Grammy-nominated singer/songwriter Sia is set to make her directorial debut this year with the musical drama film Music.

The pop hitmaker co-wrote the screenplay for the movie, which was announced at the 2015 Venice Film Festival, along with 10 songs for the official soundtrack, Music – Songs From and Inspired by The Motion Picture.

Her two-in-one project has experienced multiple delays, and Billboard has been following its every move leading up to its scheduled February release date in the U.S.

Find out everything we know (so far) below:

Movie & album release dates 

Music is scheduled for a special limited theatrical IMAX release in the U.S. on Feb. 12 and it opens in Australia on Thursday (Jan. 14) via StudioCanal. Music – Songs From and Inspired by The Motion Picture will drop on Feb. 12 via Monkey Puzzle/ Atlantic.

Songs on the album 

Sia released the lead single “Together” and its colorful accompanying visual on May 20, 2020, followed up by “Courage to Change” on Sept. 24, which she later performed at the 2020 Billboard Music Awards.

She dropped a third single “Hey Boy” on Nov. 19, the same day she announced the movie’s soundtrack. Sia also teased a sneak peek of Kate Hudson’s performance of “1+1″ on Dec. 18.

Actors in the movie & plot 

Oscar-nominated actress Kate Hudson plays Zu, a “newly sober drug dealer and self-saboteur” who becomes the sole guardian of her autistic half-sister Music, who’s played by Sia’s longtime dancer Maddie Ziegler. As Zu struggles to take care of Music, she turns to her friendly neighbor Ebo, who’s played by Hamilton star Leslie Odom Jr., for help.

Controversy about autism 

Sia faced severe backlash in November from the autistic community after casting Ziegler for the role rather than an actor on the autism spectrum. “Grrrrrrrrrr. F–kity f–k why don’t you watch my film before you judge it? FURY,” the “Chandelier” singer wrote in a since-deleted tweet shortly after revealing the trailer.

She elaborated further on the controversy to Australia’s The Sunday Project this month, stating, “I mean, it is ableism I guess as well, but it’s actually nepotism because I can’t do a project without her [Ziegler]. I don’t want to. I wouldn’t make art if it didn’t include her.”

The trailer

A trailer for the film debuted on Nov. 19. Watch below:

Portrayals of three music greats — Sam Cooke, Ma Rainey and Billie Holiday — have a good chance of receiving Oscar nominations when the nods for the 93rd annual Academy Awards are announced on March 15.

Leslie Odom Jr.’s portrayal of Cooke in One Night in Miami (Amazon Studios) is likely to receive a nod for best performance by an actor in a supporting role, while Viola Davis’ performance as Rainey in Ma Rainey’s Black Bottom (Netflix) and Andra Day’s performance as Holiday in The United States vs. Billie Holiday (Hulu) are both solid candidates to receive nods for best performance by an actress in a leading role. Davis, who has already won an Oscar, Emmy and Tony, seems to have a better chance of being nominated, with Day currently seen as likely to finish just outside the top five.

If Day is nominated, this would be the second portrayal of Holiday to be recognized in that category. Diana Ross’ performance in Lady Sings the Blues received a 1972 nomination. This would make Holiday the first musical performer to inspire two Oscar-nominated portrayals.

The late Chadwick Boseman is also considered a sure thing to receive a best actor nomination for his role as Levee, an arrogant trumpet and cornet player in Rainey’s band, but that character is fictional.

In each of the last two years, actors won Oscars in lead categories for their portrayals of music legends. Last year, Renée Zellweger won best actress for playing Judy Garland. Two years ago, Rami Malek won best actor for playing Freddie Mercury of Queen.

Cooke, Holiday and Rainey have long been recognized as musical giants.

In 1986, Cooke became one of the 10 original artists inducted into the Rock and Roll Hall of Fame. Four years later, Rainey became the second female artist — following fellow blues legend Bessie Smith — to be inducted as an early influence. Holiday was honored as an early influence in 2000.

Holiday and Cooke have both received lifetime achievement awards from the Recording Academy: in 1987 and 1999, respectively. Rainey has not received that top honor yet. But all three artists have recordings in the Grammy Hall of Fame.

All three of these figures died before their time, which, of course, adds to the drama of their lives. Cooke was just 33 in 1964 when he was shot and killed by the manager of a motel in Los Angeles. Holiday died of cirrhosis at age 44 in 1959. Rainey died of a heart attack at age 53 in 1939.

Here’s a concise look at these performers.

Ma Rainey: Rainey, born Gertrude Malissa Pridgett in Columbus, Ga., released “See See Rider Blues” in 1925. The track featured Louis Armstrong on cornet and Fletcher Henderson on piano. It was voted into the Grammy Hall of Fame in 2004. The song has been revived many times as “See See Rider” or “C.C. Rider.” A version by Eric Burdon and the Animals reached the top 10 on the Billboard Hot 100 in 1966.

Rainey is also remembered for “Countin’ the Blues” (1924) and “Prove It on Me Blues” (1928).

Rainey’s life inspired August Wilson’s play Ma Rainey’s Black Bottom. A 1984-85 Broadway run received three Tony nominations, including best play.

Billie Holiday: Holiday, born Eleanor Gough in Philadelphia, landed her first hits with Teddy Wilson and his Orchestra in 1935, before going out on her own the following year. She has nine recordings in the Grammy Hall of Fame, which puts her in a tie with Ella Fitzgerald as the woman with the most entries. Holiday’s nine Hall of Fame entries are “My Man” (1937), “Strange Fruit” (1939), “God Bless the Child” (1941), “Solitude” (1941), “Embraceable You” (1944), “Lover Man (Oh Where Can You Be)” (1945), “Crazy He Calls Me” (1949), Lady Sings the Blues (1956) and Lady in Satin (1958).

Holiday never had a smash album, though the soundtrack to Ross’ Lady Sings the Blues (which borrowed the title of Holiday’s aforementioned 1956 album) topped the Billboard 200 for two weeks in 1973. In 2000, Ross inducted Holiday into the Rock and Roll Hall of Fame. Ross opened with an a cappella performance of “Strange Fruit” and later also performed “God Bless the Child.”

Audra McDonald won a 2014 Tony for best actress in a play for portraying Holiday in Lady Day at Emerson’s Bar & Grill.

Sam Cooke: Cooke, born Samuel Cook (without the “e”) in Clarksdale, Miss., was the lead singer of The Soul Stirrers from 1950-56. Cooke landed his biggest hit, “You Send Me,” in 1957, before the inception of the Hot 100. He had four top 10 hits on the Hot 100 in the 1960s: “Chain Gang,” “Twistin’ the Night Away,” “Another Saturday Night” and the posthumous hit “Shake.”

Cooke landed six Grammy nominations, but never won a Grammy in competition. (Bear in mind that his biggest hit, “You Send Me,” was released the year before the inception of the Grammys, which, like the Hot 100, launched in 1958.)

Cooke has four songs in the Grammy Hall of Fame (which is open to all recordings that are at least 25 years old): “You Send Me,” “Wonderful World” (1960), “Bring It On Home to Me” (1962, with Lou Rawls on backing vocal) and “A Change Is Gonna Come” (1965). “A Change Is Gonna Come” was released as the B-side of Cooke’s hit “Shake,” though it’s considered far more of a classic than the A-side.

Cooke had three top 30 albums on the Billboard 200: Sam Cooke (No. 16 in 1958), The Best of Sam Cooke (No. 22 in 1962) and the classic live album Sam Cooke at the Copa (No. 29 in 1964).

In addition to the portrayals of Garland and Mercury that received Oscars in the last two years, nine other portrayals of real-life music personalities — both legends and lesser-known figures — have been honored over the years. The others are Mahershala Ali as Don Shirley in Green Book (2018), Marion Cotillard as Edith Piaf in La Vie En Rose (2007), Reese Witherspoon as June Carter Cash in Walk the Line (2005), Jamie Foxx as Ray Charles in Ray (2004), Geoffrey Rush as Australian pianist David Helfgott in Shine (1996), F. Murray Abraham as Mozart’s rival Antonio Salieri in Amadeus (1984), Sissy Spacek as Loretta Lynn in Coal Miner’s Daughter (1980), Barbra Streisand as Fanny Brice in Funny Girl (1968), and James Cagney as George M. Cohan in Yankee Doodle Dandy (1942).

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Lana Del Rey addressed the controversy surrounding her Chemtrails Over the Country Club album cover and the U.S. Capitol riot during a BBC Radio 1 interview Monday (Jan. 11).

Del Rey chatted with Annie Mac about the lack of diversity on the album cover, which is a vintage black-and-white shot featuring her longtime girlfriends. The Norman F—ing Rockwell star told Mac she suspected the issue would arise once she unveiled it. “So when they actually started saying things, I responded and I just said, ‘I got a lot of issues but inclusivity ain’t one of them.’ It just isn’t. You can’t just make it my problem,” the singer-songwriter said. “My friends, my family, my whatever… they’re not all one way and we’re not the ones storming the Capitol. We voted for Biden.”

She elaborated further on the Capitol riot, when Trump supporters stormed the building on Jan. 6 to contest the results of the presidential election, leaving five people dead. “I think, for the people who stormed the Capitol, it’s disassociated rage. They want to wild out somewhere,” she said after calling Trump “unwell” and claiming he didn’t know “he’s inciting a riot” while his supporters describe it as a “revolution.” “And it’s like, we don’t know how to find a way to be wild in our world.”

She touches on feeling “wild” in a standout lyric from the first verse of her title track, which got a whimsically wicked music video treatment: “I’m not unhinged or unhappy, I’m just wild.”

“If I go to the Brentwood Country Mart barefoot or whatever, I’m not insane; I’m connected to the earth. … I think people are having to re-evaluate what is strange and not strange,” she continued. “Like watching the people storm the Capitol, everyone gets to go look at that and figure out what Capitols they’ve been storming this year in their own freakin’ lives. ‘Cause everyone’s running amok. You know, half the people I know are just jerks. Like I could picture them being like, ‘Well, we need a change.’ And then other half of the people I know are like watching them with tears in their eyes, in disbelief. And it is sad, it is scary. But it could happen in any country.”

Del Rey says she thinks the last four years were necessary in order for there to be change in this country. “The madness of Trump, as bad as it was, it really needed to happen. We really needed a reflection of our world’s greatest problem, which is not climate change, but sociopathy and narcissism. Especially in America. It’s going to kill the world. It’s not capitalism, it’s narcissism. I was surprised we didn’t have a live-television psychopath crazy person as a president a long time ago because that’s what we see on TV and that’s what we see on Instagram.”

Shortly after posting her album artwork on Instagram on Sunday, Del Rey shot back at haters in a lengthy comment underneath the photo in question. “These are my friends this is my life. We are all a beautiful mix of everything- some more than others which is visible and celebrated in everything I do,” she wrote. “In 11 years working I have always been extremely inclusive without even trying to. My best friends are rappers my boyfriends have been rappers. My dearest friends have been from all over the place, so before you make comments again about a WOC/POC issue, I’m not the one storming the capital, I’m literally changing the world by putting my life and thoughts and love out there on the table 24 seven. Respect it.”

Del Rey noted in her BBC Radio 1 interview that half of the women featured in her Chemtrails cover are people of color, and she felt “uncomfortable” having them dragged into the controversy. “But I spoke to them as well and they were like, ‘We don’t care. You should not care. … Your friends are from all over the place, and you’ve never represented yourself in any other way.’”

Listen to LDR’s full BBC Radio 1 interview here.

On a list of Civil Rights movement leaders, few people would think to name Billie Holiday. But in his new movie, The United States vs Billie Holiday, starring Andra Day, Lee Daniels shines a light on that facet of the jazz singer’s story, in which Holiday’s 1939 song about lynching, “Strange Fruit,” made her a target of the FBI.

“When you think of Civil Rights leaders, you think of men,” Daniels says. “When you think of Billie Holiday, you think of this brilliant tortured jazz singer that happened to have been a drug addict. I didn’t know that she kicked off the Civil Rights movement. Before there was a Civil Rights movement, there was Billie Holiday and ‘Strange Fruit.’ The government saw that song as a threat and she was a target. That’s history and they keep it from us.”

Playwright and screenwriter Suzan-Lori Parks adapted The United States vs Billie Holiday from Johan Hari’s 2015 book about the war on drugs, Chasing the Scream, and the film, which will debut on Hulu in February, depicts the U.S. government’s pursuit of Holiday for her heroin use in the context of the FBI’s efforts to suppress her performance of “Strange Fruit,” which the government feared would galvanize the anger of Black Americans.

Day, in her first significant acting role, appears opposite Trevante Rhodes, who plays a mysterious figure who surfaces backstage one night and turns out to have more complicated motivations than those of a mere fan. Garrett Hedlund is Harry Anslinger, the leader of the FBI’s anti-drug efforts, who is targeting Holiday, and Natasha Lyonne (as Tallulah Bankhead) and Da’Vine Joy Randolph are women in Holiday’s vibrant circle of friends and lovers.

For Daniels, who collected best picture and best director Oscar nominations for his 2009 film Precious: Based on the Novel “Push” by Sapphire, and who produced 2001’s Monster’s Ball,  the 1972 Diana Ross/Billy Dee Williams film about Billie Holiday, Lady Sings the Blues, had been formative. “At 13 years old, I saw [Lady Sings the Blues] in Philadelphia and I saw two Black people in love, Diana Ross and Billy Dee Williams,” says Daniels, now 61. “They were beautiful, stunning. That fashion was fabulous. It was everything that I grew up about as an inner-city kid in Philly, except it was in Harlem and it just reeked of my life. I had never seen anything like it ever. That was the reason why I ended up directing, which is weird because I ended up directing her story, but it wasn’t a story. It was a lie. It was make believe.” Where the 1972 film was a romanticized portrait of Holiday’s relationship with her fourth husband and road manager, Louis McKay, who retained control of her estate, Daniels says, “I really wanted to show Black love that we don’t see very often — it’s flawed and messy, yet, it’s beautiful.”

Before he started on his film, Daniels says he called Motown record label founder Berry Gordy, who produced Lady Sings the Blues, to ask permission—and got it. “I don’t think I would have done the movie if he said, don’t do it,” Daniels says.

Early on several people, including Daniels’ manager and agents urged him to consider Day for the role, but he was resistant. “I don’t like being pressured into anything,” he says. But he took a meeting with Day “and she was enchanting and she did embody the spirit of Billie,” Daniels says. “I sent her to an acting coach because she had not acted before. And the acting coach, on the fly, turned her iPhone on and showed me her prepping and getting into character. Just from that 30 seconds of video footage, I saw Billie Holiday without question. The game was up. There was no acting. There was just being.” Day later sang “Strange Fruit” in a formal audition for Daniels, and her casting was sealed.

This article was originally published by The Hollywood ReporterStream The United States vs Billie Holiday on Hulu.com.

JBL/HARMAN, in partnership with the Black-owned agency Culture Creators, is launching JBL Campus SoundSessions. The new mentorship program will focus on expanding opportunities for minority college students aspiring to build careers in music production, marketing, business, technology or engineering. The chosen students will also be given a chance to win a $25,000 scholarship toward their education.

Starting Jan. 26 and running through Apr. 6, 2021, select HBCU (historically Black colleges and universities) students will be able to virtually attend six curated conversations featuring JBL executives, engineers and influential music industry speakers who will share their respective career journeys, challenges and other insights. Accepted students who participate in all of the 60- to 90-minute SoundSessions will receive an official certificate of completion to cite on their CVs. In turn, they will also become eligible to apply for $50,000 in JBL SoundScholarships through a business case study competition.

“As a brand dedicated to elevating life’s experiences, it is important that we invest in the evolution of equality and representation in the music industry by breaking down barriers and providing access to resources that will inspire and teach the next generation of industry changemakers,” said Ralph Santana, chief marketing officer at HARMAN, in a statement. “We are thrilled to launch the JBL Campus SoundSessions as a way to support HBCU students and provide them with resources that will help elevate their career paths. A major challenge for people of color is the limited availability of mentors within their communities. Together we hope to motivate these young students to visualize the options for their future and ensure anything they dream is attainable.”

“The opportunity for Culture Creators to partner with JBL in the development of the JBL Campus SoundSessions is a natural fit given our work as a boutique Black-owned agency committed to creating professional pathways and opportunities for minority students enrolled at HBCUs,” Culture Creators founder Joi Brown commented to Billboard. “We aim to provide a safe space for students to learn from top industry executives and go behind the velvet rope while providing the best professional development tools and helping universities bridge the gap between theory and practice. This will allow students to learn and gain the resources needed to be successful along their career paths.”

The JBL Campus SoundSessions’ curriculum will also tie into various cultural moments throughout its run, including National Mentorship Month, Black History Month and Women’s History Month. The program will also be promoted and available to all HBCU campuses, with students able to apply at JBLCampus.com/HBCUSoundSessions.