Tina Turner has sold the rights to her music catalog spanning six decades — including songs “What’s Love Got to Do With It” and “The Best” — to music publishing company BMG.
The legendary singer has also sold the artist’s share of her recordings, her music publishing writer’s share, neighboring rights and name, image and likeness as part of the deal, according to BMG, which did not disclose financial terms.
Industry experts estimate the deal is worth more than $50 million, specialist publication Music Business Worldwide reports.
“Tina Turner’s musical journey has inspired hundreds of millions of people around the world and continues to reach new audiences. We are honored to take on the job of managing Tina Turner’s musical and commercial interests,” BMG CEO Hartwig Masuch said in a statement. “It is a responsibility we take seriously and will pursue diligently.”
Turner, now aged 81, was the first Black artist and the first female artist to feature on the cover of Rolling Stone, BMG said. Her solo works include 10 studio albums, two live albums, two soundtracks and five compilations, which in total have sold more than 100 million records.
At the end of this month, she will be inducted into the Rock ‘n’ Roll Hall of Fame for a second time.
“Like any artist, the protection of my life’s work, my musical inheritance, is something personal,” Turner said in a statement. “I am confident that with BMG and Warner Music my work is in professional and reliable hands,” she added.
Warner Music continues to be Turner’s record company, BMG said.
Click here to read the full article on CNN Business.
Jennifer Hudson had plenty of time to think about how to portray Aretha Franklin onscreen. In 2007, soon after Hudson won the Academy Award for best-supporting actress — for playing a girl-group singer in “Dreamgirls” — Franklin told Hudson she should play her in a biopic, starting a decade-long friendship filled with weekly conversations.
Like Franklin, Hudson grew up singing in church, and she has poured gospel virtuosity into pop songs. And like Franklin, whose mother died at 34 of a heart attack, Hudson experienced sudden, devastating loss: her mother, brother and nephew were murdered in Chicago in 2008. In her career, Hudson has repeatedly paid tribute to Franklin, from using a Franklin song for her “American Idol” audition in 2004 to singing “Amazing Grace” at Franklin’s funeral in 2018. Now, Hudson is playing Franklin in the biopic “Respect” that comes to theaters this week.
“Every artist, every musician, you’ve got to cross paths with Aretha, especially if you want to be great,” Hudson said in a video interview from Chicago, where she lives; her gray cat, Macavity, prowled in the background. “She’s always been present in my life in some form, even when I didn’t know it.”
As Hudson explained the choices that went into her performance, she said that through the movie, she came to understand just how much of a “blueprint” Franklin was. “Our church music was based solely on her. The ‘Amazing Grace’ that I grew up singing in church came from her ‘Amazing Grace’ album. I didn’t realize that until we were doing research on the film.”
Hudson, 39, is both the star and an executive producer of “Respect.” The film chronicles Franklin’s life from her childhood — as a vocal prodigy singing in church alongside her father, the eminent Reverend Clarence L. Franklin — through her pregnancy at 12, her frustrating years singing jazz standards at Columbia Records, her triumphant emergence as the Queen of Soul at Atlantic Records, and the pressures and drinking that threatened all she had achieved. Its story concludes in 1972 with Franklin reclaiming her church heritage to record her landmark live gospel album, “Amazing Grace.”
“Respect” is the first film directed by Liesl Tommy, who was born in South Africa under apartheid and has worked extensively in theater, directing reconceptualized classics and politically charged new plays like “Eclipsed,” about women during the civil war in Liberia. (She was nominated for a best director Tony for that production.) To write the screenplay for “Respect,” Tommy brought in the playwright Tracey Scott Wilson, whose grandfather was a preacher.
“When I pitched my idea of the film,” Tommy said by telephone from Los Angeles, “it was that it should start in the church and end in the church. The theme of the film was the woman with the greatest voice on earth, struggling to find her voice. I wanted to know how a person sings with such emotional intensity.
“A lot of people have brilliant voices,” she continued, “but she’s the only one who delivers songs the way she does. I don’t think you become the Queen of Soul if you have an easy ride. There was a lived experience that allowed her to sing like that.”
Franklin was celebrated anew after her death in 2018. The long-shelved concert film made when she recorded the “Amazing Grace” album was finally released that year. And National Geographic devoted a full season of its television series “Genius” to Franklin, with Cynthia Erivo in the title role. “Aretha Franklin lived a life where there’s room for many, many versions of many stories about her,” Tommy said. “She deserves that.”
“Respect” juxtaposes the personal and political currents of Franklin’s career: forging a feminist anthem with “Respect” while grappling with an abusive husband, appearing regularly with the Rev. Dr. Martin Luther King Jr. while supporting controversial figures like the Black Power activist Angela Davis. One of the rawest scenes involves Franklin singing at King’s funeral. “Imagine being Aretha Franklin in that era and Dr. King, whom she was so close to, being assassinated,” Hudson said. “Imagine the suffering and the pain she was going through. But in her position, she still had to be that person to be the light in such a dark time. That’s hard.”
Click here to read the full article on the New York Times.
Entrepreneur Justin Turk knew his start-up was special, but a $1 million prize from Grammy award-winning singer and producer Pharrell Williams came as a shock.
On Tuesday, Williams announced the winners of his Black Ambition prize competition — and Turk and his business partner, Andre Davis, are in the national spotlight.
Williams’ non-profit was founded in December to help Black and Latino business owners close the wealth gap through entrepreneurship.
Turk and Davis, co-founders of Livegistics, took home the top prize of $1 million. The Detroit-based entrepreneurs run a cloud-based material management software company, which eliminates paperwork in heavy civil construction and demolition. The company also provides data and metrics that construction experts can use for efficiency.
Livegistics is also helping the environment through the elimination of tons of paper each year and helps local communities accelerate the elimination of blight in urban cities and neighborhoods.
“We knew we had something special, but you don’t go in thinking you will walk away with $1 million. But when it happens you are like, ‘Wow, we just won $1 million,” Turk said.
But the 40-year-old said he never knew joy and pain could co-exist simultaneously.
Success can be bittersweet
On the day he learned his tech start-up won the grand prize, his father-in-law died before he could share the news.
“All in 24 hours, it was the greatest and worst moments tied together forever. There we were with the our biggest business success to date along with the worst day of our lives all in 24 hours,” Turk said. “It is weird. Sometimes I feel guilty for being so happy about what’s going on, but I know he would have been excited.”
Turk, who co-founded the business three years ago with Davis, said that hours after he learned about winning he watched a team of health care professionals try to revive his wife’s father, whom he admired. He was a veteran who loved architecture. And they shared the same passion for construction.
Instead of hosting a celebration party for friends and family, Turk said he will bury his father-in-law in a private ceremony Saturday.
“He would have been enamored with what’s going on. If he would have been able to see all of this, it would have just blown him away,” Turk said. “He would walk around the city of Detroit and look at buildings on his own. This would have just made his decade.”
More like brothers
Turk’s and Davis’ friendship goes back decades. The two met in elementary school when they were 5 years old, Davis said. Then, they were college roommates at Bowling Green State University in Ohio. Davis, the chief financial officer, said it was never a goal to become business partners but it made sense.
“He’s been in just about every special moment in my life,” Davis said. “Not only are we solving the single most significant reason construction companies go out of business (cash flow), we’re doing so in a manner that creates less work and makes the lives of our customers easier to manage.”
Davis, 41, said he worked at Financial One as an outsourced CFO to clients in the Metro Detroit area. He started and operated his own accounting and financial services practice for 10 years, managing to keep one foot in the non-profit sector to give back. He wants to encourage other Black and minority entrepreneurs looking to start their businesses to take the leap of faith.
“A thought today, backed by effort today, is one step closer to your dream tomorrow. Justin is brilliant. His background is the foundation for what I forsee as a unicorn in the making,” Davis said. “A third generation business owner, minority-owned, who understands all facets of large construction projects at an expert level…who also has a degree in computer science to speak tech geek language! You don’t find a Justin Turk walking around every day.”
Lil Nas X is setting the record straight about splitting his pants on “Saturday Night Live” over the weekend, assuring fans the wardrobe malfunction was not a publicity stunt. Appearing on “The Tonight Show” Monday, the two-time Grammy winner recalled what was going through his head during the memeable moment, which took place toward the end of his debut live performance of the No. 1 smash “Montero (Call Me by Your Name).” “I’m pretty much going down the pole, doing my little sexy drop down and boom! I feel air,” he told host Jimmy Fallon. “I’m like ‘OK, there’s definitely a breeze going on.’ And I also felt some popping still happening while I was down there.” Lil Nas X was unable to halt the “SNL” broadcast, of course, so he held a hand over for his crotch for the remainder of the song to avoid a Lil Nas X-rated moment. “You know what the worst part is? At the end of the performance, the dancers are supposed to touch me and tug on me and they were tugging on the pants,” he said. “I was like, ‘Please God, no.’”
Though the Atlanta rapper and singer has a sense of humor about it now, the wardrobe malfunction apparently weighed on his mind as he prepared for his late night television spot. As the interview aired, he joked on Twitter that he’d opted for a red tartan skirt for his “Tonight Show” appearance because he “will never trust pants again.”
Drake’s son Adonis made a surprise appearance at Sunday’s Billboard Music Awards, joining his father onstage as he won an artist of the decade prize. The rapper, 34, gripped his son’s shoulder throughout his speech, before hoisting him into the air and saying: “I want to dedicate this award to you.” The three year old burst into tears, and left the stage clinging to his father’s leg.
Meanwhile, The Weeknd was the night’s big winner, taking home 10 awards. Among his prizes were best artist; top Hot 100 album for After Hours; and top Hot 100 song for Blinding Lights. The star, whose real name is Abel Tesfaye, more than doubled his career total of Billboard Music Awards, having previously received nine trophies.
Korean pop band BTS also picked up four prizes, winning best group for the second time in three years; and top social artist for the fifth consecutive year. The band is now just one year short of equalling Justin Bieber’s six-year hold on the social award from 2011- 2016.
Here are some of the other highlights and talking points from the show.
Machine Gun Kelly painted his tongue black
Best rock artist winner Machine Gun Kelly arrived at the ceremony with a rather unusual oral condition: A jet-black tongue. Had he gone overboard with the charcoal toothpaste? Developed a crippling liquorice habit? Been cursed by an evil dentist? Sadly not. A visit to his Instagram reveals that the musician had someone paint his tongue carefully with a cotton bud. On the red carpet, he made sure everyone noticed, sticking his tongue out for fans, sticking his tongue out for the cameras, and (hold your stomachs) touching tongues with his girlfriend, Megan Fox.
His reasons are still unclear. Is it a reference to The Rolling Stones Paint It Black? Or is he simply a big fan of giraffes? We may never know.
Pink admitted her childhood crush
Pink accepted the Icon Award from rock star Bon Jovi, and confessed she’d been obsessed with the star when she was eight – locking herself in her bedroom for a week after he got married.
“I’m very glad you found lasting love, Jon, but you broke my heart. I take this as an apology,” she laughed, indicating her trophy.
To celebrate her prize, the star performed a career-spanning medley of hits, including Who Know, Get The Party Started and Just Give Me A Reason.
But the highlight was a breathtaking aerial acrobatic routine, performed with her nine-year-old daughter Willow, set to their duet Cover Me In Sunshine.
Cue the “Toosie Slide!” On Tuesday it was announced that Drake will be receiving the Artist of the Decade Award at this year’s Billboard Music Awards.
Variety reports the award takes into account Billboard consumption data from 2009 through 2019, noting that during that time the Canadian rapper racked up a historic 27 awards—the most of any artist ever. Additionally, during his 10-year run, producers also pointed out that Drake had nine No. 1 albums, the most of any artist during the decade and 33 Top 10 singles on the Billboard Hot 100, the most by any artist ever. (GOAT shit, I know that’s right!)
This year’s BBMAs will also see Drake vying for eight more ‘“Ws,” including Top Artist, Top Male Artist, Top Billboard 200, Top 100 Artist, Top Streaming Song Artist, Top Rap Artist, and Top Streaming Song alongside fellow “Life is Good” rapper Future. I don’t know about you but as The Root’s resident Drake stan, I have to say—I’m glad to see the Certified Lover Boy getting this recognition.
But Shanelle, Drake always gets recognized. What are you saying?
OK, but not like this. This award is for Artist of the Decade, which means whether you wanted to or even knew it or not, you have been hearing Drake consistently in some form or fashion for the last 10 years. “Nonstop.”
I don’t think that’s technically what it me—
And if you haven’t heard Drake, then you’ve most definitely been privy to the influence he’s had on the culture. Whether it’s through his gif-worthy facial expressions and debatable dance moves or a caption on Instagram, Drake’s influence is unmatched. Period point blank. And I, for one, am always glad when people have to talk about it. He told us back in 2013 to see who’s still around a decade from now; seeing as how we’re just two years shy of 2023 and he’s still relevant—it’s safe to say that Drizzy Drake is here for a good time and a long time.
Country music singer Mickey Guyton will make history Sunday when she hosts the Academy of Country Music Awards with Keith Urban.
The 37-year-old singer from Arlington, Texas, will be the first Black woman to host the awards ceremony.
And this isn’t Guyton’s first time making history in the country music world. In September 2020, she became the first Black female solo artist to sing her own song at the ACMAs. And in March, she became the first Black solo female artist to earn a Grammy nomination in a country music category. At the ceremony, she performed “Black Like Me,” her song that address the discrimination she has experienced as a Black woman. The song was released just eight days after George Floyd was killed.
The door to country music has long been closed to many Black artists, with just a handful of exceptions. Starting in the 1920s, record labels deliberately marketed what was once called “hillbilly music” as the music of the rural White South, historians say.
But the thumbprints of African American culture are stamped on virtually every facet of country music, including its vocal harmonies, instrumentations, and some of its most popular songs. Black artists helped build country music.
Click here to read the full article on CNN Business.
Beyonce has made history at the 2021 NAACP Image Awards.
The music icon now has the most NAACP Image Awards in history after she racked up four awards for the 52nd event, NAACP president and CEO Derrick Johnson announced on Saturday.
The NAACP Image Awards hosted a series of non-televised virtual events recognizing winners in over 60 categories in the five days leading up to its televised ceremony on Saturday. The two-hour virtual event, which was hosted by Anthony Anderson, aired live across ViacomCBS networks including BET and CBS.
Beyonce took home wins in the Outstanding Female Artist, Outstanding Hip Hop/Rap Song, Outstanding Duo, Group or Collaboration (Traditional), and Outstanding Duo, Group or Collaboration (Contemporary) categories during a virtual event on Thursday.
Johnson celebrated Beyoncé’s achievement on Twitter, writing, “Congratulations
@Beyonce on winning the most #NAACPImageAwards in history!”
Representatives for the NAACP Image Awards did not immediately return requests to confirm Beyoncé’s total tally of wins, but the “Black Parade” artist has won at least 20 Image Awards as a solo artist since the 2004 ceremony when she first won the Entertainer of the Year award. She won that award again in 2019. Her former group, Destiny’s Child, racked up a handful of wins in the Outstanding Duo or Group category in the early to mid-2000s.
Beyoncé has already made music award history this month.
She won four awards at the Grammys on March 14, bringing her total wins to 28 ― the most Grammys won by a female artist.
Nashville can be a lonely place for a Black woman breaking into the country music scene. And Miko Marks knows this firsthand.
The Oakland singer, who recorded two well-regarded albums during a Tennessee sojourn in the mid-aughts, said she found a warm welcome just about everywhere she performed except for the home of country music itself.
“I was always open to wherever my path would lead, but things did not work out in Nashville,” Marks said, noting that she felt fitting in required tamping down her identity.
Music City may not have been ready for Marks, but she helped clear a country music trail for other Black women, and now she’s getting back on the horse with her first new album in 14 years. Working closely with the creative team at the recently launched East Palo Alto label Redtone Records, Marks recorded “Our Country,” a rollicking, gospel music-infused session that thrums to the justice-seeking frequency of Black Lives Matter.
“These songs were made out of the experience we’re going through right now,” said Marks, who celebrates the album’s Friday, March 26, release with an acoustic performance that will be live-streamed on her YouTube channel and Facebook page. “The music is there to speak to the times.”
The album grew out of a vivid dream Marks had, but not in the sense of fulfilling a long-held ambition. Rather, late in the summer of 2019, she literally dreamed about musicians she hadn’t worked with for more than a decade. A quick phone call put her back in touch with Justin Phipps and Steve Wyreman, the Redtone Records founders who perform together as the Resurrectors.
Phipps and Wyreman were excited to get back in touch with Marks and realized a song they’d recently written, “Goodnight America,” would be ideal for her rich contralto. An elegy for a country headed in the wrong direction, “it didn’t fit anyone we were currently working with,” Phipps said. “When Miko reached out, we sent it to her and she sat with it for a while. Ultimately, she felt it resonated with where she was and where she wanted to be going.”
When Marks released the song as a video last year, a few weeks before the pandemic lockdown, it was definitely a departure from where she’d been. Before “Goodnight America,” she’d always avoided taking a political stance in her music, preferring to focus on personal themes. With “Our Country,” she’s jumped into the fray.
“I definitely feel like there’s a conversation being had that’s long overdue,” Marks said. “I am hopeful. I feel that the times are different than when I started out.”
Marks grew up with gospel music, singing in church in Flint, Mich., “but I was always drawn to country music,” she said. “Loretta and Patsy, Kenny Rogers and ‘Hee Haw’ were huge in my household. It was a normal thing. It wasn’t until I was older that there was this line clearly drawn, but country music has its roots in Black music. Even the banjo is from Africa.”
She met her San Francisco-raised husband David Hawkins when they were students at Grambling State University in Louisiana, and by 1996 the couple settled in the Bay Area. Though she loved singing, Marks said she wouldn’t have pursued a career in music without Hawkins’ encouragement, and after recording a Jeffrey Wood-produced demo at Fantasy Studios in Berkeley, she decided to give up her day job in San Francisco as a legal secretary and try her luck in Nashville.
Working with producer Ron Cornelius at Mirrome Records, she released her debut album, “Freeway Bound,” in 2005 and followed it up with 2007’s “It Feels Good.” Both albums featured first-call studio talent that caught the attention of mainstream country music audiences. And yet, while the sessions were well received, the indie label couldn’t break Marks into country radio and it became clear that Nashville didn’t really know what to do with her.
In 2006, the Bay Area welcomed her back. Marks became one of the region’s most visible country music singers, performing everywhere from the Bill Pickett Invitational Rodeo and San Francisco’s Pier 23 to the Saddle Rack in Fremont and Oakland’s Overland (the latter two permanently shuttered during the pandemic).
After her amazing performance as LaKeisha on the Starz show Power, LaLa Anthony has now landed a major new role alongside Power producer Curtis “50 Cent” Jackson, on an upcoming drama. Inspired by true events, Black Mafia Family will tell the story of two brothers from 1980’s Detroit who started one of the most influential crime family in the country.
LaLa Anthony will plat Markaisha Taylor, the wife to flamboyant drug dealer and head of the family Demetrius “Big Meech” Flenory.
She is also best friend to her husband’s brother and fellow boss Terry “Southwest T” Flenory, which will make for some interesting dynamics as family loyalty is called into question.
The brothers’ vision is to take their business beyond the drug trade and into the world of hip-hop to become global icons.
Meanwhile, Markaisha has her own plan to harness Terry’s seriousness and sense of purpose to make herself rich.
As the two grow closer and ultimately intimate, their relationship will mean the demise of Markaisha’s marriage as well as Terry’s reputation on the streets.
Snoop Dogg has also joined the cast as Pastor Swift, the Flenory family’s spiritual advisor.
His character description reads: “He’s a man of The Word, with the aura of an ex-con.”
“The Pastor believes in the power of the Lord, and does his best to keep Meech and Terry in good graces.”
He will eventually make his way into the family and become a close confidant, although “Meech and Terry’s father resents all the attention the Pastor showers over the Flenory’s family, but no one can deny all the good the Pastor does for them.”
Joining the show is also Serayah, who will play Demetrius’s girlfriend, Lori Walker.
She is a smart, driven, yet naive college athlete who fell for Meech’s bad boy charm when the couple was younger.
After having a daughter with him, Lori is now more mature and clear-eyed.
Her world centres more around her daughter, and she expects less out of Meech, which makes him want her more.
Click here to read the full article on Express UK.
The host kept his jokes to a minimum while introducing a very different version of music’s biggest night amid the pandemic era of awards shows.
Trevor Noah kicked off a very intimate Grammy Awards show on Sunday, using his opening monologue to tour viewers around the CBS telecast’s COVID-safe, indoor-outdoor set.
Opening the night outside the Staples Center in downtown Los Angeles, Noah explained that the nominees were seated in a tented limited audience outside the venue, while the artists would be taking the stage for the night’s performances inside the nearly empty convention center. While he quipped about hot-button topics like COVID-19, the U.S. Capitol insurrection and the royals, his opener was intended to set-up the different-seeming and yet hopeful night.
“Tonight’s about bringing us all together as only music can. I mean — music and vaccines,” said the Daily Show host in an introduction fit for the pandemic-era of awards shows.
Good evening, everyone. And welcome to the 63rd annual Grammy Awards. My name is Trevor Noah and I’ll be your host tonight as we celebrate the last 10 years of music that got us through the last 10 years of coronavirus. I know it’s been one year, but it feels like 10.
As you can see, this year, people, we have made the decision to socially distance from the Staples Center, but we’re still broadcasting to you from the heart of downtown Los Angeles. This is not a Zoom background, alright? This is real. My uncle isn’t going to walk behind me naked even though I told him I was having an important meeting. That’s not going to happen tonight.
Tonight, we’re going to celebrate some of the fantastic music that has touched our lives and saved our souls over this unprecedented year. And as you can see, we are outside. Meaning, we get to enjoy the great Los Angeles air — which I know maybe as dangerous as COVID, but we’re willing to take the risk.
Tonight is going to be the biggest outdoor event this year besides the storming of the Capitol. Because, you see, right here in this elegant, open-air tent, we will be presenting the most prestigious, sought-after, peer-voted trophies in music, giving out shiny new Grammy awards live throughout the evening. But we have to do it quickly because tomorrow this tent is reserved for an outdoor wedding in Malibu and I do not want to lose my security deposit.
Click here to read Trevor Noah’s full monologue transcript on The Hollywood Reporter
Tracing over 400 years of black music, an ambitious new museum in Nashville celebrates artists we all know and those whose work remains under the radar
In 1967, Jimi Hendrix accidentally cracked his guitar before a concert. Seeing it was pretty much broken, he decided to destroy it on stage.
When he did, the audience went wild.
Destroying guitars became a regular part of his act. Hendrix destroyed dozens of guitars over his career and one that was salvaged and saved can now be seen in Nashville.
The guitar is on view at the new National Museum of African American Music, which opened on Martin Luther King Jr Day. Tracing over 400 years of black music, from gospel to jazz and R&B, it pays long overdue tributes to musicians like Ma Rainey and Sister Rosetta Tharpe, among others.
Over 1,500 items are in the collection, from Hendrix’s guitar, to Whitney Houston’s outfits, Ella Fitzgerald’s coat, vintage photos, mixtapes and LPs in the 56,000-sq-ft museum. “We say that black music now has a home,” said the museum’s president and chief executive Henry Beecher Hicks III.
“We didn’t feel like there was a cultural institution on a national scale that celebrated African American contributions to American music,” he added. “There are places that deal with a label, a genre or an artist, but no place that really tells the story of how rich and robust this tradition really is.”
The museum is divided into seven sections, from jazz to gospel to hip-hop. There is rare memorabilia, personal artifacts and state-of-the-art technology to tell the story of African American music and history, which is both celebrated and preserved.
It all started 23 years ago when Hicks and his team conceived the idea of the museum. “It took a long time to get here,” he said. “It was a lot of twists and turns; three location changes, a flood, a tornado, two recessions, a pandemic, all of it.”
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