Former psychiatrist Dr. Joan Humberto Marcelino was on the run from the law for years after being charged with molesting young boys in Miami-Dade and Lake County. After 10 years … Click to Continue »
Miami commissioners have moved to ban new gambling establishments inside city limits, the latest fallout from a years-long fight over a new gaming establishment in Edgewater that was recently resolved … Click to Continue »
What would an affordable housing project where residents can own their place look like? The City of Miami plans to find out with another Little Havana development. Miami will issue … Click to Continue »
J-pop group Wednesday Campanella, featuring new vocalist Utaha, released two new songs called “Alice” and “Buckingham” on Wednesday, along with accompanying music videos.
Both songs were produced by member Hidefumi Kenmochi. The lyrics of “Alice” draws from the narrative of Alice in Wonderland, expressing how ordinary daily life was greatly impacted by the COVID-19 pandemic. The song suggests that maybe what made us happy was the little things in life, and that our days could become special by celebrating such details. The accompanying visuals were helmed by Yuichiro Fujishiro, who has directed many of the group’s videos in the past.
“Buckingham,” contrary to its title, is about a particular neighborhood in Setagaya City of Tokyo. The video for this track was directed by Mai, an up-and-coming visual artist and longtime friend of the group’s new lead singer, Utaha.
“It’s been a while since Wednesday Campanella last released a new song, and it’s also the first release with Utaha,” shares the singer and model born in 2001. “It’s been a fresh and valuable experience for me to learn how sounds come together to make a song, and how everyone works together to create a video… The band is restarting with these two songs, and I hope our music is listened to, enjoyed by, and loved by many people.”
Bad Wolves, its manager Allen Kovac and the label he founded, Better Noise Music, have settled their lawsuits with the metal band’s former singer, Tommy Vext, they tell Billboard.
Vext, a former hardcore punk singer formerly of the bands Divine Heresy and Westfield Massacre, announced he was leaving Bad Wolves on Jan. 8 to launch his own solo career, but later claimed he was forced out because of his politics. He filed a lawsuit against Kovac in July on this claim, alleging breach of contract and breach of fiduciary duty, saying that he was pushed out after criticizing Black Lives Matter protests and endorsing former President Donald Trump’s re-election.
The next month, Better Noise filed its own lawsuit against Vext, accusing him of copyright infringement, breach of contract and unjust enrichment. The suit claimed Vext was trying to block his former bandmates from using the Bad Wolves name, while promoting his own tour under the “confusingly similar name ‘B@D W8LV3S’ in a blatant attempt to confuse concertgoers.” He also allegedly breached the exclusivity agreement in his recording contract with Better Noise by posting new music on social media and on his OnlyFans account, including existing recordings owned by the label.
Now, ahead of Bad Wolves’ new album, Dear Monsters, out Friday, the band is trying to put this chapter past it and has settled with Vext. The band can now continue to release music and tour under the Bad Wolves name and Vext his able to release new music independently or with another label. Other terms of the agreement were not disclosed.
“Bad Wolves and its co-founder John Boecklin, alongside their label Better Noise, manager 10th Street Entertainment, and publisher 5-19, have collectively resolved their disputes with Tommy Vext,” the parties said in a joint statement. “A partnership can sometimes lead to divorce. Artists have creative differences and argue over songs, credits, and much more; however, if both sides believe in their own talents, they find a path to go their separate ways. This is a settlement with no winners and no losers; it’s beneficial to everyone in order to move on and bury the hatchet. This is a new beginning and a bright future for all those concerned. We’re all excited to get back to what’s important, and that’s the music. Bad Wolves and Tommy wish each other the best going forward, and ask that their fans respect this decision.”
Vext formed Bad Wolves in 2017 with drummer Boecklin, lead guitarist Doc Coyle, rhythm guitarist Chris Cain and bassist Kyle Konkiel.
Bad Wolves is now fronted by Daniel “DL” Lasckiewicz, formerly of The Acacia Stain, and currently has the No. 7 song at Mainstream Rock radio, “Lifeline” — it’s latest hit on the chart dating back to the band’s platinum-selling cover of The Cranberries’ “Zombie.”
Bad Wolves is co-managed by Zoltan Bathory, founder and guitarist for Five Finger Death Punch. The band is represented by attorney Sasha Frid. Vext is represented by attorney Tim Parlatore.
LiSA’s “Akeboshi” (“Morning Star”), her new opener for the latest story arc of the popular anime series Demon Slayer: Kimetsu no Yaiba, blasts into No. 1 on the latest Billboard Japan Hot 100, dated Oct. 18 to 24.
“Akeboshi” was released digitally on Oct. 18 and racked up 71,182 first-week downloads to rule the metric this week. The track also came in at No. 6 for radio airplay and No. 19 for streaming and Twitter mentions, accumulating enough points to hold STU48’s new release at bay. The veteran anime singer is set to drop the CD version of “Akeboshi” coupled with “Shirogane” — the ending theme of the same anime — as a double-A-side track on Nov. 17, which will probably keep the momentum going for the “Homura” hitmaker.
STU48’s seventh single “Hetaretachiyo” launches at No. 2. The girl group’s new CD sold 235,157 copies to hit No. 1 for the physical sales metric this week, but the track didn’t perform as well as needed in the other metrics of the chart’s methodology and was unable to overtake LiSA’s new release. “Hetaretachiyo” sold about 40,000 more copies than the group’s previous single called “Hitorigoto de kataru kurainara” (194,207 copies).
Gen Hoshino’s “Cube,” the theme of the Japanese remake of the movie by the same name, debuts at No. 4. The “Fushigi” singer-songwriter’s latest single was digitally released on Oct. 18 and scored 17,558 downloads to hit No. 2 for the metric. The track ruled radio and also came in at No. 14 for Twitter and No. 42 for video views.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, Twitter mentions, YouTube and GYAO! video views, Gracenote look-ups and karaoke data.
See the full Billboard Japan Hot 100 chart, dated Oct. 18 to 24, here.
Kelly Clarkson took a left turn on Thursday’s (Oct. 28) Kelly Clarkson Show, covering Radiohead’s “Karma Police” for her Kellyoke segment.
In her rendition, Clarkson transforms the haunting and ambient OK Computer single into a captivating ballad, demonstrating her powerful belt and uncanny ability to personalize the alternative rock anthem. Clarkson gives the evocative line “I lost myself” newfound meaning, adding angst to Radiohead’s cathartic pleas.
Dressed in a black leather dress with a decorative golden center, Clarkson ended the performance with her signature wailing high note.
American Idol was surely excellent practice for Clarkson, who is no stranger to an expertly delivered cover. Previous Kellyoke performances include songs from artists like Ike and Tina Turner, Depeche Mode, Coldplay and many new and explorative genre-benders for the “Since U Been Gone” singer.
Fans shared their reactions to the new cover on Twitter using the hashtag “Kellyoke,” sharing major appreciation for the singer’s range and talent.
she’s a legend tbh https://t.co/SSNymXiFrp
— (@pjpajc) October 28, 2021
I lost myself listening to @kellyclarkson sing this.
I ❤ her so much! #Kellyoke #KellyClarkson #KellyClarksonShow https://t.co/80NyYVIUbP— Stephen (@SGavis) October 28, 2021
You can watch Kelly Clarkson’s cover of “Karma Police” by Radiohead and listen to the original 1997 track below.
Serving as a preview of his upcoming album, Anuel AA dropped his new single “Dictadura,” which Billboard is premiering exclusively on Thursday (Oct. 28). Produced by Subelo Neo and Machael, and co-written by Anuel and Mora, the bouncy, head-bobbing reggaeton track will be included on the Puerto Rican artist’s third LP, Las Leyendas Nunca Mueren (Legends Never Die).
The track and music video, directed by Anuel, chronicles a love and basketball story, which finds the singer-songwriter at his peak: dating the girl of his dreams (who may or may not break his heart) and getting drafted into the NBA in 1984.
“For a year, my fans have been waiting for me to release more music and I have been teasing a new album, and we are finally here,” the chart-topping artist said in a statement. “‘Dictaudura’s’ video is one of many to come that I direct and I wanted the plot to guide my fans through a concept storyboard for my upcoming album ‘Las Leyendas Nunca Mueren.’ I can’t wait for them to see what is to come, but I want them to be inspired by the legends concept the way they have influenced my career and story.”
“Dictadura” follows Anuel’s latest release “23 Preguntas,” in which he asks Colombian singer and ex-girlfriend Karol G a set of questions. In the slow-tempo trap-infused reggaeton track, he bares his heart and soul in a bid to win Karol back. “23 Preguntas” dropped on what would have marked the former couple’s third anniversary.
Las Leyendas Nunca Mueren becomes Anuel’s third solo project after teaming up with Ozuna on the chart-topping Los Dioses — the collaborative effort peaked at No. 1 on Billboard’s Top Latin Albums chart (dated Feb. 5). His debut album Real Hasta La Muerte, released in 2018, and his 2020 sophomore set Emmanuel also crowned the survey.
Watch the “Dictadura” music video below:
Mort Sahl, one of the most successful and influential comedians of the 1950s and 1960s, died Tuesday at age 94. On top of many other things, Sahl owns a little piece of Grammy history. On May 4, 1959, Sahl emceed the presentation of the first Grammy Awards in the Grand Ballroom of the Beverly Hilton Hotel in Beverly Hills, Calif.
The black-tie dinner and awards presentation, which was not televised, drew such guests as Henry Mancini (whose Music From Peter Gunn won album of the year), Frank Sinatra (who was the night’s leading nominee with six nods but won only for best album cover), Sammy Davis Jr., Dean Martin, Gene Autry, Johnny Mercer and Andre Previn.
Sahl was also a Grammy nominee that night. His comedy album The Future Lies Ahead was nominated for best comedy performance but lost to Ross Bagdasarian for The Chipmunks’ novelty hit “The Chipmunk Song,” which topped the Billboard Hot 100 for four weeks.
Sahl was nominated again the following year, when comedy was split into spoken word and musical categories. He lost in the comedy spoken word category to Bob Newhart’s The Button-Down Mind of Bob Newhart. Newhart’s album, which topped the Billboard 200 for 14 weeks, also won album of the year.
But Sahl’s footnote in Grammy history is just a small aspect of his career story. His main contribution was bringing a keen intelligence and insightful political and social satire to comedy. At a time when comics often traded in tired jokes about their mothers-in-law, Sahl demonstrated that he had read the paper. He told jokes about presidents and world leaders — and not the genial, mostly toothless jokes that such predecessors as Will Rogers or Bob Hope told, but barbed and cutting ones. In that way, he influenced such fearless modern-day comedians as Bill Maher, Seth Meyer, Trevor Noah and Dave Chappelle.
Sahl made his first foray into standup comedy under the name Cal Southern. “I did all the stuff other people were doing,” he recalled in 1989. “I got a tie and a coat, and I talked about the movies and did imitations of movie stars. I didn’t dare to talk about what was really on my mind. That took a while. That takes some trust.”
When he gained that trust, both in his own talent and in the audience’s intelligence, he hit his zenith and revolutionized comedy.
Sahl’s 1955 comedy recording At Sunset was voted into the Library of Congress’ National Recording Registry in 2011. His 1960 album Mort Sahl at the Hungry i, which he recorded at the famed San Francisco nightclub, reached No. 22 on the Billboard 200. He returned to Billboard’s flagship album chart in the summer of 1973 with Sing a Song of Watergate, in which he skewered President Nixon, who was ensnared in the scandal that would force his resignation in August 1974.
A major jazz fan, Sahl served as co-emcee of the first Monterey Jazz Festival with Dizzy Gillespie in 1958 and was master of ceremonies of the inaugural Playboy Jazz Festival in Chicago in 1959.
In October 1987, Sahl starred in a one-man show, Mort Sahl on Broadway!, which ran at the Neil Simon Theatre for three weeks.
An only child, Sahl was born in Montreal on May 11, 1927. After a series of moves, the family settled in Los Angeles when Sahl was 7. He graduated from USC in 1950 with a BA in public administration before deciding to try to break in to show business.
He died at his home in Mill Valley, Calif., a family friend overseeing his affairs told The New York Times.
Save the Music Foundation has selected Jesse Collins as this year’s #MusicSaves honoree.
The live-event veteran — a founder and CEO of Jesse Collins Entertainment who has spent more than two decades in the industry — is being singled out “for his achievements as a trailblazing executive and one of the most visible and successful producers in the industry,” per the organization. The award follows a banner year for Collins that saw him credited on such productions as the Pepsi Super Bowl Halftime Show, the Academy Awards, the BET Awards, BET Hip-Hop Awards, the Soul Train Awards and American Music Awards – all during a pandemic.
In today’s announcement, Save the Music Foundation noted that Collins serves as an ideal role model for students as someone whose success “falls perfectly in line with Save the Music’s commitment to ensure a diverse and inclusive music industry for the many future generations to come.”
Collins will be feted Dec. 8 at the org’s annual fundraiser in Los Angeles, at which Erykah Badu will perform. Save the Music executive director Henry Donahue said, “His track record of incredible work in the industry and his passion for Save the Music’s mission of growing music education for young people in L.A. make him the ideal honoree. And the incredible creativity he brings to his events — in the face of often daunting challenges — are an inspiration to our students everywhere.”
A full 100 percent of proceeds raised from ticket sales will go to the foundation’s work in providing music education across the city, in partnership with Los Angeles Unified School District. More information about the event and Save the Music be found here.
This article originally appeared in THR.com.
