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      BTS Bosses Sign Billion Dollar Deal With Scooter Braun

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      Facebook/WENN

      The bosses at Bangtan Boys’ record label have merged their company with the firm owned by Justin Bieber’s manager to become one of the world’s biggest entertainment groups.

      Apr 3, 2021

      AceShowbiz –
      BTS’ company has merged with music mogul Scooter Braun’s Ithaca Holdings as part of a deal valued at over $1 billion.

      Bosses at HYBE – formerly Big Hit Entertainment – will acquire a 100 per cent stake in Ithaca Holdings and its properties, including SB Projects and clients Justin Bieber, Ariana Grande, and Demi Lovato, as well as Taylor Swift’s former record company Big Machine Label Group, while Scooter will join the board of HYBE, according to a press release obtained by Variety.

      As a result, HYBE will become one of the world’s biggest entertainment companies.

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      “The inevitable joining of HYBE and Ithaca Holdings marks the start of a new adventure no one could have possibly imagined,” the release reads. “The two companies will work closely together leveraging our proven track records of success, know-how, and expertise to create synergy, transcend borders and break down cultural barriers.”

      “Please look forward to the endless possibilities of HYBE and Ithaca Holdings, and the new paradigm the partnership will establish in the music industry,” said HYBE chairman and CEO Bang Si-Hyuk.

      Meanwhile, Braun adds, “This will be the first time HYBE’s groundbreaking systems and curation will be integrated in the U.S. market at the onset of an artist’s career. Plus, it will help us to continue to further the careers of the artists we already work with.”

      “Global opportunities for artists become exponential with this partnership. This is an opportunity for us to make history and further innovate the music industry and revolutionize the game itself. Its implications for the business will be monumental for a long time to come. I am incredibly grateful for Chairman Bang’s friendship and his willingness to support the creative journey of an artist.”

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      Malcolm Cecil, Synthesizer Pioneer, Is Dead at 84

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      His massive machine, known as TONTO, helped transform the music in Stevie Wonder’s mind into classic albums like “Innervisions.”Malcolm Cecil, a British-born bassist with the soul of an engineer who revolutionized electronic music by helping to create a huge analog synthesizer that gave Stevie Wonder’s albums a new sound, died on Sunday at a hospital in Valhalla, N.Y. He was 84.His son, Milton, said the cause had not yet been determined.Mr. Cecil, a loquacious man with a head full of curls, had played the upright bass in jazz bands in England and was the night maintenance engineer at Mediasound Studios in Manhattan in 1968 when he met Robert Margouleff, a film and record producer who owned and operated a Moog synthesizer there.“He said, ‘Robert, if you show me how to play the synthesizer, I will teach you how to become a first-class recording engineer,’” Mr. Margouleff said in a phone interview. “We had a deal.”They began designing and building what would become The Original New Timbral Orchestra, or TONTO. Starting with the Moog and adding other synthesizers and a collection of modules, some of them designed by Mr. Cecil, they created a massive semicircular piece of equipment that took up a small room and weighed a ton. It could be programmed to create a vast array of original sounds and to modify and process the sounds of conventional musical instruments.As they continued to develop it, Mr. Cecil and Mr. Margouleff recorded an album, “Zero Time” (1971), under the name TONTO’s Expanding Head Band.Reviewing “Zero Time” in Rolling Stone, Timothy Crouse wrote: “Like taking acid and discovering that your mind has the power to stop your heart, the realization that this instrument can do all sorts of things to you, now that it has you, is unsettling.”The album attracted the attention of Mr. Wonder, who had just turned 21 when he showed up at Mediasound on Memorial Day weekend in 1971. Mr. Cecil lived in an apartment above the studio so that he would be available to fix anything that might go wrong, day or night.“I get a ring on the bell,” Mr. Cecil told Red Bull Music Academy in 2014. “I look out; there’s my friend Ronnie and a guy who turns out to be Stevie Wonder in a green pistachio jumpsuit and what looks like my album under his arm. Ronnie says, ‘Hey, Malcolm, got somebody here who wants to see TONTO.’”What started as a demonstration of TONTO for Mr. Wonder turned out to be a weekend-long recording experiment. Seventeen songs were recorded, and a collaboration was born.Over the next three years, TONTO became a significant sonic element of Mr. Wonder’s music on the albums “Music of My Mind” and “Talking Book,” both released in 1972, and their follow-ups, “Innervisions” (1973) and “Fulfillingness’ First Finale (1974).In an interview in 2019 with the music website Okayplayer, Mr. Cecil described part of the creative process behind the recording of “Evil,” the last track on “Music of My Mind.”“If you listen to ‘Evil,’ it has a fantastic opening, which is all TONTO, and the sound of it was classical,” he said. “There was an oboe sound. There was a horn sound and a foreboding bass.” He added, “When Stevie wanted something, he would explain what he heard in his head, and we would attempt to create it as closely as possible.”The experience of working with Mr. Wonder was, Mr. Margouleff said, “very much in the moment; nothing was preplanned. It was all intuitive and wonderful.”From left, Mr. Cecil, Stevie Wonder and Mr. Margouleff in the studio. The three collaborated on the albums “Music of My Mind,” “Talking Book,” “Innervisions” and “Fulfillingness’ First Finale.”via Robert MargouleffMr. Cecil and Mr. Margouleff at the 1974 Grammy Awards. They won for their engineering of “Innervisions.”via Robert MargouleffMr. Cecil and Mr. Margouleff won the Grammy Award for their engineering of “Innervisions,” which included the hit songs “Living in the City” and “Higher Ground.” Mr. Wonder won Grammys that year for album of the year and for best rhythm and blues song, for “Superstition,” which blended Mr. Wonder’s playing on drums and clavinet with a funky bass sound provided by TONTO.Mr. Cecil and Mr. Margouleff’s partnership with Mr. Wonder ended after four albums.“We never got the business part of our relationship with Stevie together,” Mr. Margouleff said. “Business issues made our relationship untenable.”A year later — following technical difficulties during Billy Preston’s live TONTO performance on the NBC music show “Midnight Special” — Mr. Margouleff and Mr. Cecil broke up.Malcolm Ian Cecil was born on Jan 9, 1937, in London. His mother, Edna (Aarons) Cecil, was an accordionist who played in bands, including one, composed entirely of women, that entertained troops during World War II. His father, David, was a concert promoter who also worked as a professional clown under the name Windy Blow. They divorced when Malcolm was very young.Malcolm started playing piano when he was 3 and took up drums a little later. He began to play the upright bass as a teenager and was soon playing in jazz clubs. He studied physics for a year at London Polytechnic before entering the Royal Air Force in 1958. His three years as a radar operator prepared him for future studio work.After his discharge, he was the house bassist at the saxophonist Ronnie Scott’s nightclub in London, where he played with visiting American musicians like Stan Getz and J.J. Johnson; a member of Alexis Korner’s Blues Incorporated, a band whose evolving cast at various times included Charlie Watts and Jack Bruce; and the principal bassist of the BBC Radio Orchestra. He also had a business building public address systems and other equipment for musicians.Suffering from collapsed lungs, Mr. Cecil decided he needed a warmer climate and moved to South Africa, where he continued playing bass. But he disliked living amid apartheid.He sailed to San Francisco in 1967 and then headed to Los Angeles, where he spent a year as the chief engineer at Pat Boone’s recording studio. He later moved to New York City, where he worked at the Record Plant for six weeks before being hired as the maintenance engineer at Mediasound.He admired the Moog synthesizer IIIc at Mediasound but did not meet Mr. Margouleff until his fifth night there. They quickly began recording experimental psychedelic music together, and six months later the jazz flutist Herbie Mann signed them to his Embryo label.The first track they recorded for what would be their album “Zero Time” was “Aurora,” which was originally 23 minutes long. “I said, ‘Malcolm, I’m not even sure it’s music,’” Mr. Margouleff recalled. They cut its length by two-thirds.Mr. Cecil and Mr. Margouleff turned TONTO into the most advanced synthesizer in music. It was used, largely in its 1970s heyday, on recordings by Richie Havens, the Doobie Brothers, James Taylor, Quincy Jones, Joan Baez, Little Feat and others.Mr. Cecil in 2018 at the National Music Center, in Calgary, Alberta, where TONTO currently resides, and where its impact was celebrated at a five-day event.Sebastian BuzzalinoIn the 1980s and ’90s, Mr. Cecil produced several of Gil Scott-Heron’s albums and produced or engineered albums by the Isley Brothers, Ginger Baker, Dave Mason and other artists. He also played bass on Mr. Scott-Heron’s 1994 album, “Spirits.” Mr. Margouleff went on to produce the rock band Devo.TONTO’s Expanding Head Band released one more album, “It’s About Time,” in 1974. “Tonto Rides Again,” a digitally remastered compilation of the two earlier albums, was released in 1996.“Margouleff and Cecil were about 30 years ahead of their time when they started this project,” Jim Brenholts wrote in a review of “Tonto Rides Again” on AllMusic.In addition to his son, Milton, Mr. Cecil is survived by his wife, Poli (Franks) Cecil.TONTO had several homes in New York City, including Jimi Hendrix’s Electric Lady Studios; it also spent time in Los Angeles and in a converted barn owned by Mr. Cecil in the Hudson River town of Saugerties, N.Y.In 2013, TONTO was acquired by the National Music Center in Calgary, Alberta, where it was restored and its impact celebrated in a five-day event in 2018. A Tribe Called Red, a Canadian electronic-music duo that admires TONTO and considers it an influence, performed there, and Mr. Cecil gave a demonstration.A member of the band, Ehren Thomas, compared TONTO to the combination spaceship and time machine on a long-running British TV series.“It’s like the Tardis in ‘Doctor Who,’” he told the CBC, “because you can’t program it to do something specifically. You can set up the parameters and ask TONTO to do what you want, but what comes out is beyond your control.” More

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      Lil Nas X Says Controversial 'Montero' Music Video Was 100 Per Cent His Idea

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      The ‘Old Town Road’ hitmaker talks about his newly-premiered music video ‘Montero (Call Me by Your Name)’ and claims he came up with ‘everything in general.’

      Apr 3, 2021

      AceShowbiz –
      Lil Nas X takes the credit for his controversial “Montero (Call Me by Your Name)” music video.

      The rapper, 21, launched the video last week (ends28Mar21), which is full of references to Greek Mythology and sees the hitmaker share a kiss with an alien and dance with the devil. In a new interview for the “Spout” podcast, the “Old Town Road” star, real name Montero Lamar Hill, explains his contribution to his music video concepts.

      Asked if he gives input to the costumes he wears and he said, “Ohh, one hundred (per cent)! Especially with music videos, and you know, everything in general like, I have my amazing stylist Hodo.”

      “We work together and we create these characters and we create these moments.”

      Taking about his music videos and the concepts for them, Nas X added, “I write out the treatment for my music videos.”

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      “Like, in this part let’s have this happen, let’s have this happen, this is the theme, and you know pretty much… which is a very fun thing to be a part of, the actual process itself.”

      The music video sparked response from fellow artist FKA twigs. She reached out to the rapper to point out similarities between her work and his.

      He was quick to address the matter, “I was not aware that the visual would serve as a major inspiration for those who worked on the effects of my video.”

      But he was grateful to FKA twigs for letting him know about the issue, “I want to say thank u to twigs for calling me and informing me about the similarities between the two videos, as i was not aware they were so close. was only excited for the video to come out. i understand how hard you worked to bring this visual to life. you deserve so much more love and praise.”

      She responded in kind, “Thank you @lilnasx for our gentle honest conversations and for acknowledging the inspiration cellophane gave you and your creative team in creating your iconic video!”

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      Constance Demby, New Age Composer, Is Dead at 81

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      Ms. Demby wrote ethereal, otherworldly music and played much of it on instruments of her own making, including one she called the Space Bass.Constance Demby, whose ethereal music, some of it played on instruments she designed, was much admired by New Age adherents, spiritual seekers and fans of electronica, died on March 19 in Pasadena, Calif. She was 81.Her son and only immediate survivor, Joshua Demby, said the cause was complications of a heart attack.Ms. Demby’s 1986 album, “Novus Magnificat: Through the Stargate,” was a breakthrough for both her and the New Age genre, selling more than 200,000 copies, a substantial figure for that type of music. Pulse magazine named it one of the top three New Age albums of the decade and called it “a landmark, full-length electronic symphony reminiscent of Baroque sacred music with crystalline effects that take you out of the realm of everyday experience.”Ms. Demby’s album “Novus Magnificat: Through the Stargate,” released in 1986, sold more than 200,000 copies, a substantial figure for New Age music.Constance DembyMore recently, tracks like “Alleluiah” and “Haven of Peace” from “Sanctum Sanctuorum,” a 2001 release, have been drawing attention from a new generation of fans, said Jon Birgé, owner of Hearts of Space Records, Ms. Demby’s label for the past 20 years.Ms. Demby viewed sound, when harnessed properly, as having transformative and even healing power.“Music is a realm of consciousness the listener enters by traveling on a beam of sound,” she told Malibu Surfside News in 2010. “It opens the heart.”Eleni Rose-Collard, her former assistant, saw the effects of Ms. Demby’s music on audiences, including those who came to her studio for small-scale house concerts.“Her home concerts were magical, immersive, healing, profound,” Ms. Rose-Collard said by email. Ms. Rose-Collard herself experienced those effects.“One of my deepest memories was being there with her while she was composing ‘Novus Magnificat,’” she said. “I was across the room, I fell to my knees, crawled to her, put my head in her lap and sobbed.”Ms. Demby’s studio was full of synthesizers, computer monitors and various instruments, including one she named the Space Bass, which she created in the 1960s when she was an artist in Manhattan’s SoHo neighborhood making sculptures.“I brought this 10-foot-long sheet of mirror-finished steel to the studio and hung it up to start torching it,” she recalled in the 2010 interview — and she was transfixed by the sounds that emanated from the metal when it wobbled. She added some brass and steel rods and other refinements, and the Space Bass was born.There was also the Whale Sail, another sheet-metal creation, as well as a hammered dulcimer that she and the noted instrument maker Sam Rizzetta designed especially to reach notes lower than a traditional hammered dulcimer can produce.“It ended up being almost five feet long,” Ms. Demby wrote on her website, “because that low C string demanded a certain length in order to achieve the note. The resonance is such that the sound of one string being struck hangs in the air for nearly 15 seconds.”The writer Dave Eggers, a nephew, recalled how his aunt’s albums and artworks had brightened his youth in Chicago.“Whenever Connie would create a new album, she’d send it to us,” he said by email, “and the contrast between our many-shades-of-brown house and her records and posters, all with ethereal themes and rainbow colors, was dramatic.”Later he would visit the studio where she made her music.“In her place in Sierra Madre, in a light-filled front room, the Space Bass made sounds of thunder and crashing oceans,” Mr. Eggers wrote. “Most of her compositions were otherworldly — as if she were composing the soundtrack to the next world.”Ms. Demby in 2015 at the Space Bass, an instrument she created in the 1960s when she was an artist in SoHo making sculptures.Michael McCoolConstance Mary Eggers was born on May 9, 1939, in Oakland, Calif. Her father, John, was an advertising executive, and her mother, Mary Elizabeth (Kingwell) Eggers, was a homemaker.She grew up in Greenwich, Conn. When she was 8, her mother acquired a grand piano, which sparked Connie’s interest in music.“I watched her two hands interacting,” she said. “Within days I was taking piano lessons.”Ms. Demby married David Demby in 1961 (the marriage would end in divorce), and she spent much of that decade in New York, where she fell in with musicians like Robert Rutman, who would become well known as a multimedia artist. In 1966 Ms. Demby relocated to Maine, and soon Mr. Rutman did, too. Around 1970 she joined him in the Central Maine Power Music Company, a performance group that made much of its music with homemade instruments.“It has given concerts in various auditoriums,” a local newspaper wrote of the group, “sometimes playing to large, enthusiastic audiences, and sometimes playing to a baffled and resistant handful.”Ms. Demby in the 2000s on the terrace of her home in Spain, where she lived for a time before settling in California. Constance DembyMs. Demby lived in Spain for a time before settling in California. She took her music all over the world. Mr. Eggers recalled her telling stories of performing at Stonehenge in England and at the foot of the pyramids at Giza in Egypt. She often performed at planetariums and other astronomy facilities, including the Mount Wilson Observatory in California.Her music was used or sampled in a number of films. Her other albums include “Set Free” (1989), “Aeterna” (1994) and “Spirit Trance” (2004).“What Demby likes to do,” Ms. Demby told The Los Angeles Times in 2000, “is to play energy, and play the audience as one of her instruments.”Mr. Eggers said he had spoken frequently to his aunt, most recently a few weeks ago, when her health was failing.“Her memory was not good, and she couldn’t remember many friends or any recent events,” he said. “But she knew her music. She knew everywhere she’d played, and the name of every composition.”“Out of nowhere she began talking about heaven,” he added. “‘I think I’ll be welcomed there,’ she said. ‘I think they’d like the music I made, and they’ll open the gates for me.’” More

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      Demi Lovato Addresses Sexuality and Ex-Boyfriend in New Songs

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      The ‘Dancing With the Devil’ star gets candid about her sexual preference in new track ‘The Kind of Lover I Am’ and talks about a failed relationship in another ’15 Minutes’.

      Apr 3, 2021

      AceShowbiz –
      Demi Lovato has stunned fans with the lyrics of her new song “The Kind of Lover I Am”, insisting she doesn’t care what sort of genitalia a lover has.

      The pansexual pop star released her new album, “Dancing With the Devil… The Art of Starting Over”, on Friday (02Apr21), and one new track is raising eyebrows.

      In “The Kind of Lover I Am”, Demi references Cardi B and Megan Thee Stallion’s 2020 hit “WAP” and sings, “If somebody comes along /And they just look at me the right way and they tell the right joke /I don’t care if you’ve got a d**k /I don’t care if you got a WAP /I just wanna to love.”

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      She also insists she likes the single life after her split from fiance Max Ehrich, adding, “I just wanna f**king share my life with someone at some point/Right now I’m good though I don’t need anybody, I’m good.”

      In another new track, “15 Minutes”, Lovato appears to take aim at her actor ex, singing, “Changed your colours so fast /Tried to turn my friends into friends of the past /Always putting you first, could’ve been your future /But you didn’t even care about me like that.”

      She goes on to suggest that he didn’t take their relationship seriously, “You were looking for 15 minutes, yeah /And now you got 15 minutes, yeah /Pack your stuff, you can come and get it, yeah /Ain’t goodbye but it’s good riddance.”

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      Journey Settles Dispute With Former Members Over Band's Name

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      Remaining members Neal Schon and Jonathan Cain as well as fired bassist Ross Valory and drummer Steve Smith ‘have resolved their differences and reached an amicable settlement agreement’ over the legal spat, they announce in a statement.

      Apr 2, 2021

      AceShowbiz –
      Journey stars Neal Schon and Jonathan Cain have reached an amicable settlement with their former bandmates over the group’s name.

      In March 2020, the pair sued fired bassist Ross Valory and drummer Steve Smith, alleging they wanted to “hold the Journey name hostage and set themselves up with a guaranteed income stream after they stop performing.” The group sought damages “in excess of $10 million” and further accused the ousted members of “[destroying] the chemistry, cohesion and rapport necessary for the band to play together.”

      Valory launched a counter suit, charging them with breach of contract and emotional distress. The bassist sought “past and future compensatory damages” and asked a judge to decide who had the right to move forward with the Journey name.

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      Now, more than a year later, both sides have reached an agreement.

      “The members of the band Journey who were parties to a recent lawsuit (Neal Schon, Jonathan Cain, Steve Smith, and Ross Valory) are pleased to announce that they have resolved their differences and reached an amicable settlement agreement,” a statement to Rolling Stone reads.

      “Neal Schon and Jonathan Cain acknowledge the valuable contributions that both Ross Valory and Steve Smith have made to the music and the legacy of Journey. Ross Valory and Steve Smith wish their former bandmates well and much success in the future. Journey looks forward to continuing to tour and make new music for their dedicated fans around the world.”

      Valory and Smith have been replaced in the band by former Journey bassist and “American Idol” judge Randy Jackson and Grammy-winning drummer Narada Michael Walden.

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      Iggy Azalea and Tyga Reunite for 'Sip It' – Watch the Colorful Music Video

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      Iggy and Tyga previously worked together for her 2018 track ‘Kream’ that peaked at No. 96 on the Billboard Hot 100, marking Iggy’s first entry into the chart since ‘Team’.

      Apr 2, 2021

      AceShowbiz –
      Iggy Azalea has released a music video for “Sip It” featuring Tyga. Released on Thursday, April 1, the colorful visuals sees the new mom bragging about the boys in her life while exchanging raunchy verses with her “Kream” collaborator.

      The video is taken in the “Kitty Juice” Sip It gas station, where the visitors sip the store’s “Kitty Juice” before entering a psychedelic trance. Donning a neon green jumpsuit, Iggy flaunts her flexibility and her enviable body.

      Later, Tyga makes an entrance, donning a puffy orange jacket, funky print pants as well as a gigantic fur hat. Iggy puts some Easter Eggs about their collaboration as one car has “KREAM 2.0” written in its license plate.

      “Rappers in my phone, in my DM, won’t leave me alone/ Boys on my d**k/ Sip this p***y like it’s Styrofoam,” the 30-year-old femcee raps. Tyga then spits equally explicit bars, “F**k her from the back, I’m a dog, b***h, I’m too raw/ Tom Ford drawers on my balls, b***hes kiss the paws/ I don’t dive in wet p***y, b***h, I cannonball.”

        See also…

      Iggy and Tyga previously worked together for her 2018 track “Kream”. It peaked at No. 96 on the Billboard Hot 100, marking Iggy’s first entry into the chart since 2016’s “Team”. The track was certified platinum by the RIAA in 2019.

      That aside, Iggy debuted bright green hair shortly before dropping the music video. In a new Instagram picture on March 31, the “Fancy” raptress was seen donning a white tank top with nothing underneath. She paired it with gray bottoms that further accentuated her small hips.

      Her new look earned her praises from her followers. “Beautiful,” wrote one follower, while another called her “stunning.” Someone else raved, “Green looks good on u luv.” One person also noted, “green is hot.” Some others flooded the comment section with green heart emojis to show their approval of Iggy’s new hair color.

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      Demi Lovato and Ariana Grande Link Up on New Song 'Met Him Last Night'

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      The song, which appears on the ‘OK Not to Be OK’ singer’s new album ‘Dancing with the Devil…The Art of Starting Over’, happened after she played the title track for her collaborator.

      Apr 2, 2021

      AceShowbiz –
      Demi Lovato and Ariana Grande’s much-awaited collaboration has finally arrived in full. Debuted on midnight Friday, April 2, the song titled “Met Him Last Night” is lifted off the former’s new album “Dancing With the Devil…The Art of Starting Over” which was also released on the same day.

      On the song, the former “High School Musical” actress and the former Nickelodeon star showed off their abilities to hit sky-high notes as they belt out in powerful harmonies about a run-in with the devil. Lovato kicks off the first verse, “Late at night, I’m sipping, as you pass me by/ Red or white, you pour another and say ‘It’s fine.’ ”

      “I seen the devil, yeah, I met him last night/ Had conversations, yeah, I think he’s alright,” she sings in the chorus, “Seem kinda funny, yeah, he kinda my type/ Yeah, yeah, yeah/ I seen the devil, yeah, I met him last night/ One conversation, now he spending the night/ I think I Iove him, though I know it ain’t right.”

      The “devil” seems to be the stand-in metaphor of life’s vices as Grande touches on the temptations this “devil” presents, singing in the second verse, “You got me f**ked up, I won’t let this happen again/ This the last time, you won’t takе advantage of my innocence.”

        See also…

      The two singers come together in the third verse, “How could I ever believe him?/ The one that could be so deceiving/ Boy, you are my only vice, I never feel this way/ Hold me hostage, I’m leaving, boy you just gave me a reason.”

      Prior to the song’s release, Lovato explained how her collaborator came up with the idea behind it. “I played ‘Dancing with the Devil’ for her and she was really really excited about that,” she said. “She came up with this concept for ‘Met Him Last Night’ and when she played it for me, I was like, ‘Oh my gosh, yes, absolutely, I’d love to do this.’ I was so excited to get to work with her. We had so much fun singing together.”

      On the same day of the song’s release, Lovato dropped a music video for “Dancing with the Devil”, the title track and third single off her latest and seventh studio album.

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      Chrishell Stause Doesn’t ‘Believe’ Britney Spears Writes Her Instagram Captions

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