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    The Death of Pop Smoke and the Future of Brooklyn Drill

    Pop Smoke was just 20 when he was killed this month, barely 18 months into a hip-hop career that was bursting with potential. He had a handful of hits, a growing set of collaborators and an increasingly itinerant lifestyle that took him far from Canarsie, in Brooklyn, where he was raised.Pop Smoke was also the most promising artist to emerge from the Brooklyn drill scene, which has been percolating over the last three years, and has now been dealt a severe blow. He wasn’t the scene’s only star — it also features rappers including Sheff G, Fivio Foreign and Smoove’L — but he was the one poised to carry the sound out to the world.On this week’s episode, a discussion of the too-brief career of Pop Smoke: his music, his personality, his rapid rise and the scene he helped spotlight.On the Popcast:Alphonse Pierre, a staff writer at Pitchfork More

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    50 Cent Clowns Def Jam Recordings, Wants to Fill In CEO Position

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    Playing along with Fiddy’s joke, fans in the replies are all in for the idea as one has listed what he wants the rapper to do should the hip-hop mogul really take over the label.
    Feb 28, 2020
    AceShowbiz – Another day, another trolling. 50 Cent is back at it again with his online antics, and he recently took to his Twitter account to joke about taking over the CEO position at Def Jam Recordings following the departure of Paul Rosenberg.
    “I have decided to take the Job at Def Jam,” the rapper and “Power” executive producer joked on Thursday, February 27. “Somebody gotta do it, who better then me.”
    He followed it up with a tweet that read, “wait let me see, what they got first,” alongside a picture of the label’s logo.

    50 Cent trolls Def Jam Recordings on Twitter.
    Playing along with Fiddy’s joke, fans in the replies were all in for the idea. “50 please get them to make another def jam video game like the second one and nothing like icon. Thanks 50. G unit,” one wrote. Trolling back, someone tweeted, “U gna do nothing but bully every other Major Label President… I WANT MY MONEY BY MONDAY YOUR IM KIDNAPPING YOUR ARTIST.’ ”
    Meanwhile, a fan listed what he wanted Fiddy to do should the hip-hop mogul really take over the company. “FIGHT FOR NY REMAKE. it’s what the people deserve. Add new fighters, get some Detroit blood in there,” the person demanded.
    Fofty’s tweets arrive after Rosenberg announced on Friday, February 21 that he stepped down from the CEO position following two years with the label. Explaining that it was just a bit too much with everything else that he has going on, Rosenberg said, “Lucian offered me a dream opportunity to serve at the helm of Def Jam. The experience I had running one of the greatest, most storied record companies of the modern era was incredible.”
    “I will remain forever grateful. I’ve learned a great deal, but one of the most important things I learned is that my ability to multi-task is not without limits,” so Rosenberg, who is also Eminem’s longtime manager, concluded his statement.
    Despite the announcement, he will still stay with company as he plans to transition into a new role as head of a new joint venture with Universal Music Group and Goliath Records. Roserberg, who previously replaced Steve Bartels after the latter served as Def Jam CEO from 2013-2017, will also continue his work with Em and Shady Records.

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    Lady GaGa Is a Pink Alien in 'Stupid Love' Music Video

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    The much-anticipated visuals features two men fighting in a desert alien world before the pop superstar, who sports an all-pink ensemble, shows up to put an end to the fuss.
    Feb 28, 2020
    AceShowbiz – Lady GaGa is returning to her quirky musical roots. Following much anticipation, the pop superstar has released her first solo single in three years entitled “Stupid Love” along with its accompanying music video that finds her portraying a pink-haired extraterrestrial beauty.
    The visuals opens with an introduction that read, “The world rots in conflict. Many tribes battle for dominance, While the Spiritual ones pray and sleep for peace, and the Kindness punks fight for Chromatica…” The scene then changes to show two men fighting in a desert alien world until a pink-haired GaGa shows up to put an end to the fuss.
    In the music video, there are also scenes of the singer dancing while singing along to the song. “Now it’s time to free me from the chain/ I gotta find that peace, is it too late or.” she sings in the second verse. “Could this love protect me from the pain?/ I would battle for you (Even if I break in two).”
    Produced by BloodPop, “Stupid Love” serves as the lead single off GaGa’s upcoming sixth album that still doesn’t have a title nor a release date. Details of the album are also currently scarce as of now. It will be her first solo album since 2017’s “Joanne”, which debuted atop Billboard 200 and became her fourth album to top the weekly chart. Receiving positive reviews from music critics, it was nominated for Best Pop Vocal Album at the 60th Annual Grammy Awards while its title track won Best Pop Solo Performance.
    Last year, GaGa also won Best Pop Duo/Group Performance and Best Song Written for Visual Media for her Bradley Cooper duet “Shallow” that served as the soundtrack to “A Star Is Born”. The song was additionally named Best Original Song at the 2019 Academy Award, earning GaGa her first Oscars win.

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    RuPaul Takes Shots at Jimmy Fallon on New Song 'I'm That B***h' for Calling Him Drag Queen

    WENN/Judy Eddy

    His diss is a reference to his viral ‘The Tonight Show Starring Jimmy Fallon’ appearance on which he playfully corrected Jimmy for calling him the first drag queen to grace Vanity Fair’s cover.
    Feb 28, 2020
    AceShowbiz – RuPaul is apparently not done messing up with Jimmy Fallon over the latter’s near-fatal blunder. Weeks after his playful correction at “The Tonight Show Starring Jimmy Fallon” host’s “Drag Queen” reference became viral, the “RuPaul’s Drag Race” host released a new song titled “I’m That B***h” that took a shot at the comedian again.
    A 1-minute preview of the diss track, which was obtained by Entertainment Weekly, hears RuPaul rapping about Fallon’s unintentional offensive remarks. “Had to almost cancel Jimmy, put him in a bodybag. He called me a drag queen? B***h, I’m the queen of drag!” the Emmy Awards winner spits. “In case you forgot, let me remind you that I, I, I’m that b***h!”
    “I’m that B***h” was written by the 59-year-old TV personality along with music collaborator Leland, Freddy Scott and Tom Campbell. It will be made available for streaming and download on Friday, February 28 after the Season 12 premiere of “RuPaul’s Drag Race”. A cast-assisted version of this song will also debut on the premiere night.
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    RuPaul and Fallon made headlines earlier this February when he stopped by for an interview aired on February 6. At one point of their chat, Fallon brought up the topic of RuPaul being the first “Drag Queen” to land on the cover of Vanity Fair magazine. To Fallon’s surprise, RuPaul snapped at his reference, exclaiming in return, “A drag queen? A drag queen? I am the queen of drag!”
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    The awkward moment has since gone viral with Fallon weighing on his slip up less than a week later. “I really thought it was over,” he confessed on his late night talk show. ” ‘That’s it. I’m canceled, I have to start up my own #JimmyFallonIsOverParty.’ I had a good run, you know, 10 years in the business… I was like ‘wait what did I do wrong?!’ ” He added, “My thanks to RuPaul, we love you. That was a very funny moment.”

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    Taylor Swift Channels Leonardo DiCaprio as a Man in New Music Video

    The ‘Lover’ singer transforms into a man and recreates scenes from Martin Scorsese’s ‘The Wolf of Wall Street’ in a music video supporting her feminist anthem ‘The Man’.
    Feb 28, 2020
    AceShowbiz – Taylor Swift donned drag to transform herself into an obnoxious, hard partying man for her new music video.
    The “Bad Blood” hitmaker has directed the promo for the track “The Man”, from her “Lover” album, and went through an intensive makeup transformation to play a sexist playboy in the short film, which debuted Thursday, February 27, 2020.
    In the video, Taylor as The Man berates co-workers in an office, manspreads on the subway while smoking a cigar, urinates on a station wall, parties with bikini-clad models on a yacht, and throws a tantrum at a women’s charity tennis tournament.
    At the end of the video, Taylor, as director, is shown talking to the actor playing The Man, voiced by Dwayne “The Rock” Johnson, and tells him he needs to be “sexier” and “more likeable.” The credits then reveal the makeup transformation the 29-year-old popstar underwent to play the role.
    It also contains a dig at music manager Scooter Braun, who she has feuded with over his decision to buy up her back catalogue, and a jokey namecheck for Leonardo DiCaprio – with many of the video’s scenes bearing a resemblance to his movie “The Wolf of Wall Street”.
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    Before releasing the video, the star hosted a YouTube Q&A session with fans in the comments section of her YouTube Premiere account, revealing what it was like to direct the video – and hinted at some of its secrets.
    “I loved the months of prep, meetings, location scouting, set design, mood boards, deciding every detail down to the wardrobe each actress/actor wore and working with them on set,” she wrote. “So um all of it.”
    She also described the person playing The Man as “A bo$$” and hinted that there would be cameos in the video “but not in the way you think.”
    One person who does make a full cameo in the video is Taylor’s dad Scott, who appears briefly as a tennis umpire.

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    What Do Those Spotify ‘Top Fans’ Messages Mean?

    This week, Spotify sent some unspecified portion of its hundreds of millions of users a message. The message told those users something important.“You are one of Taylor Swift’s top fans worldwide,” one iteration of this message said. “You’re one of their top 1% fans. Hit Play on their radio and we’ll provide an endless stream of their music.”People received similar messages about a wide array of artists in the app: Kendrick Lamar, the Barenaked Ladies, Tove Lo, the Doors and many, many more. The Spotify users weren’t always in the top one percent of fans; some messages claimed listeners ranked in the top two or three percent of the artists’ fans.Many reacted to these messages as Spotify might have hoped they would, sharing them with friends and with followers on social media. Regina Anderson, 22, was one of many people told they were among Ms. Swift’s top fans and who, upon receiving the message, broadcast it widely.But something struck Ms. Anderson, a communications assistant in Washington, D.C., about the message.“The way that they phrase it is a little weird,” she said. “It just seems odd. I guess one percent of Taylor Swift’s monthly listeners is 300,000 or something like that.” She wondered how many other people had received the same message.Peter Collins, a spokesperson for Spotify, declined to provide any information on how many fans received them, how the percentages were calculated or what it meant to be in a top percentile of an artist’s fan base.Mr. Collins did classify the messages as a “test.”“At Spotify, we routinely conduct a number of tests in an effort to improve our user experience,” he said in a statement. “Some of those tests end up paving the path for our broader user experience and others serve only as an important learning. We aren’t going to comment on specific tests at this time.”Like many other media platforms, Spotify has made no secret of its practice of collecting user data. It often incorporates that data into its marketing, feeding it back to users in order to promote itself. This practice is most prominent during its annual year-end Spotify Wrapped marketing campaign, in which the streaming platform provides users with a short presentation about their most-played artists and songs. In late 2019, Spotify Wrapped allowed users a window into their listening habits since 2010.“Spotify has user listening analytics data dating back to our first years as a streaming platform,” some of its engineers explained in a blog post about that project.But while the Spotify Wrapped campaign provides more context for the data it offers users, the messages this week were more difficult to parse. Spotify collects data, uses that data to market its features — in this case, artist-specific playlists — but will not give its users any insight into what the data means, or even whether it represents something real.“I thought it was kind of random given that it’s not the end of the year, it wasn’t part of a roundup, it was just like ‘oh hey by the way,’” said Kasey Carlson, 22, who was told that she was one of Chance the Rapper’s top fans. (Her favorite song of the artist’s is “Cocoa Butter Kisses.”)Cherie Hu, who writes the music technology newsletter Water and Music, said that the test was typical of Spotify’s lack of transparency.“What that message does is it reduces fandom to a very surface-level metric on Spotify,” she said. “This raises a question for me of how Spotify is actually calculating fandom. Are they calculating it just by the number of streams? Are they tracking it by how many people go to the artist page?”In some ways, what Spotify is doing is familiar, as anonymized data becomes a key component of how marketers appeal to customers. Jeff Chester, the head of the nonprofit Center for Digital Democracy, said that such practices had become commonplace.“Just think about going into the supermarket and getting mobile coupons,” he said. “All of that is tied together as part of the profiling process of you and you have no idea how it’s collected or what it means.”But these latest Spotify messages are different in two key ways. The first is that they purport to share the service’s information directly with users. And the second is that its data is centered on music, a particularly personal and personality-revealing aspect of peoples’s lives. Matthew Perpetua, a longtime music blogger and a former director of quizzes at BuzzFeed, said that the way that Spotify served up data to users was reminiscent of a personality quiz.“In this case, the quiz itself is just your engagement with Spotify,” he said. “In lieu of answering random questions that have been put before you, you’re just going about your life and listening to what you want. And they turn it into a quiz or game where they’re like, ‘This is who you are.’”Or not. While many who posted about the Spotify messages identified as fans of the artists they were being told they were fans of, others were baffled.Matt Moore, a 33-year-old software developer in New Jersey, was told on Thursday that he is one of Cake’s top fans.“I mean, I’m a moderate Cake fan,” he said. “I wouldn’t say I’m in the one percent. I listen to Cake every now and then.”Mr. Moore said that the message was confusing. “For the most part it makes me feel bad for Cake,” he said. “If I’m their number one biggest fan, then it’s saying something.” More

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    Maren Morris and Thomas Rhett Dominate Nominations at 2020 ACM Awards

    WENN/Judy Eddy

    The upcoming 55th annual Academy of Country Music Awards is going to be hosted by one of the nominees Keith Urban at the MGM Grand Garden Arena in Las Vegas.
    Feb 28, 2020
    AceShowbiz – Maren Morris and Thomas Rhett lead the nominees for the 2020 Academy of Country Music (ACM) Awards with five nominations each, combining their appearances and production credits.
    Maren earned her five nominations across four categories, including Female Artist of the Year, Album of the Year for “GIRL”, Music Event of the Year for her involvement on Miranda Lambert’s “Fooled Around and Fell In Love”, and Group of the Year for her work with The Highwomen.
    Meanwhile, Thomas was also nominated in four categories, including Entertainer of the Year, Male Artist of the Year, Album of the Year for “Center Point Road”, and Video of the Year for “Remember You Young”.
    Maren will face off against Kelsea Ballerini, Miranda Lambert, Kacey Musgraves, and Carrie Underwood for Female Artist of the Year, while Thomas has competition from Dierks Bentley, Luke Combs, Chris Stapleton, and Keith Urban for Male Artist of the Year.
    Elsewhere on the shortlist, pop star Justin Bieber also bagged an impressive four nominations for his Dan + Shay collaboration “10,000 Hours”, tying country stars Old Dominion and Blake Shelton who were also successful on the shortlist.
    Rapper Lil Nas X was also nominated for his crossover hit, “Old Town Road”, featuring Billy Ray Cyrus, for Music Event of the Year.
    Women are represented in every major category where they are eligible for the 2020 ACM Awards, including Entertainer of the Year (Carrie Underwood) and album of the year (Maren Morris and Miranda Lambert).
    The awards have faced criticism in years past for their failure to include major female country artists in top categories, with last year’s host Reba McEntire commenting of the past disparities, “It doesn’t make me very happy because we’ve got some very talented women out there who are working their butts off.”
    There were also an impressive twenty-five artists and industry creators who received nominations for the first time, including country music singers Lauren Alaina and Ashley McBryde.
    The nominations were announced on Thursday, February 27, 2020, with Keith Urban also named as the host of the ceremony, replacing Reba, who helmed last year’s prizegiving for the 16th time.
    The 55th ACM Awards take place at the MGM Grand Garden Arena in Las Vegas on April 5.

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    Review: Lisette Oropesa Makes ‘La Traviata’ Her Own

    At 36, the soprano Lisette Oropesa is in the midst of what should be a star-making season at the Metropolitan Opera. This fall she won rave reviews and ardent ovations in the title role of Massenet’s “Manon.” And on Wednesday, she sang her first performance with the company as Violetta in Verdi’s “La Traviata.”It can be hard for a soprano to stand out among the enormous horde of singers who have taken on this touchstone role. And Ms. Oropesa is following Aleksandra Kurzak’s riveting account at the Met last month, when Michael Mayer’s 2018 production returned.But combining exquisite singing, youthful allure, affecting vulnerability and, by the end, bleak intensity, Ms. Oropesa emerged on Wednesday as a major Violetta.In Act I, when Violetta, a charming courtesan, is throwing a lavish party, a soprano must summon flights of coloratura brilliance and coquettish sparkle. Ms. Oropesa breezily dispatched runs and embellishments as she mingled with her guests and met Alfredo, the smitten young man from a bourgeois family who has been pining for her from afar.Yet you could detect a trace of forced vivacity in Ms. Oropesa’s interpretation, an intentional touch of tremulous fervor in her sound, even as she let bright-voiced, ebullient phrases soar. Here was a young woman determined to prove that she was undaunted and would remain, as she later sings, “sempre libera”: always free.Her Alfredo was the tenor Piero Pretti, who took on the role after the star tenor Vittorio Grigolo was fired in December following allegations of inappropriate behavior. Mr. Pretti, who has a warm, mellow voice, came across as an earnest young man, in awe of the glamorous Violetta, and a bit clueless.That could have made for a weak Alfredo. But paired with Ms. Oropesa’s larger-than-life Violetta, his demeanor worked. And you understood why this nice-guy type would appeal to her. In Act II, when she and Alfredo have fled Paris to enjoy their love in the country, it made sense that Alfredo was truly shocked to learn that Violetta was selling her possessions to support their life.During the long scene with Germont, Alfredo’s disapproving father, Ms. Oropesa’s singing was wonderful, and exquisitely sad in the aching “Dite alla giovine,” in which Violetta agrees to give up Alfredo so that his sister’s marriage plans will not be derailed by the scandal of the family’s new connection to a courtesan. And in Violetta’s great aria in the final act, “Addio del passato,” Ms. Oropesa poignantly balanced bleak expressivity with arching lyricism.The baritone Luca Salsi brought a robust, if somewhat blunt, voice to Germont; some passages of blustery excess marred his essentially honorable singing. Maria Zifchak (as Annina, Violetta’s maid) and Kevin Short (as the devoted Dr. Grenvil) gave touching performances of short but crucial roles. The conductor Bertrand de Billy drew a stylish, vibrant and sensitive performance from the Met Orchestra.He certainly had an inspiring Violetta to work with.La TraviataThrough March 19 at the Metropolitan Opera, Lincoln Center; 212-362-6000, metopera.org. More