The Grammy Awards and the Super Bowl Halftime Show have a few things in common. Both, of course, have been fixtures on network television for decades, but neither has even won the top Emmy Award for variety programming — an award currently called outstanding variety special (live). Both shows are nominated in that category again this year.

Will one of these shows finally prevail this year? Quite possibly. Each received five Emmy nominations this year, which is more than the other three nominees in this category — The Oscars (which received three nods), The Tony Awards Present: Broadway’s Back! (which received two) and Live In Front Of a Studio Audience: The Facts of Life and Diff’rent Strokes (which also received two).

The Grammys became a live telecast in March 1971, but they assumed a higher profile when the show expanded from two hours to three hours in February 1983. The timing of the expansion was fortunate. The following year, Michael Jackson set a new record for most Grammys won in one night. That 1984 show, which was in effect a pop coronation, really needed to be three hours.

The Super Bowl goes even further back. It has aired every year since 1967, though the half-time show didn’t become the high-profile mega-event we know it to be today until the early ’90s. As late as 1986, the show was headlined by the bland vocal choral group Up With People. That changed in 1991 when the red-hot New Kids on the Block headlined the show, followed by Gloria Estefan in 1992 and, the real game-changer, Jackson in 1993.

This year’s Super Bowl Halftime Show — officially called The Pepsi Super Bowl LVI Halftime Show Starring Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar and 50 Cent — was a widely-acclaimed celebration of hip-hop music and culture. It’s probably the front-runner to win this award, but award shows have a way of surprising us.

Several artists performed on more than one of these competing shows. Snoop Dogg was one of the headliners on the Super Bowl Halftime Show and also played Vernon in the live revival of Diff’rent Strokes. Anderson .Paak was a featured performer on the Super Bowl Halftime Show and also opened this year’s Grammys, along with Bruno Mars, as Silk Sonic. In addition to hosting and performing on The Tony Awards Present: Broadway’s Back!, Leslie Odom Jr. performed on the Grammys, in the pitch-perfect salute to the late Stephen Sondheim. John Legend and Ben Platt also performed on both the Tonys and the Grammys.

Some key behind-the-scenes talent worked on multiple nominees too. Jesse Collins was an executive producer on the 64th annual Grammy Awards and a producer on the Super Bowl Halftime Show. Hamish Hamilton directed both of those shows. Glenn Weiss directed both the Oscars and The Tony Awards Present: Broadway’s Back!

Here’s a closer look at this year’s Emmy nominees for best variety special (live):

A second man has been arrested on murder charges in a May shooting that killed two people and caused a stampede at a Georgia music festival.

Washington County Sheriff Joel Cochran said Wednesday (July 13) that Brian Keith Rozier, a 24-year-old East Dublin resident, was arrested by U.S. marshals. Rozier is charged with malice murder, felony murder, aggravated assault, using a gun in a crime and reckless conduct.

The shooting killed William Mykell Lowery, 17, and Christopher “Scooter” Dunn, 30. Both men were attending a Freaknik-themed music festival at the private Larry Mitchell Ballpark in Sandersville.

Rozier had not yet been booked into the Washington County jail Wednesday afternoon. It was unclear if he has a lawyer representing him.

Ryan Rozier, 22, also of East Dublin, was arrested in connection with the shooting in June for being a felon in possession of a gun and for violating his probation. It was not immediately known if the two Roziers are related.

Washington County commissioners sued to shut down the private park after hearing complaints from nearby residents following the shooting.

Witnesses said the crowded event had little security, no one checking for weapons and limited access.

A judge issued a temporary order closing the park. A hearing on a permanent closure had been scheduled for last week, but Cochran said it was delayed until Sept. 1. The park will remained closed until at least Sept. 4.

Investigators say they’re still seeking information about the May shooting.

Nicki Minaj teases her newest song which sounds like a bop and heavily samples Rick James’ ‘Super Freak’, Zendaya reacts to getting nominated for multiple Emmys for ‘Euphoria, Selena Gomez babysits Jessica Simpson’s daughter and Taylor Swift leaves her mark on ‘Thor Love and Thunder’.

Bramwell Tovey, the London-born composer and conductor who’s been the principal conductor and artistic director of the Rhode Island Philharmonic Orchestra since 2018, has died.

Tovey died Tuesday (July 12) at his Barrington home surrounded by his family, one day after his 69th birthday, the orchestra said in a statement Wednesday.

Tovey was diagnosed with a form of sarcoma in May 2019 and underwent surgery at Boston’s Dana-Farber Cancer Institute in June 2021 that briefly left him cancer-free, the statement said. The cancer returned in January.

“We are all heartbroken,” orchestra Executive Director David Beauchesne said. “Bramwell Tovey was a dear friend and colleague, and a person of uncommon ability, warmth, humor, sincerity and kindness. The youngest student and most revered guest artist received the same level of his care and attention.”

Tovey, a tuba and piano player who won Grammy and Juno awards, played in Salvation Army bands early in his musical career, according to the orchestra.

He developed a friendship with Leonard Bernstein that started in 1986 when — according to a biography on Tovey’s website — Tovey was as a last-minute substitute at the opening night of the London Symphony Orchestra’s Leonard Bernstein Festival, in the presence of the maestro himself.

He also had transformative tenures as music director at the Winnipeg Symphony and with the Vancouver Symphony Orchestra in Canada. Tovey was the music director of the Sarasota Orchestra in Florida.

He is survived by his partner Verena De Neovel, children Ben, Jessica and Emmeline, and grandchildren.

The Rhode Island Philharmonic Orchestra’s 2022-23 season will be dedicated to Tovey’s memory. Memorial and funeral arrangements were not immediately available.

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Twitter sued Tesla CEO Elon Musk on Tuesday, trying to force him to complete his $44 billion takeover of the social media company by accusing him of “outlandish” and “bad faith” actions that have caused the platform irreparable harm and “wreaked havoc” on its stock price.

Back in April, Musk pledged to pay $54.20 a share for Twitter, which agreed to those terms after reversing its initial opposition to the deal. But the two sides have been bracing for a legal fight since the billionaire said Friday that he was backing away from his agreement to buy the company.

Twitter’s lawsuit opens with a sharply-worded accusation: “Musk refuses to honor his obligations to Twitter and its stockholders because the deal he signed no longer serves his personal interests.”

“Having mounted a public spectacle to put Twitter in play, and having proposed and then signed a seller-friendly merger agreement, Musk apparently believes that he — unlike every other party subject to Delaware contract law — is free to change his mind, trash the company, disrupt its operations, destroy stockholder value, and walk away,” the suit stated.

Twitter filed its lawsuit in the Delaware Court of Chancery, which frequently handles business disputes among the many corporations, including Twitter, that are incorporated there.

As part of the April deal, Musk and Twitter had agreed to pay each other a $1 billion breakup fee if either was responsible for the deal falling through. The company could have pushed Musk to pay the hefty fee but is going farther than that, trying to force him to complete the full $44 billion purchase approved by the company’s board.

“Oh the irony lol,” Musk tweeted after Twitter filed the lawsuit, without explanation.

The arguments and evidence laid out by Twitter are compelling and likely to get a receptive ear in the Delaware court, which doesn’t look kindly on sophisticated buyers with highly-paid legal advisers backing off of deals, said Brian Quinn, a law professor at Boston College.

“They make a very strong argument that this is just buyer’s remorse,” Quinn said. “You have to eat your mistakes in the Delaware Chancery Court. That’s going to work very favorably for Twitter.”

Musk alleged Friday that Twitter has failed to provide enough information about the number of fake accounts on its service. Twitter said last month that it was making available to Musk a ″fire hose” of raw data on hundreds of millions of daily tweets.

The company has said for years in regulatory filings that it believes about 5% of the accounts on the platform are fake. Musk is also alleging that Twitter broke the acquisition agreement when it fired two top managers and laid off a third of its talent-acquisition team.

Twitter’s suit repeatedly emphasizes Musk’s contemplation of starting a Twitter competitor — an alternative option he sometimes aired publicly and sometimes privately to Twitter’s executives and board members. While the company has said it cooperated in providing the data he requested on fake “spam bot” accounts, the lawsuit suggests Twitter was concerned that disclosing too much “highly sensitive information” could expose the company to competitive harm if shared.

The biggest surprise for Quinn was how much evidence Twitter has — for instance, communications with Musk about whether to retain or lay off employees, as well as the billionaire’s own public tweets — to reject his arguments for backing out.

“They are marshaling many of Musk’s own tweets to hoist him on his own petard,” he said.

In a joint press release announcing the acquisition deal, Musk pledged to “unlock” the social media company’s potential by loosening restrictions on speech and rooting out fake accounts. Among his most attention-grabbing promises was to let former President Donald Trump back onto the platform. Musk argued that Twitter’s ban of Trump following the Jan. 6, 2021 insurrection at the U.S. Capitol was “morally bad” and “foolish in the extreme.”

But his confidence didn’t last long. Tesla’s stock — Musk’s primary source of wealth — plummeted amid a broader stock market selloff in May, and Musk soon seemed less enthusiastic about owning Twitter.

“For Musk, the best case is he pays the $1 billion breakup fee but that appears very unlikely,” said Wedbush Securities analyst Daniel Ives. “The irony is that Twitter as a fiduciary is clearly looking to enforce a deal that Musk doesn’t want to get done. It’s like buying a house you don’t want.”

Twitter’s suit calls Musk’s tactics “a model of hypocrisy,” noting that he had emphasized plans to take Twitter private in order to rid it of spam accounts. Once the market declined, Twitter said, “Musk shifted his narrative, suddenly demanding ‘verification’ that spam was not a serious problem on Twitter’s platform, and claiming a burning need to conduct ‘diligence’ he had expressly forsworn.”

Similarly, the company charges that Musk operated in bad faith, accusing him of requesting company information in order to accuse Twitter of providing “misrepresentations” about its business to regulators and investors.

Musk “has been acting against this deal since the market started turning, and has breached the merger agreement repeatedly in the process,” the suit charged. “He has purported to put the deal on ‘hold’ pending satisfaction of imaginary conditions, breached his financing efforts obligations in the process, violated his obligations to treat requests for consent reasonably and to provide information about financing status, violated his non-disparagement obligation, misused confidential information, and otherwise failed to employ required efforts to consummate the acquisition.”

After more than 15 years in the K-pop game, Super Junior is here to reassure fans the boy band has no intention of leaving. In fact, their new music is coming in multiple chapters to prove the point.

The latest volume of new music, The Road : Keep on Going The 11th Album Vol. 1, unveiled on July 12, is packed with messages meant to raise listeners’ spirits during the summer and uplift their longtime fans, affectionately called E.L.F. for Ever Lasting Friends.

“The album title The Road : Keep on Going is about Super Junior’s path and how we will keep on going,” member Siwon tells Billboard. “It’s an album that tells the story of Super Junior’s present, includes a message of Super Junior’s now, as well as the ways we’re walking forth. Following this path, we hope you’ll also look forward to Vol. 2 of the album, which will come out later.”

Member Ryeowook adds that he’d “like our fans to feel Super Junior’s energy once again” after the group last came together in March for their slower, more sentimental The Road : Winter for Spring. He says, “We always want to share bright, positive energy, and I hope our fans will be able to let go of their stress and be happy when listening to our music. I believe that the bright energy we have is only what Super Junior can show, and all of our tracks in this album carry that. It was nice getting to work with such a great team of composers, so I hope everyone enjoys this album.”

Led by a sweet new single “Mango,” Keep on Going lets listeners know where SuJu stands. Read on for more commentary and behind-the-scenes info from the members themselves.

1. “Mango”

 

LEETEUK: Just like how someone might crave mangoes during the hot summer, “Mango” is an exciting track that suits the summer season well and is one that people will be reminded of each summer. I think mangoes are an attractive type of fruit as it’s more refreshing and sweeter than others. Just like a sweet mango for a loved one, the lyrics to “Mango” is a confession of wanting to become an oasis in a hot desert for a lover, expressed through the keyword mango.

KYUHYUN: It’s a very straightforward track about wanting to become the love, an oasis in the desert, for someone looking for love.

SIWON: “Mango” is one of my favorites on the album. I tend to have a bit more affection for the title tracks of our albums since it’s the ones we practice and prepare for the most; it’s always the most memorable.

LEETEUK: It’s probably because it’s been a while since we’ve gathered together as a full group, but recording this in the studio together reminded me of our good old days. With “Mango” being such a rhythmical and exciting track, we also had a lot of fun recording it.

KYUHYUN: I was assigned the last part of the track and because I’m more used to singing ballads, I actually ended up singing it with a ballad tone during group practice — the members made a lot of fun of me for turning a dance track into a ballad.

2. “Don’t Wait”

 

SHINDONG: “Don’t Wait” is a lively track that matches the vibe of Super Junior and is a song that’ll boost your confidence before confessing to a loved one. The lyrics are playful, and I believe it’s a track that also suits the cheerful performance of Super Junior on stage as well. To explain the concept of the music video, the Super Junior members are divided into two groups, the dandy-looking versus the tough guys, and they compete in a dance competition in order to impress the lady. But the lady turned out to be…LEETEUK. How sad! This probably wasn’t what the director had in mind but, starting with myself, we all got a bit competitive over being funny. So the behind-the-scenes story would be us working hard to make the scenes funnier and we couldn’t stop laughing throughout!

3. “My Wish”

YESUNG: “My Wish” is a pop ballad track with a whistling sound that sets the vibe when it comes to this album. It’s a song that expresses always wanting to be with a loved one, and beautifully speaks about our hopes for all those listening to be happy and wanting to give them strength.

LEETEUK: “My Wish” is one of my favorite tracks from this album. It’s got a great melody and is a bit sentimental, giving off a very romantic vibe.

DONGHAE: The track was great from the starting [demo version], but it was even better when we heard the final version after all our members finished recording. For me, this is one of the tracks from this album that stands out the most.

YESUNG: I spent a lot of time thinking about and practicing this track before going in to record. Though there were some parts that went a bit differently than I had imagined, I recorded this track thinking of all the individuals with us who’d listen to this song, so it was very meaningful. I hope that everyone, including our fans, will gain a bit of strength when they listen to “My Wish” and be reminded of good memories whilst feeling love and hope as well.

4. “Everyday”

EUNHYUK: “Everyday” is an alternative-rock track with a rhythmical electric guitar and addictive melody. It’s an exciting easy-to-sing-along type of track with lyrics that express an overflowing heart one has towards a loved one in a concise-yet-cute way where “Everyday” is not enough to express that love.

RYEOWOOK: There’s a part in the lyrics that go along the lines of “I like this moment with you, always want you, the answer is always you.” We sang this song with the thought of being with our E.L.F. so when you’re feeling down, or even when you’re feeling happy, I hope you’ll think of Super Junior and find strength.

5. “Always”

DONGHAE: “Always” is a track that speaks of the promise we’ve made with our fans to always be by their side. It’s a message of us being by our fans’ side and our fans being by ours, expressing the love and affection we have and how we both need each other.

EUNHYUK: I really like how the lyrics are for our fans. This is actually a track that’s dear to me because I was able to participate in writing the lyrics and, by doing so, express more of the heart we have for our fans.

RYEOWOOK: I’d have to say I’m most excited to perform “Always” live because it’s a track that really shows Super Junior’s vocals. If you listen carefully to the lyrics, you’ll be able to feel the love we have for our fans. Especially for the high notes, we tried to hit them clearly so that our fans can feel that surge of energy when listening.

Youngboy Never Broke Again (a.k.a. NBA Youngboy) scored a major victory on the opening day of his Los Angeles trial for firearms possession on Tuesday (July 12), with the judge ruling to exclude the use of the rapper’s lyrics as evidence, defense attorneys confirmed to Billboard.

The decision by U.S. District Judge R. Gary Klausner means prosecutors won’t be able to use lyrics from three Youngboy songs — “Lonely Child,” “Life Support” and “Gunsmoke” — to help convict the rapper (born Kentrell Gaulden), who’s charged with possession of a firearm after he was discovered with a loaded FNX-45 gun during a traffic stop in Tarzana, California on March 22, 2021.

Among other lines, prosecutors had argued that the lyric “FN, Glock, MAC-10s” from “Gunsmoke” demonstrates the rapper’s “familiarity and knowledge of FN, the high-end manufacturer of the gun found in defendant’s car that he denies knowingly possessing,” according to a court filing on Monday (July 11).

In their own filing rebutting the prosecution’s request, defense lawyers had said that allowing the lyrics as evidence would be “highly prejudicial as they discuss hardcore rap which has been empirically established to be more negatively received than other genres of music” and that the lyrics “offer very minimal probative value and are substantially outweighed by the prejudice contained within the words of the songs.” Their argument echoes the growing controversy around rap lyrics being cited in criminal cases against such hip-hop artists as Young Thug, Gunna, Drakeo the Ruler and Bobby Shmurda in recent years.

The judge’s ruling marked a highlight of the first day of Youngboy’s L.A. trial, which took place at Roybal Federal Building and U.S. Courthouse in Downtown Los Angeles and included jury selection and opening arguments by the prosecution and defense lawyers.

The possession charge at issue in the case stems from Youngboy’s previous felony conviction for aggravated assault with a firearm, which prevents him from possessing a firearm and ammunition. The U.S. District Court for the Middle District of Louisiana had charged Youngboy with this violation and issued a warrant for his arrest; soon after, law enforcement got a search warrant for Youngboy’s cell phone and tracked him to Tarzana.

According to the indictment, LAPD officers surveilled Youngboy as he got into his new Mercedes GLS 200 Maybach, which had been purchased just over a week before, and then tried to pull him over, using marked police cars with sirens and lights.

But in their opening statement, the defense argued that a policeman’s body camera will show that, after complying with officers, pulling over for them and showing his hands, the cops took “defensive positions behind the doors of both cars.”

“This is what Mr. Gaulden is looking at. He sees… this isn’t a traffic stop. This isn’t where they go up and ask for his license, his registration… they’re talking to him on a megaphone,” said the defense. They went on to state that the indictment doesn’t mention that it was “4, 5, 6, 7 police cars marked and unmarked all pulled up behind him,” which they say can also be seen in the body cam footage.

“Police officers are moving towards the front with hands on their weapons,” the defense continued, adding that it was at this moment that Youngboy fled in his car, not understanding why he’d been pulled over or that there was a warrant out for his arrest.

In their dueling opening statements, the prosecution and the defense both noted the speed of the Maybach as it raced down the street — and that the car caught air after hitting a speed bump. To indicate the danger this posed to the public, the prosecution noted the bump was positioned as Youngboy “approached an elementary school and passed a middle school.”

Soon after, Youngboy abandoned his car and began to run away on foot. He was ultimately discovered hours later near the backyard of a stranger’s home in Tarzana and his car was searched by law enforcement.

In its opening statement, the prosecution explained that during a search of the full car, the loaded gun was discovered along with Youngboy’s ID, credit cards and “half a million dollars worth of expensive watches, jewelry, much of which was custom made for the defendant with his rap logo.”

But the defense noted that despite the indictment stating that the tan-colored gun was discovered on the floor behind the front passenger’s seat of the car, multiple people searched the Maybach before the gun was found — something they described as unlikely given how prominent the firearm would have been against the car’s black carpet. Describing the body cam footage, the defense further attempted to poke holes in the prosecution’s assertion about the position of the gun by noting that it appeared an officer in question was “rummaging through something” during a search of the backseat of the vehicle on the driver’s side, but that “never once at that point does [the officer] notify anyone that he sees a gun.”

The defense further alleged that law enforcement didn’t properly document where the items were discovered inside the car, stating, “They didn’t take photographs to show exactly where [the] items were all found. What they’re doing is moving things around and taking photographs.”

Elsewhere in the prosecutors’ opening statement, which was far briefer than that of Youngboy’s legal team, they argued that Youngboy was captured on video in Baton Rouge, Lousiana with the “same exact type of gun” discovered in Tarzana, as well as in a photo in Philadelphia, Pennsylvania a few months ahead of his arrest.

But the defense argued this evidence doesn’t prove the charge at hand.

“[This case is] about this gun, at this place, at this time… The government is going to spend half of their case talking about stuff that happens in cities far away at times far in the past,” the defense argued.

The Los Angeles trial is scheduled to continue over the coming weeks. Youngboy is also facing trial in a separate case in Louisiana, where he is charged with illegally possessing drugs and firearms that were discovered during an arrest in Baton Rouge in September 2020.

Nearly three weeks ago, Marcus Mumford revealed the first song from his forthcoming solo album during an emotional performance of “How” with Brandi Carlile at Carlile’s Greek Theater Show on June 25 in Los Angeles. Now he’s providing more details.

In a handwritten note posted on the Mumford & Sons leader’s Instagram account on Tuesday (July 12), Mumford wrote, “In January 2021, facing demons I danced with for a long time in isolation, I wrote a song called ‘Cannibal.’ I took it to my friend Blake Mills, and we began the process of making this album, dear to my heart, called (self-titled). It comes out September 16, 2022, produced by Blake Mills, and featuring Brandi Carlile, Phoebe Bridgers, Clairo & Monica Martin.”

Carlile reposted his note on Facebook, adding, “This is something so special and so important that I want everyone who visits me here to understand the effect it has had on me. Marcus Mumford is brave and soulful and everything you hope he’d be…but this music will do more for people who are hurting than any one man can claim responsibility for. I’m so proud of him. And so proud to have been a part of this transcendence. Get ready.”

At the Greek Theater show, Mumford credited Carlile, whom he said he became friends with “quite a long time ago,” with not only singing the duet with him, but offering her full support. “As I was in the process of making a record — with the full blessing and permission of the band that I’m still in — [Carlile] heard a couple of songs and put her arm around me and said, ‘I’m gonna help you do whatever it is you need to do to finish this,” Variety previously reported. “It was the most extraordinary support I’ve ever had from another musician other than my bandmates. And so, we went into the studio the next day and wrote and recorded this song, which is the last song on the record.”

Though this is his first full solo album, Mumford has released other solo works, including the Emmy-nominated theme to the Apple + series Ted Lasso.

The label releasing the album has not yet been announced. Mumford & Sons last album, 2018’s Delta, came out through Gentleman of the Road/Glassnote in the U.S. In June 2021, guitarist Winston Marshall quit the group following a controversy over his March tweet in support of American right-wing journalist Andy Ngo’s book Unmasked: Inside Antifa’s Radical Plan to Destroy Democracy.