisco apartment for decades. (“Thank God this city has rent control,” she told the website listentothis.info in 2018.)Her early musical efforts included some do-it-yourself sound effects like those in “Emerald Pool,” but she gradually became more adept at creating whatever sound she wanted with the multiple synthesizers she accumulated. She was influenced by the work of the German band Tangerine Dream and the German composer Klaus Schulze, pioneers in electronic music.“The spaciousness of it, the timeless quality, where it can be in any universal realm — that’s what captivated me,” she said. “It didn’t make you sad, it didn’t make you romantic. It was just driving, and it made you want to explore.”Ms. Strom in 2017. Blind from birth, she found in synthesizers a way to create compositions that reflected her complex internal landscape,Credit…Aubrey TrinnamanMs. Strom’s music was sometimes classified as New Age, but she disliked the term and the people who identified with it.“I think there’s a lot of phoniness in the New Age movement,” she said in a 2017 interview for the Red Bull Academy. “I can’t stand this. I’m a realist. I’m down to earth. I’m practical.”Ms. Strom is survived by three sisters, Loretta Hoffman, Barbara Boniakowski and Anita Burnett.When her 1980s music was rereleased in 2017, Ms. Strom was surprised at the burst of attention and the new fans.“A friend of mine called me and said, ‘You’ve got 20,000 people out there that know you exist and liked your music,’” she recalled in the Red Bull interview, “and I said: ‘What? Why?’”AdvertisementContinue reading the main story More