If you haven’t heard, Broadway is almost back — and The Tonight Show Starring Jimmy Fallon is ready to celebrate.
New York Gov. Andrew Cuomo announced last month that Broadway could return to business as usual in September, and many major shows — including Hamilton, Lion King and Wicked — already have tickets on sale for the fall. On Tuesday night’s (June 8) Tonight Show, Lin-Manuel Miranda and Jimmy Fallon will welcome back the Great White Way by re-creating some of Broadway’s most iconic moments in a musical number.
And they won’t be alone: As you can see from the photo above, Billboard can exclusively reveal that Kristin Chenoweth (Wicked), Christopher Jackson (Hamilton), Phylicia Rashad (August: Osage County), Laura Benanti (Gypsy) and In the Heights film stars Jimmy Smits and Olga Merediz will also be part of the segment.
The Broadway celebration will include music from The Phantom of the Opera, Chicago, Dear Evan Hansen, West Side Story, The Lion King, The Book of Mormon, Wicked and many more classic shows — including, of course, Miranda’s blockbuster hit Hamilton.
Also along for the ride for the first time this week is a packed studio audience inside 30 Rock, after a year-plus of remote shows followed by audience-free tapings in the studio.
Another Miranda production, In the Heights, is hitting the big screen this weekend, starring Anthony Ramos as Usnavi de la Vega, the role originated by Miranda himself on Broadway in 2008.
The Tonight Show Starring Jimmy Fallon airs at 11:35 p.m. ET on NBC.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2021-06-09 03:17:072021-06-09 03:17:07Lin-Manuel Miranda & ‘Tonight Show’ to Welcome Back Broadway With Theater All-Stars: Exclusive
Mariah Carey has departed Roc Nation and partnered with Range Media Partners for management, Billboard can confirm. Carey will work with Melissa Ruderman, her former rep at Roc Nation who joined Range Media in January. Variety first reported the news.
Carey’s move to Range Media follows a report in U.K. tabloid The Sun that the singer and Roc Nation founder Jay-Z fell out following an “explosive meeting.” Carey, who signed with Roc Nation in Nov. 2017, subsequently set out to quell the rumor by tweeting, “The only ‘explosive’ situation I’d ever ‘get into’ with Hov is a creative tangent, such as our #1 song ‘Heartbreaker.’”
Ruderman and Carey’s relationship goes back over 15 years, when Ruderman worked for manager Benny Medina and handled day-to-day management for Carey during the release cycle for her 2005 album The Emancipation of Mimi. During her five-year stint at Roc Nation, Ruderman helped execute several major deals for Carey, including two consecutive residencies at the Colosseum at Caesars Palace, a TV deal with Apple and a publishing contract that led to the publication of the New York Times-bestselling memoir The Meaning of Mariah Carey.
Carey has had a long list of managers over the years. Before signing with Roc Nation, she was with Stella Bulochnikov and, before that, Kevin Liles, with whom she signed in 2014 following the dissolution of her management relationship with longtime collaborator Jermaine Dupri. At various points earlier in her career, Carey was managed by ex-husband Tommy Mottola, Randy Jackson and Red Light Management.
Range Media Partners was launched in Sept. 2020 by former Entertainment One chief strategy officer Peter Micelli and a coalition of former CAA, WME and UTA agents.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2021-06-09 03:17:062021-06-09 03:17:06Mariah Carey Moves Management From Roc Nation to Range Media
It’s been over two years since renowned music video director Nabil Elderkin premiered his first feature film Gully at the 2019 Tribeca Film Festival, and on Tuesday (June 8), he can finally take a deep breath once it’s finally out for the world to see.
Elderkin has directed dozens of iconic music videos for Kanye West, Frank Ocean, Kendrick Lamar, SZA, Billie Eilish and more. But over the last few years, the Australian-American director and photographer has been working on his feature-film directorial debut Gully, which premiered in select theaters on Friday and is available on-demand Tuesday (June 8).
Gully follows a trio of troubled teens in Los Angeles played by Jacob Latimore (The Chi, Collateral Beauty), Charlie Plummer (Lean on Pete, Looking for Alaska) and Kelvin Harrison Jr. (Waves, Monster). The gritty feature film depicts how the three boys are byproducts of their ‘hood who “don’t really get to play astronaut and stick fight because there’s so much being demanded [from them],” says screenwriter Marcus J. Guillory. In spite of being subject to their respective cycles of violence and abuse at home, their brotherhood remains the most unfailing force in their lives, as Gully portrays a gutting picture of what it means to be a “ride-or-die.”
“Music videos was my film school,” Elderkin tells Billboard. Of course, he’s not the only music video director to transition into film: In 2019, two-time Grammy winner Melina Matsoukas, who’s helmed visuals for Beyoncé, Rihanna, Lady Gaga and more, made her directorial debut with the romantic crime drama Queen & Slim, starring Daniel Kaluuya and Jodie Turner-Smith, among many other examples.
And he’s not the only one making a debut of sorts in Gully: Travis Scott makes his feature film debut with his small role as Derek, a video store clerk who observes a crucial scene in the boys’ destructive conduct. While Calvin (Latimore), Nicky (Plummer) and Jesse (Harrison Jr.) engross themselves in a violent video game that mimics the level of brutality they’re used to witnessing on the streets — which later becomes a motif as to how the boys center themselves in and interact with their surroundings — they unleash utter chaos in Scott’s store by casually tossing entire shelves of DVDs onto the floor. The “Sicko Mode” rapper, who’s synonymous with the word “rage” by way of his frenetic onstage demeanor, is irritated but not incensed in the way fans might expect to see him.
“He came through. There were moments where you could tell he was like [makes angry grunting noise], but he got into his mode,” Elderkin says. “He’s got a future in acting, for sure. Travis can act. Having him be in the film and be executive producer of the film is a blessing.”
Lipa, who led the at-home dance revolution during the pandemic last year with her disco-inspired album Future Nostalgia, takes charge with a completely different sound on the saxophone-driven rallying cry “Can They Hear Us.” Laced within the production of “Can They Hear Us” and Clark Jr.’s “We Stay Up” is the film’s score by Daniel Heath, who identifies the DNA of the soundtrack as a “beautiful” blend of the “hip-hop scattered throughout an intense film with lots of violence” with “something quite classical and orchestral and piano-based and string-based.” Before working with the “Levitating” superstar, whom he says “has got a hell of a voice,” Heath worked with another major artist, Lana Del Rey, on producing the orchestral version of “Young and Beautiful,” heard in the 2013 romantic drama The Great Gatsby.
“Nabil was super, super involved in the score as well. He was very interested in pushing sounds,” Heath tells Billboard. “There was this one scene toward the end where one of the lads was being arrested … and Nabil had an idea to come up with a sound that sounded like crying but in an instrument. So I recorded a solo violinist, and we called it a ‘cryolin’ instead of a violin. And the violin just made these sort of beautiful weeping sounds.”
Adds Elderkin about Heath’s work scoring the film: “I wanted to make it feel like the different emotions and parts of the movie and feel natural and have it come out of the places that it would come out of naturally, like a speaker or headphones, and be interweaved into the film as the sonic tapestry rather than just put music behind things. I don’t want people to get taken out of the film with a song coming in, you know what I mean? And Daniel does what he does beautifully, [which] is find that balance of complementing what’s on the screen.”
Elderkin juggled wearing even more hats on Gully by also serving as executive producer of the soundtrack, which on the business side required dealing with a taxing amount of rights and clearances over six months, but on the creative side was “one of the most exciting experiences I’ve had.”
On the soundtrack, LA-bred artists Ty Dolla $ign, ScHoolboy Q and B-Real link up on “Blacks N Mexicans,” which B-Real starts off with a testimony about how white people divided two of the most prominent racial communities in the metropolis. Three tracks down, fellow local Buddy maps out gang violence and persuades his peers that it’s not the life they really want to live (“You are not a killer, I can see it in your eyes,” he raps) in the twinkling Hit-Boy-produced track “Murderer.”
“There was even people that aren’t on the soundtrack — Cordae, Joey Bada$$ — people that were there, ready to do things, [but] there’s only so many songs you can put in,” Elderkin explains. “I’m so grateful to have all the artists that I’m friends with and some that I’ve worked with creating something for the film that was real special and touching. I wanted that music to emulate, feel like LA or feel like what the youth would be feeling or wanting to hear from each scene.”
When Guillory wrote the script 15 years ago, he had one distinct album that’s colorfully inked around his arm act as his personal writing soundtrack: Miles Davis’ 1970 double album Bitches Brew.
“That’s what I wrote Gully to, that album. That is the only thing I listened to when I wrote that. I wasn’t listening to hip-hop. It was bumping out in the street. So I could definitely dig what Daniel [Heath] was doing,” Guillory says, explaining how crosscutting the hip-hop and classical elements of the music in Gully ran parallel to the script. “The juxtaposition is very important. Even when we have a moment where Calvin [Latimore] and them are talking feel like iambic pentameter, taking an animated character and giving them what I call heightened language in certain moments juxtaposed to what you would normally hear in the ‘hood.”
Guillory’s upbringing in the South Park neighborhood of Houston and experience living in Morningside in South Central LA at the time of writing Gully in 2006 shaped the story and told it from the point-of-view of its intended audience: kids living in rough neighborhoods “mired in poverty and low expectations” who aren’t involved in gangs, drugs or anything else stereotypically depicted in the “‘hood narrative.” And with Nabil’s music video work reaching the same people, paired with his ability to naturally blend in the elements of their East 43rd Street and South Avalon Boulevard shooting location, Gully became a product of the people, by the people, for the people.
“The cool thing with Nabil’s visuals, just with the music video stuff, he was tapped into the same demographic too. So we were both creating content for the same demographic. It wasn’t a hard reach for us to figure out what they would wear, what they would say, what they would be doing,” adds Guillory. “But you know what was cool for me? Man, the people that I wrote it for, the people that Nabil shot it for, they get it. And I feel so good about that…. I’ve been getting hit up, like my dudes in Houston was like, ‘Kids was sneaking in [to see Gully].’ Yeah, that’s for y’all.”
Gully is currently out in theaters and on demand. All proceeds from the film’s merchandise will be donated to Surf Bus Foundation, which empowers inner-city youth to have a healing connection to the sea.
Natanael Cano knocks himself out of the No. 1 spot on Billboard’s Regional Mexican Albums chart as A Mis 20 debuts at No. 1, replacing Corridos Tumbados on the June 12-dated ranking. The latter spent 31 nonconsecutive weeks at No. 1 since it bowed atop the list dated Nov. 16, 2019.
Cano’s sixth studio album starts with 5,000 equivalent album units earned in the U.S. in the week ending June 3, according to MRC Data, mostly stemming from streaming activity. It registered 6.9 million on-demand streams of the album’s tracks in its first tracking week.
The Regional Mexican Albums chart ranks the most popular regional Mexican 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 11-track A Mis 20 was released May 28 via JHRH/Warner Latina and earns Cano his second No. 1 on the tally. The 20-year-old becomes the first act to oust himself from the top since Christian Nodal’s Ahora pushed Me Dejé Llevar from the lead in May 2019.
Corridos Tumbados’ 31 weeks at No. 1 remains the third-most on the chart following only Selena’s 97-week reign with Amor Prohibido and Nodal’s Me Dejé Llevar (73 weeks at No. 1).
A Mis 20 concurrently debuts at No. 9 on Top Latin Albums, Cano’s highest start since Corridos debuted at No. 5 (No. 4 peak). The latter is in the list’s top 30 in its 83rd week.
Back on Regional Mexican Albums, A Mis 20 becomes just the third album to debut at the summit in 2021. It trails Eslabon Armado’s Corta Venas (Jan 2-dated tally) and Cano’s labelmate Junior H’s $ad Boyz 4 Life (Feb. 27-dated list).
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2021-06-09 03:17:062021-06-09 03:17:06Natanael Cano Replaces Himself at No. 1 on Regional Mexican Albums Chart
A troubling trend of gun violence leaked into Miami-Dade County’s south end early Monday morning when police said a disturbed gunman shot and killed his girlfriend and her son and … Click to Continue »
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2021-06-08 03:08:452021-06-08 03:08:453 killed, 3 wounded as gun violence strikes South Miami-Dade near Homestead Air Reserve
Deputies responding to a 911 report of a shooting early Sunday morning found a man with multiple gunshot wounds in the driver’s seat of a Toyota SUV, according to the … Click to Continue »
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2021-06-08 03:07:442021-06-08 03:07:44A man was found dead in the driver’s seat of a Toyota SUV. Do you know who shot him?
As the high-profile public corruption case revolving around former state Sen. Frank Artiles continues to play out in court, the no-party candidate accused of being paid and recruited to run … Click to Continue »
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2021-06-08 03:06:432021-06-08 03:06:43As Artiles criminal case unfolds, sham NPA candidate agrees to ethics violations, fine
Wynwood has art, restaurants, bars, offices and apartments — but few tourist digs. That’s about to change. Mr. Krymwood, a 76-room hotel, is coming to 176 NW 28th St., adjacent … Click to Continue »
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2021-06-08 03:05:422021-06-08 03:05:42Wynwood is slated for hotel. You’ll need to wait a bit to check in.
ATLANTA — A College Park police officer was injured early Saturday morning while attempting to confront a teenager driving a stolen SUV when the boy drove into him, running over … Click to Continue »
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2021-06-08 03:04:412021-06-08 03:04:41Police officer in Georgia is hit, injured by SUV after refusing to use lethal force
The Rolling Stones, Tom Jones, Barry Gibb and 71 other prominent British musicians joined a campaign by artists and songwriters pushing for a larger share of streaming royalties from platforms like Spotify and YouTube — and closer scrutiny on the major labels’ hold on the market.
The call by the 74 musicians comes two months after a group of more than 150 artists — including Paul McCartney, Annie Lennox and Chris Martin — sent the same letter to U.K. Prime Minister Boris Johnson calling for the British leader to change U.K. copyright law so that streaming revenues would be treated more like radio revenue.
The new push by British artists to show solidarity in their quest for fairer compensation also comes as a Parliamentary body — the Digital, Culture, Media, and Sport (DCMS) Committee — is set to release recommendations after an inquiry into the music streaming economy that concluded in March.
The letter’s signatories are calling for a government referral of the multinational corporations that wield “extraordinary power” over the music business to the U.K. competition enforcer, the Competition and Markets Authority (CMA), which can act against businesses engaging in anti-competitive behavior.
Over 75 artists including The Rolling Stones add their names to the #FixStreaming call.
It’s time for @BorisJohnson to put the value of music back where it belongs – in your hands.
The U.K. Parliamentary probe has seen major labels’ dominance of the market emerge as a central issue. The first stage of the inquiry concluded with government minister Caroline Dinenage saying she would support a referral of the three biggest music companies — Universal Music, Sony Music and Warner Music — to the CMA.
The committee expects to publish their report next month before Parliament breaks for its summer recess, although a date has not been announced. Ministers will then have eight weeks to respond, and although they aren’t obliged to enact its recommendations, they are expected to engage with them.
During the inquiry, bosses from all three major labels faced hostile questioning from DCMS committee members over how labels pay out streaming royalties to creators. Senior execs from Spotify, Amazon Music, Apple Music and YouTube also appeared before members.
The musicians are pressing for a change in the U.K.’s 1988 Copyright, Designs and Patents Act, which would see music streaming classified in the same way as radio and TV broadcasting. Songwriters earn on average 50% of radio revenues, but only 15% of streaming receipts, the signatories say in their letter to Johnson. If a re-classification were to happen, streaming would be subject to the principle of equitable remuneration, which guarantees royalties to performers on recordings.
Currently, music streams are covered in most international markets by a “making available right,” meaning that only copyright owners receive payments, which they then share with featured artists according to the terms of their contract. Unlike royalties for U.K. television and radio, session musicians do not typically receive a share of streaming royalties.
The major labels strongly oppose any change to copyright law around how streaming is classified. The labels have said that a move towards equitable remuneration would result in a substantial loss of earnings, reducing their ability to invest in new acts. It could also hamper the ability of rights holders to negotiate licensee agreements with streaming services, they say, by making it harder for them to walk away from negotiations.
The renewed call from British artists also comes after the World Intellectual Property Organization said in a report last week (June 1) that streaming should start to pay more like radio.
The WIPO reported noted that global recorded music revenues have grown six consecutive years to a total of $21.6 billion in 2020, even growing substantially during the COVID-19 pandemic. “This streaming-fueled success has not trickled down to performers, especially non-featured performers,” the report said. “The more global revenues surge, the harder it is for performers to understand why the imbalance is fair—because it is not.”
“This letter is fundamentally about preserving a professional class of music-maker into the future,” Tom Gray, founder of the #BrokenRecord Campaign, one of the U.K. organizers, says in a statement. “Most musicians don’t expect to be rich and famous or even be particularly comfortable, they just want to earn a crust.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2021-06-08 03:03:412021-06-08 03:03:41Rolling Stones, Tom Jones, Other Big U.K. Musicians Join Campaign For Larger Streaming Share