Juana Bacallao, a renowned Cuban singer and cabaret diva who still performed until recently, has died. She was 98.

Bacallao died Saturday (Feb. 24) after spending several days at a hospital in Havana, according to a statement from Cuba’s Ministry of Culture. Officials didn’t say why she was hospitalized.

Bacallao was known for her husky voice, risque personality and being unpredictable, clad in wigs and extravagant costumes. She performed at the famed Tropicana club in the 1940s and ’50s and sang alongside artists like Nat King Cole.

“I will never retire. I will only stop once death has come for me,” she said in a 2010 interview with The Associated Press.

Born Neri Amelia Martínez Salazar, she was sent to a Catholic boarding school after becoming orphaned at 6 years old.

She was discovered as a teenager while singing as she cleaned homes and was given the moniker “Juana Bacallao,” becoming a sensation in Cuba’s cabaret scene.

Bacallao performed with stars, including singer and pianist Bola de Nieve, percussionist Chano Pozo and singer Benny Moré.

“I know what life is — both poverty and wealth,” Bacallao told the AP more than a decade ago. “This is my land. It is where I was born, and it is where I will die.”

Songwriters and publishers are due nearly $400 million in additional payouts following the Copyright Royalty Board’s Phonorecord III final determination in August, according to information the Mechanical Licensing Collective (the MLC) released on Friday (Feb. 23).

During the Phono III blanket license period (2021-2022), the MLC reports that digital service providers like Spotify, Amazon Music, YouTube and Pandora underpaid rightsholders by $419.2 million — $281 million from mechanical royalties and $137.8 million from performance royalties. Those underpayments were due to the fact that final rates were higher than the interim rates during the more than four-year royalty dispute between publishers and streamers.

However, the DSPs actually overpaid publishers for mechanical royalties during the Phono III historical unmatched period (2018-2020) to the tune of $28.8 million. That would cut down the total bonus owed to songwriters and publishers to roughly $390.3 million.

The DSPs were given until Feb. 9 to review and adjust their past payments following the CRB’s final determination, though several did not submit the required adjustment reports by the deadline, according to the MLC, which expects adjustments to increase by another $10 to $15 million once those additional reports come in.

The MLC notes that the amounts are estimates only and subject to change pending its official calculations.

“We are extremely pleased that songwriters and music publishers finally will receive the over $400 million they are owed in mechanical and performance royalties from the 2021-2022 period,” said NMPA president/CEO David Israelite in a statement. “Our appellate win upholding the rate increase we achieved in 2018 will finally net music creators and copyright owners the windfall they should have received years ago. The fact that the majority of this adjustment will be distributed by the MLC in a completely transparent and expedient way is another massive benefit of the Music Modernization Act (MMA) and while we would have preferred it be paid sooner, this is a welcome and critical lift now.”

A full breakdown of the adjustments from the individual DSPs is available on the MLC website.

The American Federation of Musicians has reached a tentative agreement with the Alliance of Motion Picture and Television Producers as of Friday.

The agreement, which concerns basic theatrical motion picture and basic television motion picture contracts, comes with “historic breakthroughs” on streaming residuals and protections against AI, according to AFM. The agreement is unanimously recommended by the bargaining committee. 

While AFM leadership said they could not comment on the exact details in the contract, they confirmed that the tentative deal language includes streaming residuals for musicians for the first time.

“This agreement represents a major win for musicians who have long been under-compensated for their work in the digital age,” said AFM International President and Chief Negotiator Tino Gagliardi. “We have secured historic breakthroughs in streaming residuals, established critical guardrails against the misuse of AI, gained meaningful wage increases and other important gains. This agreement represents a watershed moment for the artists who create the soundtracks for countless film and TV productions.”  

The tentative agreement must be approved by AFM International Executive Board and then will next be submitted for ratification by roughly 2,000 members working under the contracts.

The deal came after a first round of negotiations from Jan. 22 through Jan. 31 and then a second round that began Feb. 21 and lasted until the early hours of Feb. 23. The negotiations took place at the Sherman Oaks offices of the AMPTP.

AFM held a rally outside the offices on the first day of negotiations, with members from several other entertainment unions attending to show their support. The tentative agreement comes just ahead of the March 4 start date for negotiations between the AMPTP and the International Alliance of Theatrical Stage Employees and the Hollywood Teamsters.

“I want to congratulate our AFM Fair Share for Musicians bargaining unit members for their unwavering commitment to fighting for a contract that fairly compensates them for their invaluable contributions to film and TV and protects them in the ever-changing film and television industry,” Gagliardi concluded. “We were not alone in this negotiation, and we were proud to have the full backing of fellow unions: SAG-AFTRA, Writers Guild of America, IATSE, and the Teamsters. It was yet another powerful reminder that when we have solidarity in the labor movement, we can achieve great things. We also would like to thank Carol Lombardini, president of the AMPTP, as well as the AMPTP and its member companies, for helping bring these negotiations to a successful conclusion.”

This article was originally published by The Hollywood Reporter.

Boy bands supporting boy bands!

ENHYPEN shared a cover on Friday (Feb. 23) of One Direction’s 2012 breakout hit, “What Makes You Beautiful.” The band members trade verses with their signature sweet vocals before coming together to sing the anthemic hook.

In August, 1D member Liam Payne celebrated a new milestone for the song. “Wow I just got told we’re about to make a billion streams on wmyb,” the singer wrote alongside a throwback photo of himself posing with former bandmates Harry Styles, Niall Horan, Zayn Malik and Louis Tomlinson. “Never in the making of this song so early in our career did I think I would be looking at those numbers what an achievement boys!”

He continued, “I’m so lucky not only to share this with you but also this amazing fanbase everyday I’m learning about myself and what was all of this for but now when I listen back and think of the power we all had including you as a fanbase I’m so happy that for 5 years we made such a great soundtrack to life for myself and everyone who got to listen sharing laughter pain and everything in between miss you boys. Lots of love.”

Listen to ENHYPEN’s cover of One Direction’s “What Makes You Beautiful” below.