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In her 1999 book, “When Chickenheads Come Home to Roost: A Hip-Hop Feminist Breaks It Down,” the cultural critic Joan Morgan describes eloquently the ways in which racism often makes it difficult for black women to call out sexism within their own communities. “I needed a feminism that would allow us to continue loving ourselves and the brothers who hurt us without letting race loyalty buy us early tombstones,” she wrote.She reiterates that sentiment in “On the Record,” a wrenching new documentary by Kirby Dick and Amy Ziering, streaming on HBO Max. The film details the allegations of sexual assault against the music mogul Russell Simmons, but its scope is much wider: It explores the particular (and often overlooked) struggles of black women in the #MeToo movement. At its center is Drew Dixon, 48, who says Simmons raped her in 1995 while she was a rising A&R executive at his pioneering company, Def Jam Records. Dixon didn’t speak publicly about the incident for more than two decades, fearing that challenging the “godfather of hip-hop” would amount to a betrayal of her community. “I didn’t want to let the culture down,” she says poignantly. “I love the culture. I loved Russell, too.”“On the Record” closely follows Dixon before, during and after her decision to go public with her accusations in a December 2017 article in The New York Times. It also weaves in the testimonies of seven other women who say they were raped by Simmons — including the writer Jenny Lumet, the former assistant and model Sil Lai Abrams and the hip-hop artist Sherri Hines. (Simmons has denied all accusations of nonconsensual sex and described his life as “devoid of violence” in a written response to the filmmakers.)[embedded content]The stories of these women hit the familiar beats of the countless #MeToo narratives that have emerged since the reckoning of Harvey Weinstein three years ago: abuses of power, derailed careers, fearful silences, doubts and dismissals. But for black women who have been assaulted by black men, the quest for justice is intersectional. It involves negotiations between solidarity and salvation.The film communicates these complex ideas with quiet, forceful emotional clarity. It’s the latest in Dick and Ziering’s formidable oeuvre of documentaries on the subject: Their previous collaborations, like “The Invisible War,” about sexual assault in the military, and “The Hunting Ground,” about rape on college campuses, provoked strong, polarized reactions and substantive policy changes. “On the Record” is a relatively modest film — more character study than exposé — but it has already attracted considerable controversy. Shortly before it premiered at the Sundance Film Festival in January, Oprah Winfrey, one of its executive producers, dropped out, citing creative differences, and the filmmakers lost their distribution deal with Apple TV and moved to HBO Max.Amid speculation that Simmons might have pressured Winfrey to withdraw, she told The Times that she continued to stand by the women in the film but felt that their stories hadn’t been sufficiently “elevated,” and that the film lacked an appropriately broad context that took in the “debauchery” of the music business at the time. Winfrey’s concerns about the narrow focus and selective context don’t seem misplaced, but these strike me as strengths rather than shortcomings. “On the Record” is not a work of journalism. Most of the accusations have been reported on extensively in the last two years in various publications. What the film does is bring these accounts to living, breathing and moving life, taking us beyond the media cycles of allegation and denial to a survivor’s intimate confrontations with cultural pressures and trauma.Dixon makes for a stirring and charismatic protagonist, her face lighting up with joy as she describes walking the streets of Brooklyn with Biggie Smalls and putting together a Grammy-winning record with Method Man and Mary J. Blige. When the harassment began, she thought her talent would protect her from danger. “I am an executive with value, and he’s a businessperson,” she says. When she’s proved wrong, it’s a crushing lesson: Misogyny razes all ideas of value and worth, even in seemingly meritocratic settings.A few years later, while working a different job at Arista Records, Dixon is confronted by this reality all over again. When she rebuffed the advances of L.A. Reid, then the chief executive, she says he punished her by passing on two up-and-coming artists she had scouted: Kanye West and John Legend. (Reid has said he apologized if anything he had said or done had been “misinterpreted.”)Employing a plain, by-the-numbers style, Dick and Ziering make a deliberate choice to let their interviewees take center stage, contextualizing their stories with some archival images. These inserts can feel glib. One hasty sequence, which seems to support some of Winfrey’s reservations, starts with excerpts from rap videos to demonstrate the prevalence of sexism in hip-hop, then follows up with clips from songs by the Beatles and the Rolling Stones to clarify, rather awkwardly, that sexism isn’t confined to hip-hop.But these nominal bits of editorialization are supplemented by a superb cast of cultural commentators, who represent the real, intellectual force of “On the Record.” In addition to Morgan, they include Tarana Burke, the founder of the #MeToo movement, Kimberlé Crenshaw, the scholar behind the theory of intersectionality, and Kierna Mayo, the former editor of Ebony magazine.As Dixon and the other survivors describe their painful experiences of harassment and shame, the commentators situate them eloquently within the broader picture of African-American history and raise important questions that have often remained at the periphery of the #MeToo movement. They explain, for instance, how black women’s fear of speaking out against their abusers is rooted in the legacy of false rape accusations against black men — and that the criminal justice system offers little hope to communities that have long suffered its biases.The filmmakers do an admirable job of switching between these micro and macro perspectives in a tight and accessible 95 minutes. Their movie makes a sincere case for Dixon’s quiet plea to the camera: “It’s time for somebody to acknowledge the burden and the plunder of black women.”On the RecordNot rated. Running time: 1 hour 35 minutes. Watch on HBO Max. More

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Beyonce Knowles congratulates her collaborator with a bouquet of flowers and a sweet note after their collaboration jumps to the top spot on the Billboard Hot 100.
May 28, 2020
AceShowbiz – Beyonce celebrated her latest U.S. number one by sending flowers and a sweet note to her collaborator, rap newcomer Megan Thee Stallion.
The ladies landed the Billboard Hot 100 crown on Tuesday, May 26, 2020 as their “Savage Remix” toppled Justin Bieber and Ariana Grande’s “Stuck With U” hit, and Beyonce was quick to congratulate Megan for the achievement by having a beautiful bouquet delivered to her home.
Megan shared a short video clip of the gift on her Instagram Story timeline and revealed the personalised note which came with the blooms.
It read, “Congrats on your number one queen. Love B.”

Beyonce sends flowers to Megan Thee Stallion
The present left Megan truly touched as she credited her idol’s feature for lifting the single to the top.
“We did that,” she captioned the post. “thank you queen @Beyonce.”

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The ‘We Got Love’ singer helps cheer up this year’s graduates in her newly-premiered ‘Made It’ music video because she never celebrated her own graduation.
May 28, 2020
AceShowbiz – Teyana Taylor was determined to celebrate the class of 2020 in her new “Made It” video after homeschooling meant she missed out on her own graduation.
The 29-year-old singer dropped the surprise new track last week, with the accompanying video showing her congratulating graduates via a Zoom call and celebrating on the stage in a mortarboard cap and gown.
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And in an interview with MSNBC, Teyana explained the motivation for the video, admitting that she’s always been bothered by the fact she never had a graduation of her own.
“I didn’t get the chance to graduate and I wasn’t even going through a pandemic, I was home schooled, so when it was time for me to graduate I was literally in Starbucks when I got my cap and gown,” she said. “So I knew how it felt to not feel celebrated, or to not walk across the stage.”
“Imagine going through a pandemic where you can’t even leave the house, you can’t even graduate in Starbucks if that was an option. So I wanted to do something for the class of 2020.”
She added, “It was just about celebrating them and letting them know that no pandemic can dim the light, you made it. Especially putting in all those years of hard work and then to not be able to physically celebrate that – I know it’s a lot.”
Teyana also revealed that while she’s “not bitter” about missing out on life at high school, she obtained a new outlook when she gave birth to her daughter Junie, who is now four.
“It bothered me even more once I had my daughter because it was like, I can’t even tell you what to do, how to do it, how to get you ready for prom,” she sighed. “You know, those special moments that we want as teenagers and young adults and different things like that. So I missed out on a lot of those things.”
“It’s just that, especially as a female, you want to experience those things you see on TV.”

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On a recent Friday, thousands of partygoers gathered on the rooftop of a popular Brooklyn club to hear a performance by Alice Glass, the former front woman of the Canadian electronic band Crystal Castles.The diverse group wore dark green camouflage, electric blue jumpsuits and pink hair, while they moshed with abandon before the multitiered stage.This dance party did not violate New York’s social distancing rules. It was a virtual concert that took place on Minecraft, the sandbox video game in which players create Lego-like worlds — in this case a reimagining of Elsewhere, an indie-music club in the Bushwick section of Brooklyn.The Minecraft club, which is called Elsewither, was a collaboration among Elsewhere; Open Pitt, an engineering group that specialize in virtual events; and Heav3n, a roving L.G.B.T.Q. party based in Los Angeles.“Gaming is about 10 years ahead of live music in terms of an interactive online experience,” said Jake Rosenthal, 32, a founder of Elsewhere. “Buying a ticket and a virtual ticket might be part of the new paradigm of being a music venue.”“When Elsewhere reopens, it’s going to be at some kind of limited capacity,” he said. “It’s a way to bring experimentation back to what we do.”ImageA screen shot of attendees of a digital party at Elsewither.About 2,400 Minecraft users visited Elsewither between 6 p.m. and midnight on May 8 to hear performances by Pussy Riot, the punk political band from Russia; Rina Sawayama, a Japanese R&B pop singer; Pabllo Vittar, a Brazilian drag queen; and 18 others. The audio was also streamed to more than 30,000 listeners over the gaming platform Twitch.At a time when Zoom party fatigue is real and the initial excitement of being able to see your favorite D.J.s spin from the comfort of your living room has worn off, video games have emerged as another means of hosting a party during the coronavirus shutdown.In late April, 100 Gecs, the electronic pop absurdist duo, hosted a virtual concert called #Square Garden on Minecraft featuring Charli XCX, Cashmere Cat, Benny Blanco and Kero Kero Bonito. And Travis Scott held a live concert on the video game Fortnite on April 23 and 25, reaching more than 12.3 million players. (The next Elsewither is scheduled for June 6.)Admission to Elsewither was free, but a $5 donation on Groundswell offered access to a V.I.P. room and to the artists’ conversations on Discord. After every set, the M.C. would command the audience to type slogans like “Down with Capitalism” and “Queer Rights,” and the chat stream would explode with a repeating chorus of all-capitalized phrases.While thousands logged on, only 20 to 30 avatars seemed to be in the hall at a given time. This was, in part, by design. An earlier attempt at a Minecraft music festival called Block by Blockwest crashed when too many tried to join. (It was successfully rescheduled for May 16 and attracted 5,000 users.)At Elsewither, no more than 100 people were allowed into any one server at a time, a setup much like having a bouncer at the door. “Technically, it was the smoothest event so far,” said Umru Rothenberg, a graphic designer with Open Pit. “We’ve ironed a lot of issues out.”For the musical artists, video game concerts lets them reach a wider audience, free of physical constraints. Nadezhda Tolokonnikova, a member of Pussy Riot, who does not normally play Minecraft, said she appreciated the party’s emphasis on an anticapitalist, pro-L.G.B.T.Q. agenda.“For queer kids in Russia, seeing a Russian band performing in this amazing online queer community is encouraging because they feel like they are represented somehow,” she said. “I think if I was able to log onto Minecraft and see a concert with this lineup, it would probably have changed my life in a lot of ways.” More

To mention the subgenre known grudgingly as “emo” is to argue about the term’s parameters or even its existence.Like a lot of underground rock in the mid-1980s, emo was simply an answer to the question, “What happens after hardcore?” The Replacements’ extremely drunk power pop was one direction; Hüsker Dü’s high-velocity, flower-power trio noise was another; Dinosaur Jr.’s pedal-stomping prairie rock was another.Emo was born around 1984 in the small, mostly middle-class punk scene in Washington, D.C., centered around Dischord Records. Punks like Ian MacKaye, formerly of the foundational hardcore band Minor Threat, needed to solve a problem: how to get violent skinheads to stop ruining shows. The solution: play something slower that they wouldn’t like — less breakneck, more melodic and less enraged punk rock with a certain heart-on-sleeve lyricism.These bands would have been totally fine being called “punk,” but according to MacKaye, the former Minor Threat bassist Brian Baker derisively applied the term “emocore” to the music; the word got picked up in the punk press and went everywhere. (The joke was on Baker: His band Dag Nasty is known as the godfather of a certain strand of emo.)Though perhaps obscure to a larger audience at the time, Rites of Spring, Embrace, Dag Nasty and Gray Matter were the moment’s big four bands out of Washington, all of whom loathed the term to varying degrees. The style mutated over the next decade or so in various punk scenes: San Diego, Chicago, New Jersey, Philadelphia. The riffs got heavier, the drumming more chaotic, the screaming more extreme. In the ’90s, major labels glommed onto underground rock (like Nirvana) and critics found their darlings (like Pavement), making emo seem ignored, ephemeral and still underground.It’s been said that the golden age of emo fandom is 19, which is true, to a point: There is always a new crop of kids to call their young bands “emo.” By about 1997, bands like the Promise Ring, a paragon of emo, seemed — to listeners who turned 19 some years earlier — sonically indistinguishable from indie rock. By 2020, “emo,” a predominately male, predominately white music of extreme earnestness, has been applied to a wide swath of artists that might seem unrecognizable to the music’s initial wave.For those who grew up in the greater D.C. area, (which musically includes Baltimore and Annapolis, Md., and all the way down the Virginia suburbs that wander toward Richmond) it seems perfectly obvious why emo started there: For about two weeks in the spring and two weeks in the fall, it’s blessed with weather so effortlessly romantic that the heart-bursting triumphalism on which the music was built seems a birthright. Here are 12 underknown bits of emo from that musically fertile region.Happy Go Licky, ‘Torso Butter’ (1987)When Rites of Spring ended, three members joined the guitarist Michael Hampton in a short-lived band called One Last Wish, which built on Rites’ melodicism. When that was done, all four Rites members — Guy Picciotto, Eddie Janney, Brendan Canty and Mike Fellows — got back together under the name Happy Go Licky and played a completely different music with nods to hip-hop, homemade tape loops, simpler riffs, slogans as lyrics and lots of guitar noise. It lasted less than a year and never cut a studio record, but its live tapes reveal a band thinking all the time about where to go next. A motto: “Nothing gets clean/’Till it’s called into question.”Fire Party, ‘Engine’ (1988)Too much of the first wave of emo, like too much rock music in general, was about men complaining about women. Fire Party was a corrective, four women whose work would seem fresh tomorrow, especially this nearly six-minute grinder, which stacks shakers on noisy bass and guitar, as the singer Amy Pickering declares, “I live a real life, the one I have now.”Shudder to Think, ‘Drop Dead Don’t Blink’ (1989)It’s astonishing to think this speedboat was an outtake for this quartet, which blended Craig Wedren’s near-operatic vibrato with complicated, sometimes hookless melodies. After an early, emo-punky LP for Sammich Records, the label run by MacKaye’s sister, Shudder to Think built an audience over three theater-kid punk records for Dischord. In 1994, it released “Pony Express Record” for the major label Epic, a deeply strange, beautifully recorded album that was largely ignored.Three, ‘Swann Street’ (1989)The acoustic opening reads as an old-school signal for sincerity, the singalong refrain invites everyone along, and the whole song is a perfect youthful fist pump. The singer and guitarist Geoff Turner (late of Gray Matter) seemed able to crank out these parts at will. And yes, the ginkgo trees that line various D.C. blocks do smell like dung.The Hated, ‘I Am a Rock’ (1990)Behold, arguably the most emo song that ever emo-ed. A thunderously savvy band from Annapolis covering a hit by a fellow middle-class outfit from 25 years earlier that also liked moping and books. This version should be laughable but sheer earnestness saves it; it’s a breathtaking tightrope walk.The Nation of Ulysses, ‘The Sound of Jazz to Come’ (1992)Quasi-academic and quasi-revolutionary manifestoes, hard bop suits, retro sleeve graphics, mod swagger, chaotic songcraft and a frenetic frontman with an almost Prince-esque scream: the Nation of Ulysses befuddled, annoyed, dazzled and slayed. Does anyone believe that Beto O’Rourke, a noted emo nerd and friend of the NOU fans At the Drive-In, named his son Ulysses after the guy in “The Odyssey”?Lungfish, ‘Broadcast’ (1992)Lungfish spawned a cult within the emo cult. The gnomic Baltimore crew was devoted to loping riffs, with a singer who sang like a mystic monk channeling transmissions from forgotten nature gods. The group just got more elliptical as time passed; this is a fairly straightforward anthem of hope after death, which runs into the album’s next song, “Descender,” about a vision too beautiful for this fallen world.Universal Order of Armageddon, ‘Visible Distance’ (1993)After the psychedelic Annapolis emo band Moss Icon ended, the guitarist Tonie Joy eventually put together this perfect next-gen emocore crew in Baltimore: the singer Colin Seven screamed, the drums of Brooks Headley (later a New York pastry chef/writer/restaurateur) rolled and slapped, and Joy’s riffs traded ring for roar.Ashes, ‘Resurrection’ (1993)Elena Ritchie’s voice provided a much-appreciated dreaminess where there would usually be male screaming; the layered harmonies add to this Bethesda, Md., band’s signature.Hose.got.cable, ‘Heraland’ (1993)This Richmond quartet excelled at something many of its heavier emo peers struggled with: killer hooks. Simple but devastating, this one was sung by its drummer, John Skaritza, who made it look easy and not ridiculous.Maximillian Colby, ‘What’s the Matter River?’ (1995)In the mid-90s, suburban Virginia hardcore kids were heading to college and starting a mess of bands that sounded like this crew from James Madison University: a slow, acidic meander of droning bass, distant guitar that suddenly snapped into focus and a singer tearing his throat out.Fugazi, ‘Glueman’ (1988)In 1987, MacKaye teamed up with Guy Picciotto and Brendan Canty from Rites of Spring and an untried bassist named Joe Lally to form Fugazi. The band knew exactly what it was getting into: The phrase “beyond emo” was hidden in a flyer for its first show. Its internationally famous work lasted until 2003, when it went on a hiatus. Of course, this band is far better known than the others on this playlist, but it is impossible to end with anything but this song, when the group was at its improvisational peak. MacKaye likes to define punk as “the free space” where ideas can flow without commercial concerns. Here, the musical space is about as free as punk gets: When that seesaw chord started, audiences knew they were about to witness an event as Picciotto threw himself into a near-trance. (This live video is from 1995.) And “Glueman” does provide a motto for emo’s whole worldview: “I spent it all.” More

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Dalton Gomez makes a cameo appearance in the hilarious skit wherein the ‘7 Rings’ hitmaker and collaborator Lady GaGa take on the roles of meteorologists for the Weather Channel.
May 27, 2020
AceShowbiz – Ariana Grande’s boyfriend Dalton Gomez proved his commitment to the singer as he made a cameo appearance in her and Lady GaGa’s hilarious new “Rain On Me” promo.
In a skit to promote their new collaboration, GaGa and Ariana take on the roles of meteorologists for the Weather Channel, with the “Poker Face” star standing under an umbrella protecting herself from the downpour as she comments: “It was beautiful just yesterday, but oh wow, how things have changed. Today it is pouring rain, we are soaking wet. While some are complaining of the recent downpour, we would like to celebrate the rain. Live from Beverly Hills is Ariana Grande with more to report.”
“Thanks, GaGa. ‘Rain on me’, tsunami,” Ariana then quips. “Water like misery, but the people are still going.”
“So true, Ariana,” GaGa replies. “The world is up in a massive act of kindness to celebrate the rain the world so desperately needs to quench the thirst of the Earth. Are we thirsty or what?.”
“Oh, we are thirsty indeed,” Ariana jokes, as the camera pans out to reveal Dalton spraying water on her umbrella with a hose. “It’ll be raining all summer but we’ll surely be dancing when it does.”
GaGa’s rain was also manmade, with an assistant wearing a face mask tasked with showering her with water.
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It’s not the first time Dalton has made a cameo in one of Ariana’s videos – the real estate agent first appeared in the music video for his girlfriend’s collaboration with Justin Bieber, “Stuck With U”.

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“Walk on, walk on/With hope in your heart/And you’ll never walk alone.”Many Americans know “You’ll Never Walk Alone” as the emotional peak of Act II in the Rodgers and Hammerstein musical “Carousel.” But in the 75 years since the number was first heard on Broadway, it has blossomed into a global anthem that strikes a strong chord during tough times.In recent weeks, it has come to embody the resilience, solidarity and need for promise required in the battle against the coronavirus — and suddenly, it seems everywhere, including a brief moment at the top of the British singles chart. Here are a few steps in the song’s evolution.‘Carousel’[embedded content]This clip from the 1956 Hollywood adaptation helps set up the song in the musical’s story line: The violent Billy Bigelow (Gordon MacRae) has died and his wife, Julie (Shirley Jones), is consoled by her cousin Nettie Fowler (Claramae Turner), who sings of succor and hope. “Carousel” opened on Broadway on April 19, 1945, and Frank Sinatra recorded a string-heavy, fairly straightforward version shortly after. Covers have been pouring out since.Gerry and the PacemakersYou may have heard of this other Liverpool hit machine managed by Brian Epstein and produced by George Martin in the early 1960s — that’s not surprising, since Gerry and the Pacemakers’ first three singles all topped the British charts. Their third No. 1 was “You’ll Never Walk Alone,” performed in 1963 with a gentle pop lilt rather than the original’s operatic grandeur. In 1985, the frontman Gerry Marsden took the song to No. 1 again with the Crowd, a supergroup convened to raise funds in the aftermath of the Bradford City stadium fire, which killed 56 people at a soccer match.Liverpool Football Club“You’ll Never Walk Alone” is such a part of Liverpool F.C. that the title is on the soccer club’s coat of arms and engraved atop Anfield stadium’s Shankly Gates. Almost immediately after Gerry and the Pacemakers turned it into a hit, the team’s supporters embraced the song as their anthem. Britain has a long, proud tradition of full-throated fans enlivening matches with chants, but few have the goosebump-triggering power of “You’ll Never Walk Alone” rising out of a sea of red shirts. (The last minute of Pink Floyd’s mellow “Fearless,” off the band’s 1971 album “Meddle,” also integrates the sound of Liverpool fans singing “You’ll Never Walk Alone.”)Richard AnthonyIn 1964, the French singer Richard Anthony (real name: Ricardo Anthony Btesh) came out with a translation that took some liberties with the original, as most adaptations at the time were wont. Suddenly, “You’ll Never Walk Alone” was a forlorn breakup ballad: “Only you, always you, I love you” and so on. To cover more of the European market, Anthony also recorded versions in Italian and Spanish.The SonicsOn their second album, “Boom,” the garage-punk band the Sonics led their own “Don’t Be Afraid of the Dark” with a quote from the Rodgers and Hammerstein tune. While “You’ll Never Walk Alone” is meant to be reassuring, the singer Gerry Roslie quickly morphs into the slightly menacing character you’d expect fronting a band whose signature songs were “Psycho” and “Strychnine.”The Madison ScoutsDrum and bugle corps have always built their repertoire out of a mix of contemporary hits, show tunes and classical pieces, but few have been identified with a song for as long as the Madison Scouts: “You’ll Never Walk Alone” has been part of this Wisconsin ensemble’s repertoire since the mid-1950s. Never underestimate the power of a large horn line gradually amping up until it can blow the hat off your head.Jerry LewisFor decades, Jerry Lewis concluded his annual telethon to raise funds for the Muscular Dystrophy Association by singing you-know-what. But this did not lessen the emotional impact for him, as you can see from this 2010 video, in which he performed “You’ll Never Walk Alone” for what he said was the 59th — and, unbeknown to him, the last — time. (Since his first telethon was in 1966, this means his association with the song went back even earlier.)Aretha FranklinAretha Franklin brought out the song’s spirituality on her best-selling gospel album “Amazing Grace,” recorded live with James Cleveland and the Southern California Community Choir in 1972. (A documentary about its making was finally unveiled in late 2018.) The track starts simply enough, with just Franklin and a piano. The band and choir come in around the four-minute mark, yet they don’t unleash their full power, and the song keeps simmering. The controlled intensity is maybe even more effective than a raise-the-roof escalation.Patti LaBelleOf course, escalation is great, too. Patti LaBelle and the Blue Belles recorded “You’ll Never Walk Alone” in 1962, and a live video from the Apollo has a casual amble — though that seemingly tossed-off final note reminds everybody who’s boss — sustained by the era’s trademark punchy soul arrangements. But it’s another Apollo performance that brings the audience to its feet, or perhaps knees. Everything is turned to 11 in 1985: the towering crest, the amped-up gospel choir, the electric delivery, the fake ending two-thirds of the way through followed by LaBelle taking everybody back to church. Hit that replay button one more time.Michael Ball, Captain Tom Moore and the NHS Voices of Care ChoirIn April, “You’ll Never Walk Alone” topped the British singles chart again, helmed — we’ve come full circle — by a musical-theater performer. Exerting maximum pressure on the lacrimal glands, the track combines the voices of Michael Ball (“Les Misérables,” “Phantom of the Opera”); Thomas Moore, a.k.a. Captain Tom (a 100-year-old World War II veteran who raised millions of pounds for charity by walking around his garden); and the NHS Voices of Care Choir. This cover somewhat eclipsed concurrent ones by the Mumford & Sons frontman Marcus Mumford and by Josh Groban.Maasstad HospitalThere is a very good chance you will tear up at this viral video of a Dutch hospital’s paramedics, nurses and doctors singing to each other through a glass door.Slicker, and perhaps a little bit more self-serving is a video Barbra Streisand recently posted, which edits together pictures of essential workers and footage of her performing “You’ll Never Walk Alone” in tribute to the Sept. 11 victims at the end of the 2001 Emmy Awards.More upbeat is the Brussels Jazz Orchestra’s gently swinging take, recorded “for the brave who care for the sick, for everyone who stays at home to save others. You’re not alone!” More

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A post on the president’s official Snapchat account features Tip’s ‘Whatever You Like’ with parts of its lyrics being swtiched to diss the Democratic presidential candidate.
May 27, 2020
AceShowbiz – Donald Trump is once again risking himself of getting hit with allegation of illegal use of an artist’s work to attack his political enemy, Joe Biden. In a sly move likely to appeal to young demographic, the president’s reelection campaign team has repurposed T.I.’s “Whatever You Like” as a diss song aimed at the Democratic presidential candidate.
On Trump’s official Snapchat account, his team posted slideshow of images of Biden with T.I.’s song playing in the background. However, instead of its original lyrics, “I want yo’ body, need yo’ body/ Long as you got me you won’t need nobody,” Trump’s clip has T.I. saying, “I don’t want Joe Biden, need Joe Biden/ As long as you got me you won’t need Joe Biden.”
T.I. has not publicly responded to Trump’s use of his song, but it’s safe to say that he won’t be happy about it. The rapper previously made public of his disapproval of the president when he was elected into the office in 2016.
“Donald Trump, this message is for you. My name is Clifford ‘T.I.P.” Harris,” the Atlanta rapper said in a clip posted on Instagram at the time. “I say this as nonviolently but unapologetically as possible. F**k you and f**k what you stand for. Nobody who support me will support you.”

Last September, he also spoke against what Trump stands for while criticizing conservative figure Candace Owens’ support for the president. “When you say ‘Make America Great Again,’ which period are we talking about?” he said. “The period when women couldn’t vote, the period when we were hanging from trees, or the crack era? Which period in America are you trying to make America like again?”
Meanwhile, social media users have called out Trump and his team for the use of T.I.’s song, with one remarking, “Wheww the desperation.” Some others predicted it’s only a matter of time before Tip slammed Trump for the unauthorized use of his song.
“T.I. Bout to turn his vernacular up [100]…dictionary in hand!” one wrote. Another commented, “I need @troubleman31 to come through with a strongly worded cease and desists! Expeditiously.”

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