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Tag: music

  • Lifestyle Lookout: Ski season begins, a comedy event, live music and more in Whatcom County

    Lifestyle Lookout: Ski season begins, a comedy event, live music and more in Whatcom County

    WHATCOM COUNTY (MyBellinghamNow.com) – The bad news is Tuesday’s “bomb cyclone” caused extensive damage and power outages across Whatcom County and western Washington. The good news is the storm dumped an insane amount of snow in the mountains. That means it’s time to head east, my friends.

    The Mount Baker Ski Area officially opened for passholders on Wednesday, Nov. 20, and then welcomed everyone to the slopes on Thursday. Recent winter storms dumped on the area with over 50 inches of snow falling in just five days. The ski area currently has a snow base of 64″ at Heather Meadows and there’s a whopping and 84″ at the top of Pan Dome.

    Those snow totals allowed the ski area to open up 95 percent of their terrain, which is fantastic news this early in the season. Operations have been out of the Heather Meadows Base Area so far this week with more service from the Raven Hut Mid-Mountain Lodge. But the folks at Baker say they’ll likely have the White Salmon Day Lodge open for skiers and snowboarders this weekend.

    If you’re heading up the mountain and need to rent gear, there are multiple options for you. The Mt. Baker Ski Area rents all the gear you need, but you can also rent right here in Bellingham. Backcountry Essentials and Yeager’s Sporting Goods have everything you could possibly need to enjoy a day on the mountain. You can also swing by the Glacier Ski Shop on the way up.

    Conditions are spectacular, so get up there and enjoy. You can find details on lift tickets and current conditions at mtbaker.us.

    If you’re looking for something else wintry to do but prefer to stay warm and cozy, we’ve got you covered. The Allied Arts Holiday Festival of the Arts opens on Friday, Nov. 22 and runs through Christmas Eve every day from 10 a.m. to 6 p.m. at 331 Commercial St.

    It’s a downtown Bellingham tradition that’s been on-going for 45 years. The Holiday Festival of the Arts features over 100 local artisans, live music, workshops for kids and more. If you’re a fan of Christmas Carols, you’ll want to head down at 1:30 p.m. this weekend to watch David Vergin and Friends perform all the classics.

    You don’t have to visit the Festival of the Arts in person to shop though. Allied Arts has an online store available too.

    Speaking of cozy: The Mount Baker Theatre. The 44th Seattle International Comedy Competition is Saturday, Nov. 23 at 7:30 p.m. Ten comedians will battle it out on stage with their best ten-minute set and the crowd will pick the winner. It won’t be easy to pick a winner though because all ten finalists have been honing their skills and the talent level is absolutely lit.

    For tickets to the comedy competition, go to mountbakertheatre.com.

    Our featured live show this week is at Wild Buffalo. Brooklyn-based EDM duo MEMBA is coming to town and they’re bringing their “rich tapestry of world rhythms” with them. Stay warm by dancing the night away at one of Bellingham’s best music venues and enjoy MEMBA’s multisensory experience that allow the listener to “taste, smell, feel and see the music.”

    The show kicks off at 8:30 p.m. on Saturday and tickets are just $20 at wildbuffalo.net. Enjoy!



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  • Lifestyle Lookout: Ski season begins, a comedy event, live music and more in Whatcom County

    Lifestyle Lookout: Ski season begins, a comedy event, live music and more in Whatcom County

    WHATCOM COUNTY (MyBellinghamNow.com) – The bad news is Tuesday’s “bomb cyclone” caused extensive damage and power outages across Whatcom County and western Washington. The good news is the storm dumped an insane amount of snow in the mountains. That means it’s time to head east, my friends.

    The Mount Baker Ski Area officially opened for passholders on Wednesday, Nov. 20, and then welcomed everyone to the slopes on Thursday. Recent winter storms dumped on the area with over 50 inches of snow falling in just five days. The ski area currently has a snow base of 64″ at Heather Meadows and there’s a whopping and 84″ at the top of Pan Dome.

    Those snow totals allowed the ski area to open up 95 percent of their terrain, which is fantastic news this early in the season. Operations have been out of the Heather Meadows Base Area so far this week with more service from the Raven Hut Mid-Mountain Lodge. But the folks at Baker say they’ll likely have the White Salmon Day Lodge open for skiers and snowboarders this weekend.

    If you’re heading up the mountain and need to rent gear, there are multiple options for you. The Mt. Baker Ski Area rents all the gear you need, but you can also rent right here in Bellingham. Backcountry Essentials and Yeager’s Sporting Goods have everything you could possibly need to enjoy a day on the mountain. You can also swing by the Glacier Ski Shop on the way up.

    Conditions are spectacular, so get up there and enjoy. You can find details on lift tickets and current conditions at mtbaker.us.

    If you’re looking for something else wintry to do but prefer to stay warm and cozy, we’ve got you covered. The Allied Arts Holiday Festival of the Arts opens on Friday, Nov. 22 and runs through Christmas Eve every day from 10 a.m. to 6 p.m. at 331 Commercial St.

    It’s a downtown Bellingham tradition that’s been on-going for 45 years. The Holiday Festival of the Arts features over 100 local artisans, live music, workshops for kids and more. If you’re a fan of Christmas Carols, you’ll want to head down at 1:30 p.m. this weekend to watch David Vergin and Friends perform all the classics.

    You don’t have to visit the Festival of the Arts in person to shop though. Allied Arts has an online store available too.

    Speaking of cozy: The Mount Baker Theatre. The 44th Seattle International Comedy Competition is Saturday, Nov. 23 at 7:30 p.m. Ten comedians will battle it out on stage with their best ten-minute set and the crowd will pick the winner. It won’t be easy to pick a winner though because all ten finalists have been honing their skills and the talent level is absolutely lit.

    For tickets to the comedy competition, go to mountbakertheatre.com.

    Our featured live show this week is at Wild Buffalo. Brooklyn-based EDM duo MEMBA is coming to town and they’re bringing their “rich tapestry of world rhythms” with them. Stay warm by dancing the night away at one of Bellingham’s best music venues and enjoy MEMBA’s multisensory experience that allow the listener to “taste, smell, feel and see the music.”

    The show kicks off at 8:30 p.m. on Saturday and tickets are just $20 at wildbuffalo.net. Enjoy!



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  • How Jay-Z’s Music Inspired ‘Reasonable Doubt’ Season 2

    How Jay-Z’s Music Inspired ‘Reasonable Doubt’ Season 2

    During the Season 2 premiere of “Reasonable Doubt,” Hulu’s legal drama about high-powered criminal defense attorney Jacqueline “Jax” Stewart (Emayatzy Corinealdi), the subject of mortality cues up another high-profile murder case waiting to be tried in court. The protagonist, still reeling from the traumatic events of her near-fatal kidnapping in the Season 1 finale, gets a call from her best friend, Shanelle (Shannon Kane), who confesses that she just killed her NFL star husband, JT (Christopher Mychael Watson), after another domestic violence incident.

    The aftermath of the homicide and Jax’s inner turmoil are both set against the backdrop of the opening episode titled “Can I Live,” named after the classic track featured on Jay-Z’s critically acclaimed debut album, which shares the same name as the television series.

    Jay-Z’s “Reasonable Doubt,” released in 1996, is the seminal masterwork that helped birth a hip-hop legend, arguably the best in the game. Mafioso rhymes about a hustler lifestyle and upbringing in Brooklyn’s Marcy Houses kick-started Jay-Z’s ascent to the upper echelon of rap. Decades before creating a show with nods to Jay-Z’s landmark album, veteran TV writer Raamla Mohamed was an avid fan of the New Yorker’s way with words.

    “I was in high school when ‘Reasonable Doubt’ came out, and I’m dating myself, obviously,” Mohamed muses over a morning Zoom call. “I just remember we had to use the carpool for school, and someone put in the CD, and I remember the first song I heard was, ‘Can I Live’… I never heard anyone rapping over [a beat like that]. It just was so gangster.”

    As a high schooler, Los Angeles native Mohamed cherished Jay-Z’s “Reasonable Doubt” (her favorite Jay-Z album) for opening her eyes to more pockets of gritty regional rap, from the East Coast to the South. But as she grew older, she also developed a deep appreciation for how the rapper’s opus jump-started his trajectory toward mogul status with his billion-dollar empire. It motivated her to strive for the same prestige in her career, in which she’s earned credits on hit shows like “Scandal” and “Little Fires Everywhere.”

    “I just really appreciated his consistency, and I started to respect him as an artist and a creative,” Mohamed explains of her admiration for Jay-Z. “I connect to people who are all about always being better.”

    When it came time for the television creator to give her show a proper title, she didn’t have to look very far. “It’s funny. I was thinking about what the name of the show could be, and I suddenly just looked over, and I had the Jay-Z [‘Reasonable Doubt’] album cover [propped] up.”

    The title of the album and Mohamed’s show both play on the burden of proof in criminal trials, a perfect fit for a dramatic story about courtroom matters. However, Mohamed had a bigger vision for her Hulu series, which was to give it an edge against other legal shows, one that coincided with her outlook on Jay-Z’s legacy.

    “I started thinking about this idea of Black excellence and that, in a lot of ways, Jay-Z has merged this idea of being gangster and street with this intellectual, sophisticated sense of hip-hop that I don’t think a lot of other rappers have done,” the showrunner explains.

    That example of prosperous success for Black people weighed heavily on the creative development of Mohamed’s “Reasonable Doubt,” specifically regarding leading lady Jax.

    Emayatzy Corinealdi as Jax Stewart in Episode 207 of "Reasonable Doubt."
    Emayatzy Corinealdi as Jax Stewart in Episode 207 of “Reasonable Doubt.”

    “I feel like [Jax] embodies that 40-plus Black excellence,” the TV creator says, noting that Corinealdi’s character is multifaceted in ways Black women aren’t often represented on television. “There’s still this wanting to strive to be excellent, to grow Black wealth, but also staying true to who you are and not feeling like you can’t be both things at the same time.”

    “Reasonable Doubt” makes more obvious connections to Jay-Z, too, like episode titles named after his songs, cleverly used to complement Season 2’s storylines.

    “One thing that’s great is that Jay-Z has so many songs, so I know I’ll never run out of titles,” Mohamed jokes. However, each Season 2 episode does conveniently have a track title from the rap legend’s catalog to chronicle everything happening with Shanelle’s murder case. For instance, Episode 202, “Say Hello” (featured on Jay-Z’s “American Gangster” album), introduces the new attorney running point on her defense, Morris Chestnut’s Corey Cash. Its follow-up episode, 203, “Part II (On the Run)” (named after the song on Jay-Z’s “Magna Carta Holy Grail” album), shows Shanelle literally on the run with her secret lover, Adrian (Vaughn W. Hebron), as she tries to avoid jail time.

    “I do look at the titles and think about what are the songs that exemplify and personify what I want the theme of that episode to be,” Mohamed explains of her show’s creative process. “Every episode is definitely connected. I try not to make it random.”

    The Jay-Z through-line mirrors this season’s murder trial in subsequent “Reasonable Doubt” episodes, such as “Guilty Until Proven Innocent” (205), “This Can’t Be Life” (206) and “Who You Wit” (209). But that’s not all that’s happening. Season 2 also focuses on Jax’s rocky marriage with her estranged husband, Lewis (McKinley Freeman), as they navigate relationship issues, including infidelity, in couples therapy. Things come to a head in Episode 207, “Venus vs. Mars,” from a track on Jay-Z’s “The Blueprint 3,” which recalls a romance that starts nice but ultimately sours.

    The selection of these episode titles is largely handled by Mohamed, who sees these songs as “just as important to me as a story.” Because, according to the showrunner, the songs featured within the show or as titles are the story.

    Mohamed points this out with the title of the “Reasonable Doubt” Season 2 finale, “Encore,” named after the song on Jay-Z’s “The Black Album.” The final episode in a sense gives everyone their encore, a second chance to get their lives back on track. Most notably, Shanelle is set free following her trial’s guilty verdict after a judge suspends her sentencing. Meanwhile, Jax finally gets closure from her kidnapper/ex-client, Damon (Michael Ealy), after seemingly having a breakthrough talk with his ghost.

    The “Encore” finale could also be a hint toward a potential third season of “Reasonable Doubt,” as Jay-Z’s chorus line suggests, “Do you want more?”

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    Mohamed is certainly crossing her fingers that her Hulu series gets renewed again. With two high-stakes seasons in the books, the creator is proud to say “Reasonable Doubt” has grown an audience that appreciates her show’s storytelling and hip-hop influence.

    “I think the best thing is when you see how it impacts people,” Mohamed concludes. “I love it when I go on YouTube and I see a song that I put on the show, and people are like, ‘I’m here ’cause of ‘Reasonable Doubt.’”

    “It’s crazy what we do,” she adds. “You don’t know what the impact is, and I think that that’s just such a special place to be able to live and exist in.”

    All episodes of “Reasonable Doubt” Season 2 are streaming now on Hulu.

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  • Beyonce strips off blue jeans to reveal her underwear in new Levi’s commercial – after being snubbed by country music elites

    Beyonce strips off blue jeans to reveal her underwear in new Levi’s commercial – after being snubbed by country music elites

    Beyoncé Knowles-Carter’s song Levii’s Jeans came full circle as she starred in her first commercial for the 171-year-old denim brand set to the Cowboy Carter track.

    In the 30-second advert – titled ‘Chapter 1: Launderette’ – the 43-year-old pop diva headed inside a laundry mat while carrying a bucket of what appeared to be diamonds.

    Beyoncé then stripped off a $98 pair of Levi’s Premium ‘501 90S Women’s Jeans’ to reveal her white Levi’s panties underneath.

    A set of pre-teen twin girls could be seen in the background as Knowles-Carter showcased her 5ft6in figure in the snug boy-shorts and $29.50 Levi’s ‘Essential Sporty T-shirt.’

    The 32-time Grammy winner then grabbed her empty bucket and headed to the chairs where she took a seat to patiently wait for her ‘laundry’ to finish.

    Beyoncé Knowles-Carter's song Levii's Jeans came full circle as she starred in her first commercial for the 171-year-old denim brand set to the Cowboy Carter track

    Beyoncé Knowles-Carter’s song Levii’s Jeans came full circle as she starred in her first commercial for the 171-year-old denim brand set to the Cowboy Carter track

    Melina Matsoukas directed the spot for Beyoncé’s Reimagine campaign, which was a direct remake of the company’s 1985 ad in which a male model throws rocks into a laundry machine in order to ‘stonewash’ his Levi’s.

    ‘My song Levii’s Jeans celebrates what I believe is the ultimate Americana uniform — something we all wear with pride,’ Knowles-Carter said in the press release.

    ‘I am honored to work with Levi’s to create quintessential American iconography. Denim on denim has often been seen through a male lens, so this reimagining campaign, which celebrates the iconic female perspective, is important to me. I look forward to exploring innovative ways for our visions to align in empowering women and honoring their strength.’

    Levi Strauss & Co. reported a 20% boost on their stock price, a 20% rise in footfall at US stores, and $1.2M in additional revenue following the Texan singer name-dropping them in her country song.

    ‘The Levi’s brand has and always will be the unofficial uniform for those moving forward in the pursuit of better,’ Levi’s global CMO Kenny Mitchell said in the press release.

    ‘We believe a key part of that is continuously breaking and building the codes of culture. In collaboration with Beyoncé, we explore the power of reimagination through this campaign, helping us to connect with our fans in new ways and supporting the growth of our women’s business as the definitive denim lifestyle brand.’

    Last Thursday, Beyoncé lost all 12 trophies she was nominated for her eighth studio album at the 2024 People’s Choice Country Awards, hosted by Shania Twain, which aired on NBC/Peacock.

    This, after Knowles-Carter shockingly received zero nominations at the 58th Annual Country Music Association Awards, which will air November 20 on ABC/Hulu.

    In the 30-second advert - titled 'Chapter 1: Launderette' - the 43-year-old pop diva headed inside a laundry mat while carrying a bucket of what appeared to be diamonds

    In the 30-second advert – titled ‘Chapter 1: Launderette’ – the 43-year-old pop diva headed inside a laundry mat while carrying a bucket of what appeared to be diamonds

    Beyoncé then stripped off a $98 pair of Levi's Premium '501 90S Women's Jeans' to reveal her white Levi's panties underneath

    Beyoncé then stripped off a $98 pair of Levi’s Premium ‘501 90S Women’s Jeans’ to reveal her white Levi’s panties underneath

    A set of pre-teen twin girls could be seen in the background as Knowles-Carter showcased her 5ft6in figure in the snug boy-shorts and $29.50 Levi's 'Essential Sporty T-shirt'

    A set of pre-teen twin girls could be seen in the background as Knowles-Carter showcased her 5ft6in figure in the snug boy-shorts and $29.50 Levi’s ‘Essential Sporty T-shirt’

    The 32-time Grammy winner then grabbed her empty bucket and headed to the chairs where she took a seat to patiently wait for her 'laundry' to finish

    The 32-time Grammy winner then grabbed her empty bucket and headed to the chairs where she took a seat to patiently wait for her ‘laundry’ to finish

    Melina Matsoukas directed the spot for Beyoncé's Reimagine campaign, which was a direct remake of the company's 1985 ad in which a male model throws rocks into a laundry machine in order to 'stonewash' his Levi's

    Melina Matsoukas directed the spot for Beyoncé’s Reimagine campaign, which was a direct remake of the company’s 1985 ad in which a male model throws rocks into a laundry machine in order to ‘stonewash’ his Levi’s

    Knowles-Carter said in the press release: 'My song Levii's Jeans celebrates what I believe is the ultimate Americana uniform ¿ something we all wear with pride. I am honored to work with Levi's to create quintessential American iconography'

    Knowles-Carter said in the press release: ‘My song Levii’s Jeans celebrates what I believe is the ultimate Americana uniform — something we all wear with pride. I am honored to work with Levi’s to create quintessential American iconography’

    The Texan singer added: 'Denim on denim has often been seen through a male lens, so this reimagining campaign, which celebrates the iconic female perspective, is important to me. I look forward to exploring innovative ways for our visions to align in empowering women and honoring their strength'

    The Texan singer added: ‘Denim on denim has often been seen through a male lens, so this reimagining campaign, which celebrates the iconic female perspective, is important to me. I look forward to exploring innovative ways for our visions to align in empowering women and honoring their strength’

    Levi Strauss & Co. reported a 20% boost on their stock price, a 20% rise in footfall at US stores, and $1.2M in additional revenue following Beyoncé name-dropping them in her country song

    Levi Strauss & Co. reported a 20% boost on their stock price, a 20% rise in footfall at US stores, and $1.2M in additional revenue following Beyoncé name-dropping them in her country song

    Last Thursday, Knowles-Carter lost all 12 trophies she was nominated for her eighth studio album at the 2024 People's Choice Country Awards, hosted by Shania Twain (L), which aired on NBC/Peacock

    Last Thursday, Knowles-Carter lost all 12 trophies she was nominated for her eighth studio album at the 2024 People’s Choice Country Awards, hosted by Shania Twain (L), which aired on NBC/Peacock

    This, after Queen Bey shockingly received zero nominations at the 58th Annual Country Music Association Awards, which will air November 20 on ABC/Hulu

    This, after Queen Bey shockingly received zero nominations at the 58th Annual Country Music Association Awards, which will air November 20 on ABC/Hulu

    And while country music industry elites went out of their way to snub her, Beyoncé's Cowboy Carter became her eighth consecutive No. 1 album on the Billboard 200 and the first album by a black woman to top the Top Country Albums chart

    And while country music industry elites went out of their way to snub her, Beyoncé’s Cowboy Carter became her eighth consecutive No. 1 album on the Billboard 200 and the first album by a black woman to top the Top Country Albums chart 

    Knowles-Carter's first foray into the genre also scored her No. 1 records in the UK, Australia, Canada, France, Germany, and the Netherlands

    Knowles-Carter’s first foray into the genre also scored her No. 1 records in the UK, Australia, Canada, France, Germany, and the Netherlands 

    And while country music industry elites went out of their way to snub her, Queen Bey’s Cowboy Carter became her eighth consecutive No. 1 album on the Billboard 200 and the first album by a black woman to top the Top Country Albums chart.

    Beyoncé’s first foray into the genre also scored her No. 1 records in the UK, Australia, Canada, France, Germany, and the Netherlands.

    On Saturday, Knowles-Carter – who gets 54.4M monthly listeners on Spotify – glammed up in a plunging gold Gucci gown in a commercial for the joint venture of Moët Hennessy and her whisky brand SirDavis.

    The glitzy advert – which also featured the Oscar-nominated songwriter’s husband Jay-Z – was filmed during the real-life launch party held at the Hôtel Plaza Athénée in Paris last Monday.

    Beyoncé and the 54-year-old Roc Nation founder (born Shawn Carter) are proud parents of 12-year-old daughter Blue Ivy Carter and seven-year-old fraternal twins – son Sir Carter and daughter Rumi Carter.

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  • Loca-The Social House Is Delhis Newest Gem For Great Music, Cocktails And Mediterranean & Italian Delights

    Loca-The Social House Is Delhis Newest Gem For Great Music, Cocktails And Mediterranean & Italian Delights

    South Delhi has a new destination for all those who want to end a long day with drinks and dinner in the company of friends.  Loca – The Social House, in GK-1, is making waves as the latest must-visit hotspot for food and cocktail aficionados. My recent visit to this dynamic eatery left me thoroughly impressed. As I stepped into Loca, its cosy, yet stylish atmosphere welcomed me. The restaurant’s decor strikes a delightful balance between comfort and sophistication, creating a setting that feels both intimate and energizing. This duality is reflective of Loca’s nature: a relaxed haven by day that morphs into a lively social hub by night. The vibrant ambience, complemented by foot-thumping music, set me up for an exciting dining experience.

    Latest and Breaking News on NDTV

    Loca specializes in Mediterranean and Italian cuisines. The restaurant was brought to life by a team of founders – Gurjas Sahni, Manroop Sahni, Abhiraj Kohli, and Abhishek Sharma – who envisioned not just a dining establishment but a social house that melds exceptional food, innovative cocktails, and a spirited atmosphere.

    Latest and Breaking News on NDTV

    On the evening of my visit, Loca was buzzing with excitement due to a bar takeover by the newly-launched Tequila52. As a tequila lover, I couldn’t be happier. I kicked off the evening with the Picante – a cocktail that struck the perfect balance. It wasn’t overly spicy and the tequila’s rich flavor shone through. The Mexican Romera, another tequila-based cocktail, was equally delightful.

    Latest and Breaking News on NDTV

    One would not always expect bar food to be just as good but Loca defied that expectation. While the drinks were exceptional, Loca’s food menu proved to be just as remarkable. The evening began with the Arabic Veg Platter, which was a true standout. The paneer skewers were perfectly roasted, exuding a smoky aroma that was beautifully complemented by the falafel and grilled vegetables. Next up was the Zucchini Boat, which was nothing short of a revelation. The cheesy stuffing was decadently rich and packed with flavour.

    Latest and Breaking News on NDTV

    As I contemplated my next choice, I spotted a server delivering an intriguing dish that instantly piqued my interest. It turned out to be the Falafel Platter, complete with an array of dips and a balloon pita – light as air and puffed up like a balloon. The pita bread was a delight, and the accompanying dips were a perfect match.

    Despite being quite full, I couldn’t resist indulging in dessert. Loca’s dessert offerings continued to impress. The Tiramisu was impeccably balanced – not too bitter, not too sweet. The Torta Royale, a mascarpone baked cake, was simply divine and left me longing for more.

    As I left Loca, I couldn’t help but feel a sense of satisfaction and contentment. Loca has quickly become a favourite of mine, and I am already looking forward to my next visit. If you find yourself in South Delhi and are in search of a memorable dining experience, Loca – The Social House should be at the top of your list.

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  • Every Time Taylor Swift and Kanye West Referenced Each Other in Music

    Every Time Taylor Swift and Kanye West Referenced Each Other in Music

    Every Reference Taylor Swift and Kanye West Have Seemingly Made About Each Other in Their Music 873

    Taylor Swift and Kanye West.
    Getty Images (2)

    ‘Cause baby we’ve always got bad blood when it comes to Taylor Swift and Kanye West.

    The duo’s decades-long feud first began in 2009, when West shockingly ambushed Swift as she was receiving the award for Best Female Video during the MTV Video Music Awards. As she began her acceptance speech for “You Belong With Me,” West stormed the stage to grab the microphone, claiming that Beyoncé should have won for “Single Ladies” which he called “one of the best music videos of all time.”

    While West stole Swift’s big moment, Beyoncé quickly attempted to right the wrong by letting Swift give her speech when “Single Ladies” won later in the night for Video of the Year.

    In the weeks following the ceremony, West received massive backlash for his actions, for which he subsequently apologized. In return, Swift wrote the song “Innocent” for her 2010 album, Speak Now. in honor of West, offering him forgiveness.

    While all was peaceful for a few years — Swift even presented West with the Video Vanguard Award at the 2015 VMAs — things took a turn when West dropped The Life of Pablo in 2016. On the track “Famous,” the rapper called Swift a “bitch” who he “made famous.” He later claimed via X that he had an “hour long convo with [Swift] about the line and she thought it was funny and gave her blessings.” (It would later be revealed that during their phone call, Swift only approved the line “I feel like Taylor and I might still have sex.”)

    However, Swift denied that the conversation happened that way, claiming that West never followed up on promises to send her the whole track. This prompted West’s then-wife, Kim Kardashian, to release a video of West and Swift on the phone discussing the song and dubbing Swift a “snake.” Swift broke her silence on the situation days later as she accepted the Grammy Award for Album of the Year for 1989.

    Every Reference Taylor Swift and Kanye West Have Seemingly Made About Each Other in Their Music 871
    Larry Busacca/Getty Images for NARAS

    “I want to say to all the young women out there: There are going to be people along the way who will try to undercut your success or take credit for your accomplishments or your fame,” she said at the time. “But if you just focus on the work and you don’t let those people sidetrack you, someday when you get where you’re going, you’ll look around and you will know that it was you and the people who love you who put you there. And that will be the greatest feeling in the world.”

    Backlash against Swift continued, causing the pop star to essentially disappear for a year before returning with her 2017 album Reputation, which dedicated multiple songs to the ongoing feud. A full length version of her phone call with West was later released, revealing that Swift had, in fact, never been told about the rapper’s plan to call her a “bitch” who he made famous.

    While the duo laid off referencing each other in their music for a few years, they both seemingly returned to the drama for their 2024 records, Swift’s The Tortured Poets Department and West’s album with Ty Dolla Sign, Vultures 1.

    Keep scrolling for every reference Swift and West have made about their longstanding feud:

    ‘Innocent’

    Swift’s 2010 entirely self-written album, Speak Now, featured a song dedicated to West. “Innocent,” which sits at track No. 11 on the record, was a surprisingly kind perspective from Swift after the events at the VMAs.

    In the song’s first verse, Swift admits West, who faced backlash for his comments, “really did it this time,” pontificating that he let himself in his own “warpath” and lost “balance on a tightrope.”

    “Did some things you can’t speak of /  But at night you live it all again,” she sings on the ballad. “You wouldn’t be shattered on the floor now / If only you had seen what you know now then.”

    Despite his mistakes, Swift’s chorus offers forgiveness — and even words of wisdom — for West in the chorus.

    “It’s alright, just wait and see / Your string of lights is still bright to me / Oh, who you are is not where you’ve been / You’re still an innocent,” she promises.

    ‘Famous’

    Every Reference Taylor Swift and Kanye West Have Seemingly Made About Each Other in Their Music 872
    Christopher Polk/Getty Images

    More like infamous, “Famous,” off West’s 2016 album, The Life of Pablo, was the song that reignited the contention between him and Swift for years to come.

    “I feel like me and Taylor might still have sex,” West says in the verse, which is the lyric Swift approved, before adding the line that changed everything: “Why? I made that bitch famous.”

    West later added fuel to the fire when he featured a lifelike naked wax figure of Swift in the song’s music video.

    ‘This Is Why We Can’t Have Nice Things’

    Any friendly undertones in Swift’s music disappeared on her 2017 record Reputation, where multiple songs were dedicated to revisiting her contentious dynamic with the rapper. In “This Is Why We Can’t Have Nice Things” — an upbeat bop that resembles kids confronting each other on a playground — Swift breaks down how she gave West a “second chance” after the VMAs only to be betrayed.

    “But you stabbed me in the back while shakin’ my hand /  And therein lies the issue, friends don’t try to trick you / Get you on the phone and mind-twist you,” she explains, seemingly referencing the infamous phone call between the duo. “And so I took an axe to a mended fence.”

    “But I’m not the only friend you’ve lost lately,” she reminds him in the pre-chorus. “If only you weren’t so shady.”

    ‘Look What You Made Me Do’

    Swift’s first single from Reputation, which marked her comeback after avoiding the spotlight for more than a year following the fallout with West and Kardashian, “Look What You Made Me Do,” was seemingly filled with shade toward West.

    “I don’t like your little games / Don’t like your tilted stage,” Swift says as she opens the song, appearing to reference West’s famous tilting stage during his Saint Pablo Tour.  “The role you made me play of the fool / No, I don’t like you.”

    Swift goes on to vaguely recall what went down between them. “I don’t like your perfect crime / How you laugh when you lie,” she says.  In Kardashian’s footage of the phone call, West could be seen smiling and laughing during the conversation.

    “But I got smarter, I got harder in the nick of time /  Honey, I rose up from the dead, I do it all the time,” she sings in the chorus, announcing her return to the music game.  “I got a list of names, and yours is in red, underlined . I check it once, then I check it twice, oh!”

    In the chorus, Swift promises that while “the world moves on, another day another drama,” all she thinks about is “karma.”

    “Maybe I got mine, but you’ll all get yours,” she warns.

    ‘I Did Something Bad’

    In fairness, Swift’s third track off Reputation could be about multiple men — West, her exes Calvin Harris and Tom Hiddleston, or others. However, the lyrics do fit in with the other references to revenge made throughout “LWYMMD” and “TIWWCHNT,” so it’s earned a spot on this list.

    “I can feel the flames on my skin Crimson red paint on my lips If a man talks s—t, then I owe him nothing / I don’t regret it one bit, ’cause he had it coming,” she sings in the pre-chorus.

    Swift once again seemingly references her 2016 “takedown” in the bridge, singing, “They’re burning all the witches, even if you aren’t one / They got their pitchforks and proof / Their receipts and reasons.”

    ‘I Forgot That You Existed’

    Every Reference Taylor Swift and Kanye West Have Seemingly Made About Each Other in Their Music 870
    Kevin Winter/MTV1415/Getty Images For MTV

    Swift’s Lover era was a stark departure from that of Reputation, and the 2019 album traded dark themes and snakes for pastels and butterflies (literally seen in her “Me!” music video). Swift opens the record, however, declaring that those who once wronged her are no longer on her bad side — she simply cannot be bothered to think of them at all.

    “How many days did I spent thinking / ‘Bout how you did me wrong, wrong, wrong? / Lived in the shade you were throwing /  ‘Til all of my sunshine was gone, gone, gone,” Swift croons in the upbeat first track, possibly referencing West. “And I couldn’t get away from you . In my feelings more than Drake, so yeah / Your name on my lips, tongue-tied / Free rent, living in my mind.”

    The hate consumed her, she explains, until she learned to let it go. “But then something happened one magical night / I forgot that you existed,” the chorus declares. “And I thought that it would kill me, but it didn’t.”

    ‘thank You aimEe’

    Swift seemingly laid against any heavy-handed metaphors or descriptions of her feud with West on Folklore, Evermore and Midnights — she had other fish to fry concerning her master dispute with Scooter Braun and Scott Borschettea. Things changed with her 11th studio album, The Tortured Poets Department.

    The song is actually about West’s now ex-wife, Kardashian — descriptions like “a bronze spray-tanned statue” make that clear — with all the letters in the title being lowercase except for the ones that spell out “KIM.” However, months after the record hit shelves, Swift released a live version of the song, changing the capital letters to spell out “YE” (the name West now often goes by) instead.

    Taylor Swift Feuds

    Related: Taylor Swift’s Feuds: Where Are They Now?

    Taylor Swift has not only made headlines for her chart-topping music over the years, but also her several high-profile celebrity feuds. In January 2022, Swift got into a social media argument with musician Damon Albarn after he claimed she shouldn’t call herself a songwriter if she isn’t the only creative credited on a track. “I […]

    “All that time you were throwing punches / I was building something / And I can’t forgive the way you made me feel,” Swift sings in the chorus. “Screamed, ‘F—k you, Aimee’ to the night sky / As the blood was gushing / But I can’t forget the way you made me heal.”

    Swift recalls the feud not being a “fair fight” or a “clean kill” — Kardashian and West edited the video footage of their phone conversation before releasing it — noting that “Aimee” would be “laughing at each baby step I’d take.”

    When Swift released the bonus track, she effectively prevented West’s album Vultures 2 from reaching No. 1 on the charts.

    ‘Carnival’ 

    West and Ty Dolla Sign released the debut album for their  ¥$ group, Vultures 1, in February 2024. The 12th track on the record, which also features Playboi Carti and Rich The Kid, sees West name dropping Swift for the first time since “Famous.”

    “Then she say she ain’t sucked my d—k /  She gon’ take it up the ass, like a ventriloquist / I mean since Taylor Swift, since I had the Rollie on the wrist I’m the new Jesus, bitch, I turn water to Cris’,” he raps.

    ‘Lifestyle (Demo)’

    An track from Vultures 2, released in August 2024, once again features West rapping about Swift — even taking note of her boyfriend, Kansas City Chiefs tight end Travis Kelce.

    “I twist my Taylor spliffs tight at the end like  Travis Kelce,” he raps, presumably a play on his NFL position.

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  • Pharrell as a Lego and Robbie Williams as a chimp? Music biopics get creative

    Pharrell as a Lego and Robbie Williams as a chimp? Music biopics get creative

    TORONTO — Many of the expected conventions of music biopics are present in “Piece by Piece,” about the producer-turned-pop star Pharrell Williams, and “Better Man,” about the British singer Robbie Williams. There’s the young artist’s urge to break through, fallow creative periods and regrettable chapters of fame-addled excess.

    But there are a few, little differences. In “Piece by Piece,” Pharrell is a Lego. And in “Better Man,” Williams is played by a CGI monkey.

    If the music biopic can sometimes feel a little stale in format, these two movies, both premiering this week at the Toronto International Film Festival, attempt novel remixes. In each film, each Williams recounts his life story as a narrator. But their on-screen selves aren’t movie stars who studied to get a part just right, but computer-generated animations living out real superstar fantasies.

    While neither Williams has much in common as a musician, neither has had a very traditional career. Their films became reflections of their individuality, and, maybe, a way to distinguish themselves in the crowded field of music biopics like “Bohemian Rhapsody” and “Rocketman.”

    “This is about being who you are, even if it’s not something that can be put in a box,” Pharrell said in an interview Tuesday alongside director Morgan Neville.

    Also next to Pharrell: A two-foot-tall Lego sculpture of himself, which was later in the day brought to the film’s premiere and given its own seat in the crowd.

    The experience watching the crowd-pleasing “Piece by Piece,” which Focus Features will release Oct. 11, can be pleasantly discombobulating. A wide spectrum of things you never expected to see in Lego form are animated. Virginia Beach (where Pharrell grew up). An album of Stevie Wonder’s “Songs in the Key of Life.” Jay-Z.

    “I’m just so grateful that everybody said yes,” says Pharrell. “Morgan said yes. Lego said yes. Focus said yes. Universal said yes. When you get to all those yeses, you realize how impossible this is.”

    Neville, the filmmaker of “20 Feet From Stardom,” “Won’t You Be My Neighbor” and the recent Steve Martin doc, made “Piece by Piece” like a documentary. When he interviewed people for the film — everyone from Missy Elliott to Kendrick Lamar — he spoke to them by Zoom and told them they’d be animated. But he didn’t share how.

    Pharrell as a Lego is surprisingly winning. It’s a way to represent Pharrell as, at heart, a playful builder of beats, a man hellbent on fame who assembled his own destiny.

    “I felt like everything we were doing in the film was totally reflective of the subject of the film,” Neville says. “We’re not doing Lego because it’s a gimmick. We’re doing it because it’s the only way to tell this story right.”

    “Piece by Piece” will be the unusual film to potentially vie in both the best documentary and best animated film categories at the Academy Awards, along with the best song category. (Pharrell made several originals for it.)

    The high concept of “Better Man” began with a query by filmmaker Michael Gracey, who directed the hit musical “The Greatest Showman.” He approached Williams, the bad-boy balladeer, with a question.

    “I said: ‘What animal do you see yourself as?’” Gracey told the crowd, introducing “Better Man” at the film’s Monday premiere. “And with a big grin he said, ‘Lion.’”

    After a moment, Williams reflected and acknowledged the truer answer — for an entertainer who started out in boy band Take That — was a monkey.

    In the film, the actor playing Williams is Jonno Davies — only we don’t see him, either. Not unlike the process on the “Planet of the Apes” films, Davies performed in a motion-capture suit. Later, digital effects teams placed the chimpanzee of the film on top of him. One part is Williams himself: the eyes of the monkey’s face. Every other character, meanwhile, is human.

    While “Piece by Piece” is a more all-ages release, “Better Man” is R-rated and doesn’t skimp on the rock ‘n’ roll debauchery. It’s the most cocaine you’ve ever seen a chimp ingest.

    It also makes for a peculiar viewing experience. Is Williams a more sympathetic figure as a wounded animal than he is as a human? Either way, Williams is delighted by the result.

    “For a narcissist, it’s a wonderful treat,” he beamed at the screening. “I’ve seen it three times. It’s not enough.”

    ___

    For more coverage of the Toronto International Film Festival, visit https://apnews.com/hub/toronto-international-film-festival.

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  • You use Spotify to listen to music. Here’s how money from ads and subscription fees flows to artists

    You use Spotify to listen to music. Here’s how money from ads and subscription fees flows to artists

    LOS ANGELES — Every day, millions of people use Spotify to stream music. A few years ago, it would’ve felt like an impossibility: Click, and bam — a seemingly endless catalog of recorded music opens up, right at your fingertips.

    Streaming now accounts for most of the money generated by the music industry — a whopping 84% in the United States, according to the RIAA, and 67.3% worldwide, according to a 2024 report by the International Federation of the Phonographic Industry, which tracks global sales.

    Spotify is the largest platform of all — making up roughly 31% of the total market share — with a reported 626 million users and 246 million subscribers in over 180 markets.

    In July, Spotify increased its monthly subscription cost. So, how does money from advertisers and subscription fees move from Spotify to artists’ wallets, anyway?

    Short answer: They don’t. Spotify pays roughly two-thirds of each dollar it makes from music streams — a collection of paid subscriptions and advertiser income — to the rights holders of the music on its platform, paid out between recording and publishing agreements.

    Those rights holders usually comprise a combination of record labels, distributors, aggregators and collecting societies — think Sony, Warner, Universal, the digital music licensing organization Merlin that represents independent labels — who then pay their artists according to their contracts.

    If an artist is self-distributed, they might pay a small fee to an aggregator, or upload service (some popular ones include DistroKid and TuneCore).

    A self-distributed artist keeps “the vast majority of (the royalties),” explains Charlie Hellman, the vice president and global head of music product at Spotify. Or it “goes to their label and their publisher.”

    Payments to rights holders are determined by a process called streamshare.

    Once Spotify pays the rights holders, “we sort of lose visibility of exactly what happens after that,” Hellman says.

    When you walk into a store and buy an album, a percentage of that amount goes directly to an artist. When it comes to streaming, subscription dollars are collected into one large pool and paid out via streamshare, a number Spotify calculates by adding up how many times music owned or controlled by a particular rights holder was streamed in a month, in each market and dividing it by the total number of streams in that market.

    Most streaming platforms use streamshare: Spotify, Apple Music, Amazon Music, etc.

    Hellman explains that “whatever fraction of streams” a rights holder has on Spotify is “the fraction of the total payouts that are paid out” to them. “We calculate that per market,” he says.

    So, if a rights holder like Universal Music Group accounted for half of all the streams in the U.S., they’d “get half of all the revenue generated in the U.S.”

    Liz Pelly, a journalist whose first book, “Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist,” will be published in 2025, says the streamshare system has been criticized for “benefitting the artists who generate the most streams” and “the major labels who already have, like, so much market share.”

    In the last few years, she’s seen artists organizations and independent artists unions call for a shift to a user-centric system. Under that system, royalties would be paid directly to the rights holders based on what each user streamed. Essentially, if you only listened to Charli XCX this month, she and the rights holders of her music would receive roughly two-thirds of the revenue generated from your subscription.

    You might have seen a popular metric that suggests artists make, on average, somewhere between $0.003 and $0.005 per stream. But because streaming platforms don’t pay artists directly, that number isn’t exactly accurate.

    “This concept of the per stream rate is one of the most misunderstood aspects of the music industry,” says Hellman. “There is no per stream rate.”

    He uses an example: Say, for the ease of understanding, a listener spends $10 on their monthly subscription. Three of those dollars go to Spotify, the other seven go to rights holders. (Currently, the individual subscription plan is now $11.99, not $9.99.)

    “If they played only one stream in the month, the per stream payout would be $7 per stream. But if they played (700) streams in that month, then the per stream effective payout would be a penny,” he says.

    Pelly says artists deduce they make “penny fractions” in royalties by looking at their statements. “And that is meaningful.”

    They are “symbolically important,” she adds, if inexact, “because they communicate the reality that a lot of artists are seeing, like, very little pay from digital services.”

    Los Angeles experimental artist Julia Holter, whose sixth studio album “Something in the Room She Moves” was released in March, says artists do receive what adds up to penny fractions.

    “The current Spotify model does not work for most artists, in that you cannot easily make a living solely from streams,” she says. “The math here is so complicated, which is part of the issue.”

    “There are so many artists that struggle to make a career in the streaming era because things are set up in ways that are inaccessible and opaque,” Pelly adds.

    And many musicians do not make music in ways that are “specifically tailored to the way in which streaming services generate money… The system is set up to reward artists that generate massive numbers of streams.”

    Not all music functions that way, she says. There are “certain artists that make the kind of music that maybe you wouldn’t stream in the background for hours on end, or who make music in long-form compositions, not in, like, short two-, three-minute tracks that you could load up a playlist with.”

    In 2024, Holter is one of those artists — it has been five years since her last solo album, and her latest release features a few six-minute tracks. If streaming demands churning-out short songs — viewing “music as content,” she says it is “antithetical to creative people.”

    In April, Spotify began eliminating all payments for songs with less than 1,000 annual streams in an effort to drive revenue to what it calls “emerging and professional artists”. As a result, those with a bigger percentage of streamshare revenue will receive an even larger share — pooled from artists with few streams.

    Hellman argues that because there is a minimum threshold to be met when withdrawing money from a distributor, artists with under 1,000 annual streams aren’t able to collect their royalties. (At DistroKid, it is $5.35; at TuneCore it is $1 via PayPal.)

    “There was an increasing amount of uploaders that had $0.03, $0.08, $0.36 sitting there,” he said. “All those pennies sitting in bank accounts all over the place was siphoning money away from artists that were really doing this, as an aspiring professional.”

    In May, Spotify announced it would add audiobooks into its premium subscriptions, resulting in a lower royalty rate for U.S. songwriters, according to Billboard. They estimate that songwriters and publishers will earn $150 million less in U.S. mechanical royalties from premium, duo and family plans for the first 12 months it is in effect.

    Politicians are taking note. In March, U.S. Reps. Rashida Tlaib and Jamaal Bowman introduced the Living Wage for Musicians Act in partnership with artists and industry laborers in the United Musicians and Allied Workers organization.

    The bill proposes a new streaming royalty, to be paid into an Artist Compensation Royalty Fund, which would ensure artists receive at least one cent per stream. It’s a direct payment from streaming services to artists, with no middlemen.

    The new royalty would be funded through a 10% levy of streaming platforms’ non-subscription revenues and an additional subscription fee.

    The act is “suggesting that the current system isn’t working for artists,” says Pelly.

    Holter, who works with UMAW, is optimistic about the bill, suggesting that “if streamers are going to increase prices anyway,” this is an opportunity to make sure artists, and not only major label artists, are compensated equitably — without fundamentally altering how the system currently works.

    “I think this will benefit everyone,” she says. “Including the streamers.”

    Earlier this year, Hellman had no comment on the act but underlined that the easiest way to get to a penny per play is to get people to stream less.

    “I think fixating on what that ‘average revenue compared to total number of plays’ looks like is really distracting us from what it is that we’re trying to do as an industry, which is get more people to pay more money for music so that we can pay that to the artists and the rights holders,” he says.

    “Spotify has every incentive to maximize the revenue because we get to share in 30% of it. And so, we’ve been raising prices,” he says.

    “We will continue to raise prices as much as we can. That’s going to maximize the revenue. But if you raise prices too much or you constrain the value too much, you’re going to get people churning out of subscription, going back to less productive behaviors like piracy. And I don’t think anyone wants to see those kinds of things happen.”

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