A North Miami man collected other folks’ names, birthdates and Social Security numbers, then tried to collect $1.5 million of their tax returns from the Internal Revenue Service, according to … Click to Continue »
Liam Gallagher told fans that he’s recovering — but “all good” — after a helicopter fall this weekend.
In a selfie that he shared on Sept. 18, Gallagher sported some bruises and a large bandage on his nose.
“So check this out I fell out the helicopter last night you couldn’t rite it all good,” Gallagher captioned the photo, adding, “who said RnR is dead Keith moon eat your drum skin out C’mon you know.”
Gallagher didn’t share any more context about what exactly happened, but when one person guessed that the former Oasis singer had just missed a step and “face-planted” when he landed, he retorted, “100 thousand feet.”
“What doesn’t kill ya makes ya TUFF,” he wrote in another tweet that pictured a bottle of Estrella Damm.
“Got the cover shot for Nxt album c’mon you nose,” he quipped in another message.
Gallagher last topped the U.K. charts with a project in 2020, when his MTV Unplugged album hit No. 1 on the U.K. Albums chart.
See his injured face, and his commentary about it, in the tweets below.
As host of the 2021 Emmy Awards, actor and stand-up comedian Cedric the Entertainer kicked off Sunday’s event by leading the audience in a cover of Biz Markie’s “Just a Friend” with the chorus, “TV, you’ve got what I need.”
Markie, who was dubbed the “clown prince of hip-hop,” died in July this year, at the age of 57. The performance was a lively tribute to the legendary rapper. “RIP Biz Markie,” Cedric the Entertainer said at the end of the number, which included participation from LL Cool J, Rita Wilson and many others.
The lyrics included phrases like “sick of the quarantining” as audience members were shown dancing and singing along.
The comic shared that he wanted to host the show for a personal reason. “It gives me a chance to thank TV for all it has meant to me.” He said that his favorite TV memory is sitting with his grandmother, watching shows together.
“It’s the Emmys people!” said the 57-year-old comic, whose real name is Cedric Kyles, before introducing Reggie Watts who was DJ for the evening.
In his host monologue, which occurred after a few awards had been announced, Cedric the Entertainer declared, “It feels good, we’re all vaxxed.” Noting how everyone looked great, he said: “Lock the doors, we’re not leaving ’til we find a new host for Jeopardy!“
“It’s a celebration here tonight,” he continued. “What I like about this awards show is everyone is dressed like regular rich folks.” He later quipped, “Billy Porter, y’all know he’s gonna come with it.”
Striking a serious note, Cedric the Entertainer said: “This is a big job, it comes with a lot of pressure, being Black, hosting a job like this.” He noted that a lot of Black people are nominated, going on to shout out Anthony Anderson, in particular.
He mentioned The Crown, which is nominated multiple times. “As great as The Crown is, it pales in comparison to the real monarchy,” he joked.
Cedric the Entertainer is known to many for co-starring in The Steve Harvey Show and has appeared in numerous films from Barbershop to Johnson Family Vacation and Lemony Snicket’s A Series of Unfortunate Events. He is currently starring in CBS sitcom The Neighborhood.
The Emmy opener continued into the main program, in which Netflix’s The Crown and Disney+’s The Mandalorian lead the night’s nominees with 24 nods each.
The event was broadcast live on CBS and Paramount+, and included for the first time an ADA-compliant ramp designed for disabled members of the entertainment industry to access the Emmys stage.
This article originally appeared on The Hollywood Reporter.
Lisa of BLACKPINK will bring “Money” to life with a performance video this week.
On Sunday (Sept. 19), the artist teased that an “exclusive performance” of the Lalisa track will premiere on Sept. 22 at 11 a.m. ET/Sept. 23 at 12 a.m. KST.
Lisa released a poster announcing the news on her Instagram Story and on BLACKPINK’s Twitter account.
“Money” is one of two new solo songs from the BLACKPINK member, who released her own Lalisa project on Sept. 10. “Money” features lyrics by Bekuh Boom and Vince and was composed by them and R.Tee; 24 and R.Tee arranged the track.
About a week ago, Lisa dropped a special stage performance video of title track “Lalisa,” as well as an official music video for the single.
“It’s a good opportunity for me to finally let the world know, ‘This is who I am,’” she told Billboard ahead of Lalisa’s arrival.
See Lisa’s “Money” poster below.
Drake’s Certified Lover Boy spends a second week atop the Billboard 200 albums chart, as the set earned 236,000 equivalent album units in the U.S. in the week ending Sept. 16 (down 61%), according to MRC Data. The set opened at No. 1 a week ago with the year’s biggest week for an album, 613,000 units.
Also in the top 10: Kacey Musgraves’ Star-Crossed debuts at No. 3, Baby Keem’s The Melodic Blue bows at No. 5 and Metallica’s 1991 self-titled album (often referred to as The Black Album) jumps from No. 158 to No. 9 following its 30th anniversary reissue.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Sept. 25, 2021-dated chart (where Certified Lover Boy holds at No. 1) will be posted in full on Billboard’s website on Sept. 21. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of Certified Lover Boy’s 236,000 equivalent album units earned in the U.S. in the week ending Sept. 16, SEA units comprise 227,000 units (down 60%, equaling 305.43 million on-demand streams of the album’s 21 tracks), album sales comprise 6,500 (down 86%) and TEA units comprise 2,500 units (down 45%).
Of Drake’s 10 No. 1 albums, Certified is his fourth to spend more than a week atop the list. His other multiple-week chart-toppers are Scorpion (No. 1 for five weeks in 2018), More Life (No. 1 for three weeks in 2017) and Views (No. 1 for 13 weeks in 2016).
Kanye West’s former No. 1 Donda is a non-mover at No. 2 on the new Billboard 200, with 79,000 equivalent album units earned (down 44%).
Kacey Musgraves’ new studio album Star-Crossed debuts at No. 3 with 77,000 equivalent album units earned, scoring the singer-songwriter her fourth top five-charting effort. Plus, the album’s 77,000 units marks Musgraves’ largest week, by units earned, since the Billboard 200 began measuring by units in December of 2014.
Of Star-Crossed’s 77,000 units, album sales comprise 47,000 (making it the top-selling album of the week), SEA units comprise 30,000 (equaling 38.23 million on-demand streams of the album’s tracks) and TEA units comprise less than 1,000 units. Star-Crossed’s sales of 47,000 mark Musgraves’ second-largest sales week, trailing only the debut of Pageant Material, which bowed with 55,000 sold (July 11, 2015-dated chart).
Star-Crossed also logs the second-largest debut streaming week for a country album by a woman, in terms of on-demand streams (38.23 million). Only Taylor Swift’s re-recorded Fearless (Taylor’s Version) had a larger debut frame, when it launched with 142.98 million clicks on the April 24, 2021-dated chart.
Star-Crossed follows Musgraves’ 2018 album Golden Hour, which debuted and peaked at No. 4 on the April 14, 2018 chart. The set would later win two Grammy Awards, for best country album and for album of the year.
Olivia Rodrigo’s former No. 1 Sour is stationary at No. 4 with 54,000 equivalent album units earned (down 11%).
Baby Keem’s debut album The Melodic Blue bows at No. 5 with 53,000 equivalent album units earned. Of that sum, SEA units comprise 52,000 (equaling 70.13 million on-demand streams of the set’s tracks), album sales comprise 1,000 and TEA units comprise less than 1,000. The set features two collaborations with Baby Keem’s cousin Kendrick Lamar as well as a joint effort with Travis Scott and a track featuring Don Toliver.
Doja Cat’s Planet Her falls from No. 5 to No. 6 with 50,000 equivalent album units earned – though it’s up 1% for the week. During the tracking frame, she pulled double-duty on the Sept. 12 MTV Video Music Awards, as the show’s host and a performer. She also took home the award for best collaboration, for the album’s “Kiss Me More” featuring SZA.
The Kid LAROI’s F*ck Love rises 8-7 with 39,000 equivalent album units (down less than 1%) and Morgan Wallen’s Dangerous: The Double Album dips 6-8 with just under 39,000 units (down 3%). Both albums previously hit No. 1.
Metallica’s 1991 self-titled No. 1 album (often referred to as The Black Album, due to its stark black cover) surges from No. 158 to No. 9 in the wake of its 30th anniversary reissue on Sept. 10 in a variety of formats. The set earned 37,000 equivalent album units in the week ending Sept. 16 (up 397%). Of that sum, album sales comprise 29,000 (up 1,365%), SEA units comprise nearly 7,000 (up 34%, equaling 9.17 million on-demand streams of the set’s tracks) and TEA units comprise 1,000 (up 101%). All versions of the album, old and new, are combined for tracking and charting purposes.
Metallica returns to the top 10, and its highest rank, for the first time in 29 years. It was last in the top 10 on the Aug. 22, 1992, chart (at No. 10) and was last higher on the April 11, 1992, tally (No. 6).
The self-titled set became the band’s first No. 1 on the Billboard 200 (of six to-date), and it debuted atop the list dated Aug. 31, 1991 and spent four straight and total weeks at No. 1. Metallica remains the top-selling album in the U.S. since MRC Data began electronically tracking music sales in 1991, with 17.3 million copies sold.
Rounding out the Billboard 200’s latest top 10 is Billie Eilish’s former No. 1 Happier Than Ever, falling 7-10 with 34,000 equivalent album units (down 14%).
Metallica’s 1991 self-titled No. 1 album surges back into the top 10 on the Billboard 200 chart for the first time in 29 years, following the set’s 30th anniversary reissue on Sept. 10. The former chart-topper surges from No. 158 to No. 9 on the Sept. 25-dated chart, earning 37,000 equivalent album units in the U.S. in the week ending Sept. 16 (up 397%) according to MRC Data.
Metallica (often referred to as The Black Album, due to its stark black cover) was reissued in a variety of formats to commemorate the 30th anniversary of its release.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Sept. 25, 2021-dated chart (where Metallica jumps to No. 9) will be posted in full on Billboard’s website on Sept. 21. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of Metallica’s 37,000 units earned for the week, album sales comprise 29,000 (up 1,365%), SEA units comprise nearly 7,000 (up 34%, equaling 9.17 million on-demand streams of the set’s tracks) and TEA units comprise 1,000 (up 101%). All versions of the album, old and new, are combined for tracking and charting purposes.
Metallica returns to the top 10, and its highest rank, for the first time in 29 years. It was last in the top 10 on the Aug. 22, 1992 chart (at No. 10) and was last higher on the April 11, 1992 tally (No. 6).
The self-titled set became the band’s first No. 1 on the Billboard 200 (of six to-date), and it debuted atop the list dated Aug. 31, 1991 and spent four straight and total weeks at No. 1. It has now spent 625 weeks on the chart in total. That’s the fourth-most weeks on the list since it began publishing on a regular, weekly basis in 1956, and the most weeks on the list for any album since May of 1991, when MRC Data began powering the list.
Metallica launched five entries on the all-genre Billboard Hot 100 songs chart: “Enter Sandman,” “The Unforgiven,” “Nothing Else Matters” (all of which reached the top 40), “Where I May Roam” and “Sad But True.”
Metallica remains the top-selling album in the U.S. since MRC Data began electronically tracking music sales in 1991, with 17.3 million copies sold.
Rhett Lashlee would have been smart to wear a mask as he left Hard Rock Stadium on Saturday afternoon. For safety’s sake amid the COVID surge? OK sure, that, too. … Click to Continue »
At a cost of billions, fraud is corrupting the new healthcare fields of telemedicine, substance abuse facilities and COVID-19 programs — but U.S. authorities also say it’s still plaguing traditional … Click to Continue »
Three incumbents and several political newcomers are officially running in this year’s election in the city of Miami — including someone who lives outside city limits. As of Saturday’s 6 … Click to Continue »
Ahead of Jagged Little Pill’s Broadway re-opening on Oct. 21, its producers have apologized for mishandling one character’s gender identity, outlining several steps the production is taking to offer a clearer and more respectful representation of its gender non-conforming character.
On Friday (Sept. 17), the show’s lead producers Vivek J. Tiwary, Arvind Ethan David and Eva Price posted a lengthy statement to the production’s website and social media, acknowledging missteps in how they publicly spoke about and identified Jo, a lovestruck teen dealing with religious parents, their sexuality and a souring relationship while also going on their own gender journey, which has no confirmed outcome in the show.
The statement began by thanking “those who have spoken up on this subject” before acknowledging the time it took for the production to publicly respond to criticisms around its language and characterization of Jo. “We owe you a response in both words and actions,” the statement reads. “It has taken a moment to put in place the actions, so we also apologize for the delay in these words. We recognized the importance of the work and decided that doing it well was more important than doing it quickly.”
The issue around Jo’s gender and whether they identified broadly as non-binary, as another more specific gender identity or at all, was raised as the show made its way from a Boston to Broadway stage. The character was played by Lauren Patten, a cisgender woman, but Jagged Little Pill also directly referenced that Jo at the very least wasn’t a cisgender woman or man, with the character using they/them pronouns and having their identity invalidated by various people around them, among other narrative points. Many at the time labeled Jo as non-binary, though that identity label had never been explicitly attached to the character in the show.
Things became complicated after the show moved to Broadway in 2019, and audiences watched Jagged Little Pill with those previous discussions of gender removed. Marketing had also seemingly removed mentions of gender identity as among issues tackled by the show and in an interview with Vulture, Patten — who started referring to Jo with she/her pronouns on social media, responded to a question about the show’s pronoun shift, saying, “Jo never was written as anything other than cis.”
The statement acknowledges all of this, saying that Jagged Little Pill’s producers “set out to portray a character on a gender expansive journey without a known outcome” but that during the creative process, and shift from Boston to Broadway, mistakes were made around how the team handled the character’s evolution in “a process designed to clarify and streamline.”
“Compounding our mistake, we then stated publicly and categorically that Jo was never written or conceived as non-binary. That discounted and dismissed what people saw and felt in this character’s journey. We should not have done that,” the statement says. “We should have, instead, engaged in an open discussion about nuance and gender spectrum.”
The producers acknowledged the “hurt” of their “failure and its consequences” as well as “silence” for both Jagged Little Pill’s cast and fans, before outlining four key areas where the team has since made steps to rectify the mistakes in their portrayal of Jo. That starts with explicitly stating that Jo’s is “a story of a gender-nonconforming teen who is on an open-ended journey with regard to their queerness and gender identity.” It then confirms that a new dramaturgical team featuring non-binary, transgender, and BIPOC representation was brought in to “revisit” the script, and help the show to “commit to clarity and integrity in the telling of Jo’s story.”
They also addressed the issue of casting, promising that the production has adopted practices that “intentionally broaden” hiring for “all roles to artists of all gender identities.” That includes ensuring all future casting is not only explicit about Jo’s gender journey but will “prioritize auditioning actors for the role who are on gender journeys or understand that experience personally — including artists who are non-binary, gender fluid, gender-expansive — or otherwise fall under the trans community umbrella.”
Tiwary, David and Price also confirmed several other off-screen efforts, including partnerships with The Trevor Project and Trans Lifeline, as well as anti-bias training related to transphobia and anti-racism that will be offered to existing company members to help support a more inclusive, safe and supportive environment for Jagged Little Pill’s new non-binary, trans, queer, and BIPOC hires.
“We do these things not to quell debate around these issues,” the statement concludes. “We are humbled by, and grateful for, the critical conversations that continue to occur. We welcome all who would be constructive in this enterprise. Broadway has much work to do. We have much work to do. We look forward to doing it together.”
Jagged Little Pill is based on Alanis Morissette’s hit 1995 album of the same name, with music by Morissette and Glen Ballard. The show is directed by Diane Paulus, with its book written by Diablo Cody and choreography from Sidi Larbi Cherkaoui. After premiering at the American Repertory Theater in Massachusetts on May 5, 2018, it went into previews at Broadway’s Broadhurst Theatre in November 2019, before opening on Dec. 5 that same year.
Read the full statement from Jagged Little Pill’s producers here.
This article was originally published by The Hollywood Reporter.
