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Tag: R&B

  • Henry Fambrough, last surviving original member of The Spinners, dies at 85

    Henry Fambrough, last surviving original member of The Spinners, dies at 85

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    DETROIT — Henry Fambrough, the last surviving original member of the iconic R&B group The Spinners, whose hits included “It’s a Shame,” “Could It Be I’m Falling in Love” and “The Rubberband Man,” died Wednesday, a spokesperson for the group said. He was 85.

    Fambrough died peacefully of natural causes in his northern Virginia home, spokesperson Tanisha Jackson said in a statement.

    The group was inducted into the Rock & Roll Hall of Fame in November. Along with Fambrough, Billy Henderson, Pervis Jackson, Bobby Smith, Philippé Wynne and John Edwards were listed as inductees.

    Last May, Fambrough took a tour of Motown’s Studio A in Detroit as part of a ceremony that included the donation to the Motown Museum of 375 outfits worn by the group during performances.

    It “was a long time ago,” Fambrough said at the time of the 1960s, when he first walked into the studio. “I used to dream about this place.”

    He told reporters that he had to convince his wife that the studio was where he was going for 3 a.m. rehearsals and recording sessions with other members of the group. Their first big hit for Motown was “It’s A Shame,” which peaked at No. 14 on Billboard’s Hot 100 chart in 1970.

    The Spinners would later sign with Atlantic Records and turn out a string of hits that included “Then Came You,” which featured singer Dionne Warwick and reached No. 1 on the Billboard Hot 100 in 1974.

    Their songs received six Grammy Award nominations and earned 18 platinum and gold albums.

    Originally called The Domingoes, the group was formed in 1954 just north of Detroit in Ferndale. The Spinners joined Motown Records 10 years later.

    Fambrough’s survivors include his wife of 52 years, Norma, and daughter Heather Williams.

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  • Sean ‘Diddy’ Combs accused of years of rape and abuse by singer Cassie in lawsuit

    Sean ‘Diddy’ Combs accused of years of rape and abuse by singer Cassie in lawsuit

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    NEW YORK — Sean “Diddy” Combs, was accused in a lawsuit Thursday of subjecting R&B singer Cassie to a yearslong relationship that included beatings and rape.

    Cassie, whose legal name is Casandra Ventura, alleged in the suit filed against the producer and music mogul in New York federal court that Combs brought her into his “ostentatious, fast-paced, and drug-fueled lifestyle” not long after she met him and signed to his label when she was 19 and he was 37 in 2005.

    Attorney Ben Brafman said Combs “vehemently denies” the allegations.

    Ventura, now 37 herself, said Combs, now 54, began the pattern of abuse began as soon as their relationship did.

    The suit alleges that, “prone to uncontrollable rage,” he subjected her to “savage” beatings in which he punched, kicked and stomped her. It alleges he plied her with drugs, and forced her to have sex with other men while he masturbated and filmed them.

    The suit says that as she was trying to end the relationship in 2018, Combs forced her into her Los Angeles home and raped her.

    “After years in silence and darkness, I am finally ready to tell my story, and to speak up on behalf of myself and for the benefit of other women who face violence and abuse in their relationships,” Ventura said in a statement.

    The Associated Press does not typically name people who say they have been sexually abused unless they come forward publicly as Ventura has.

    Brafman called the allegations “lies.”

    “For the past six months, Mr. Combs has been subjected to Ms. Ventura’s persistent demand of $30 million, under the threat of writing a damaging book about their relationship, which was unequivocally rejected as blatant blackmail,” he said in a statement. “Despite withdrawing her initial threat, Ms. Ventura has now resorted to filing a lawsuit riddled with baseless and outrageous lies, aiming to tarnish Mr. Combs’s reputation and seeking a payday.”

    Ventura’s lawyer Douglas Wigdor responded in a statement that Combs offered her “eight figures to silence her and prevent her the filing of this lawsuit. She rejected his efforts and decided to give a voice to all woman who suffer in silence.”

    Combs is among the most influential hip-hop producers and executives of the past three decades.

    He and Ventura began dating in 2007 and had an on-and-off relationship for more than a decade.

    She became known for the Ryan Leslie-produced hit single “Me & U,” which secured the No. 1 spot on the Billboard Hot R&B/Hip-Hop songs chart in 2006. The song was the lead single of her only studio album, which was self-titled.

    As an actor, she has appeared in several television and films projects including Fox’s “Empire,” “Step Up 2:The Streets” and “Spenser Confidential.”

    Combs built one of hip-hop’s biggest empires, blazing a trail with several entities attached to his famous name. He is the founder of Bad Boy Records and a three-time Grammy winner who has worked with a slew of top-tier artists including Notorious B.I.G., Mary J. Blige, Usher, Lil Kim, Faith Evans and 112.

    The mogul created the fashion clothing line Sean John, launched the Revolt TV channel with a focus on music, and produced the reality show “Making the Band” for MTV.

    This year, he released his fifth studio album “The Love Album: Off the Grid,” which earned two Grammy nominations this month.

    The lawsuit cites a speech Combs gave while receiving a lifetime achievement honor at the BET Awards in 2022, in which he thanked Ventura for “holding me down in the dark times, love.”

    The suit says, “The truth, however, is that Cassie — Ms. Casandra Ventura — was held down by Mr. Combs and endured over a decade of his violent behavior and disturbed demands.”

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  • 2024 Grammy nomination snubs and surprises: No K-pop, little country and regional Mexican music

    2024 Grammy nomination snubs and surprises: No K-pop, little country and regional Mexican music

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    LOS ANGELES — With new categories, SZA, and “Barbie” — there’s a lot to discuss regarding the 2024 Grammy Award nominations. Who didn’t make the cut? What were the best surprises of all? Let’s take a look.

    There’s a lot to love about the nominations for the 66th Grammy Awards — and quite a bit to be a little confused by. Reneé Rapp, Peso Pluma and PinkPantheress are absent from the best new artist category despite having remarkable years. Rapp’s “Snow Angel” was the biggest debut solo album from a female artist this year.

    Rapp and PinkPantheress were both shut out and Peso Pluma only picked up one nomination: best música Mexicana album (including Tejano) for his third studio album, “Génesis.”

    In fact, in a year dominated by música Mexicana, it is surprising to see no nods for Eslabon Armado or Grupo Frontera, particularly for their songs “Ella Baila Sola” with Peso Pluma and “Un x100to” with Bad Bunny, respectively. Natanael Cano and Fuerza Regida are also noticeably absent.

    This year, there are only three nominees for best música urbana album — because the category received fewer than 40 entries — and accounts for Karol G’s sole nomination, for her historic 2023 album “Mañana Será Bonito.”

    Undeniably, country music has had a massive 2023. In July, country acts held the top three spots on the Hot 100 for the first time: Controversy hoisted Jason Aldean’s “Try That In a Small Town” to No. 1, followed by Morgan Wallen’s “Last Night” and Luke Combs’ cover of Tracy Chapman’s “Fast Car.”

    Also, over the summer, country singer Oliver Anthony Music’s became the first artist to debut on the Hot 100 at the top of it, with the viral “Rich Men North of Richmond.” Aldean and Anthony’s dominance wasn’t long — and Combs did earn a 2024 Grammy nomination for best country solo performance — but Wallen stands out as an obvious exclusion.

    While “Last Night” is nominated for best country song, a songwriter’s award, Wallen himself isn’t despite his successful year. His latest album, “One Thing at a Time,” had, as of Oct. 14, spent 16 weeks at the top — which meant he’s held the top spot for nearly 40% of the year so far … and his record was released in March.

    This isn’t the first time Wallen has been absent from nominations. In 2021, after video surfaced of him using a racial slur, he was disqualified or limited from several award shows and received no Grammy nominations for his bestselling “Dangerous: The Double Album.”

    The eligibility window ran from Oct. 1, 2022, through Sept. 15, 2023, which means quite a few K-pop heavyweights could have been nominated: TOMORROW X TOGETHER, Stray Kids and the Y2K-loving girl group NewJeans. But they weren’t.

    All three had releases hit No. 1 on the Billboard 200 — TXT’s “The Name Chapter: Temptation” in February, Stray Kids’ “Maxident” and NewJeans’ “Get Up.”

    Some critics had theorized that NewJeans might earn a best new artist nomination, which would have made them the first ever K-pop girl group to receive a Grammy nod. It could’ve been them, or the K-pop girl group Fifty Fifty, whose bubblegum pop single “Cupid” was inescapable on TikTok this summer — they became so ubiquitous, they even appeared on the “Barbie” film soundtrack.

    Yet, after Friday’s announcement, BTS remains the only K-pop group to ever receive a Grammy nod. And despite five nominations, they have no Grammy wins.

    Much to the chagrin of fans of Michelle Williams’ reading of Britney Spears’ memoir “The Woman in Me,” the actor will not be eligible in the best audio book, narration & storytelling recording category this cycle. That’s a 2025 possibility.

    But perhaps most shocking of all is the omission of Prince Harry, whose memoir “Spare” sold more than 3.2 million copies worldwide in just one week. The British royal narrated the audiobook but did not receive a nomination. Instead, Meryl Streep, William Shatner, Rick Rubin, Sen. Bernie Sanders and Michelle Obama did.

    Using charts as the most immediate metric of popularity: There’s been a bit of a dearth of dominant hip-hop releases. It’s a shocking shift, as the Luminate 2022 Year-End report found that R&B/hip-hop is America’s most popular genre, accounting for the most U.S. on-demand song streams and the largest share of total album consumption. In fact, no rapper was able to top the Billboard 200 until Travis Scott’s “Utopia” dropped in August. This time around, Scott only picked up one nomination: best rap album.

    Curiously missing from the list is Gunna, whose 2023 album “A Gift & a Curse” was massive. It is clear that some of the biggest hits in the genre were pushed to rap-specific categories (think Lil Durk ft. J. Cole’s “All My Life,” or Lil Uzi Vert’s “Just Wanna Rock.”)

    If there is something to pop bottles over, it’s Victoria Monét’s seven nominations. The R&B singer-songwriter is no stranger to Grammy nominations — but for a different skillset. Monét was nominated as a producer for album of the year at the 2020 Grammys, for her work on Ariana Grande’s “Thank U, Next.” At the time, she was best known as hit maker for Grande and Chloe x Halle, though she’s always been one to watch as a soloist.

    This time around, she’s the only leading nominee also up for best new artist. Monét has also picked up record of the year and best R&B song nominations for her glossy, brassy “On My Mama,” best R&B performance and best traditional R&B performance. Her 2023 release, “Jaguar ll,” is up for best R&B album and best engineered album, non-classical.

    The best story of the 2024 Grammy nominations, of course, is just how many women are represented in the major categories.

    The majority of leading nominees are women and include superstars like Taylor Swift, Billie Eilish, Miley Cyrus and Olivia Rodrigo. In both the record and album of the year categories, the only man represented is Jon Batiste.

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  • New Edition announces Las Vegas residency dates starting in late February

    New Edition announces Las Vegas residency dates starting in late February

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    LOS ANGELES — R&B group New Edition will bring their New Jack Swing tunes to Las Vegas early next year.

    The Grammy-nominated sextet announced Monday that New Edition: Las Vegas will kick off Feb. 28. The group confirmed six residency shows at the Wynn Las Vegas’ Encore Theater, where acts like Diana Ross, Duran Duran, Lionel Richie and Brad Paisley have taken the stage.

    “We just caught lightning in a bottle,” said Ronnie DeVoe, a founding member of New Edition — which includes Michael Bivins, Bobby Brown, Johnny Gill, Ralph Tresvant and Ricky Bell. Monday’s announcement came after days after the group performed a tightly choreographed tribute to the Spinners at the Rock & Roll Hall of Fame induction ceremony in New York.

    DeVoe said the band heard fans countless requests — particularly through social media — for them to perform in Sin City. “We’re looking to touch that stage and continue on with the legacy,” he said.

    After two consecutive North American tours, New Edition has planned for a more intimate setting at Encore, which seats 1,480.

    “This is going to more theatrical than our Legacy and Culture tours,” Brown said. “This will be a lot more intimate. We wanted it to be up, close and personal for our fans.”

    New Edition was founded by childhood friends in a Boston housing project and became one of the originators of the modern-day boy band. The group released their debut album “Candy Girl” in 1983 and rejuvenated the teen music scene in the mold of The Jackson Five with hit singles like “Candy Girl,” “Mr. Telephone Man” and “Cool It Now.”

    The group maintained success after puberty and laid the foundation for groups such as New Kids on the Block, the Backstreet Boys and Boyz II Men.

    But then, New Edition faced plenty of conflict — which included Brown’s erratic behavior during a concert tour, resulting in him being kicked out the group. Tensions grew after Brown was replaced by Gill.

    Brown found success as a solo artist with the 1988 hit “Don’t Be Cruel.” Gill and Tresvant had their own solo careers, while Bell, Bivins and DeVoe created their own group, Bell Biv DeVoe, and soared with their 1990 debut album, “Poison,” which went quadruple platinum.

    But eventually, all six members reconciled, reuniting for their sixth studio album “Home Again” in 1996. The group has toured the past couple of years.

    Bell said the tours helped build cohesiveness and created more of an opportunity to appreciate each other. He’s grateful for the group’s longevity: “We have each other, we have our health, we have our families. Everybody’s still here.”

    Bivins said the same authentic brotherhood shown during New Edition’s recent tours will be on display in Las Vegas.

    “Our audience got a chance to see growth, bond, brotherhood,” he said. “Sometimes that’s bigger than any record because people come to look for separation. But I think we’ll give them the glue.”

    New Edition hasn’t released an album since 2004, but DeVoe said there’s a good chance the group will release new music leading up to their residency stint.

    “It makes sense,” he said. “I think it’ll be a great time to get in the studio and put our vocals on something new and fresh, so we can deliver that to our fans in anticipation of their residency.”

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  • Temptations, Four Tops on hand as CEO shares what’s going on with Motown Museum’s expansion plans

    Temptations, Four Tops on hand as CEO shares what’s going on with Motown Museum’s expansion plans

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    The CEO of the Motown Museum says full construction on the final phase of the Detroit facility’s expansion will get underway in the spring of 2024

    ByMIKE HOUSEHOLDER Associated Press

    Otis Williams, a vocalist with The Temptations, talks with Motown Museum’s Hitsville NEXT programming participants in Detroit, Wednesday, Oct. 4, 2023. (AP Photo/Paul Sancya)

    The Associated Press

    DETROIT — Full construction on the final phase of the Motown Museum’s expansion will get underway in the spring of 2024, the museum’s CEO announced Wednesday night.

    Robin Terry also said that fundraising for the expansion has reached $59 million, “nearing our goal of $65 million.”

    “Although we are not done, we will get it done,” Terry, who also serves as the museum’s chair, said during a private donor event that honored Motown legends the Four Tops and The Temptations.

    Otis Williams, a 60-plus-year member of The Temptations, was honored at the event. Earlier in the day, he fielded questions from a group of aspiring performers at the museum.

    The historic section of the city where Motown Records founder Berry Gordy Jr. built his music empire six decades ago has undergone a facelift in recent years with the addition of an educational programming and creative hub as well as an outdoor plaza that serves as a gathering space. The museum continues to be housed in the famed “Hitsville, U.S.A” building at 2648 West Grand Boulevard.

    Terry, Gordy’s grand-niece, also announced two exhibits that will be coming to the museum.

    One called “The Motown Atmosphere,” will be an immersive room featuring classic Motown images that showcase the record label’s family environment. The second, “The Backstage Lounge,” will allow visitors to search the Motown catalog and discover music and access interviews with Motown alumni, like Williams.

    “There will never, ever be another recording company like Motown Records,” he said.

    Gordy launched Motown in 1959. His late sister, Esther Gordy Edwards, founded the museum in the former Hitsville headquarters in 1985. In addition to the Four Tops and The Temptations, Smokey Robinson, Stevie Wonder, The Supremes, Marvin Gaye and many others recorded hits there before Motown moved to California in 1972.

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  • Music Fans Rejoice: The Multi-Talented Jor’Dan Armstrong is Back With a Vengeance

    Music Fans Rejoice: The Multi-Talented Jor’Dan Armstrong is Back With a Vengeance

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    Jor’Dan is back with a trilogy of EPs to add to your “Girls Trip” Playlist.

    After two (2) back-to-back Billboard #1’s “My God” and “Call” with Erica Campbell and his first #1 R&B project on iTunes “Church Girls Love R&B”,  2023 has been another big year for Jor’Dan Armstrong; from his Church Girls Love R&B Tour to touring alongside Grammy Award winner Jonathan McReynolds.

    “Church Girls Love R&B – Girls Trip” is the perfect “Girls Trip” Playlist. It gives listeners the familiar vibes of an urban hit from Chris Brown, Bryson Tiller, or BLXST, but the message is upbeat, inspiring, and encouraging. This project has features from rising R&B stars Kenyon Dixon and Natasha Mosley and urban inspirational trending artists 1K Phew, Wande, and Porsha Love.

    At first listen, it will definitely be one of your favorite projects of 2023. The crafty songwriter takes us on a journey of the complexity and duality of relationships. This project takes listeners on an emotional rollercoaster. It has peaks and valleys, twists and turns, like every meaningful relationship. Jor’Dan’s signature production style, melodic approach, and heartful lyrics are the reason Jor’Dan Armstrong is one of the most sought-after artists of this generation.

    This new offering is a trilogy of releases. We will have three separate releases July 28, 2023, Sept 22, 2023, and Dec 22, 2023.

    “It was important to give listeners a concept-driven body of work that all listeners can appreciate and relate to. We wanted people to follow this storyline like their favorite TV Series, captivated with anticipation of the next opportunity to listen,” said Jor’Dan.
     

    CONNECT: linktr.ee/JorDanArmstong

    Source: Jor’Dan Armstrong, singer

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  • Review: On ‘Playa Saturno,’ Rauw Alejando’s futuristic reggaeton reaches new heights

    Review: On ‘Playa Saturno,’ Rauw Alejando’s futuristic reggaeton reaches new heights

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    LOS ANGELES — LOS ANGELES (AP) — “Playa Saturno” by Rauw Alejandro (Sony Music Latin/Duars Entertainment)

    Puerto Rican musician Rauw Alejandro has always had his eye on the future — taking familiar genres and contorting them into something novel.

    At the beginning of his career, that meant R&B-informed reggaeton when the rest of the industry leaned into “popetón,” a tried-and-true pop formula. Alejandro takes dem bow, the four-on-the-floor, three-beat percussive pattern that lays the foundation for many Urbano Latino genres (that’s the “boom-chk-boom-chk” to the untrained ear), and manages to stretch the sound into new, experimental heights. And maybe to the furthest corners of the galaxy, as his extraterrestrial concept album suggests.

    Released as a surprise spinoff to his 2022 album “Saturno”, Alejandro’s fourth full-length, “Playa Saturno,” is an idyllic soundtrack for a beach party in outer space, a collection of songs that demonstrate Alejandro’s keen ear and respect for those performers who laid the path for his success.

    The Queen of Reggaeton, Ivy Queen, appears on “Celebrando”; the pair harmonize on the song’s ascendant bridge. Spanish popstar Miguel Bosé appears on the retro-reggaeton “Si Te Pegas”; Mexican singer Junior H brings his corridos tumbados to “Picardía.” Puerto Rican duos Jowell y Randy and Ñego y Dálmata also make an appearance, on “Ponte Nasty” and “No Me La Moleste” respectively, bringing classic Boricua reggaeton to Alejandro’s modern audience.

    In fact, much of “Playa Saturno” hits like a musical history lesson across the Caribbean: It’s heard in the steel drums of “No Me Sorprende” and the vocal melodies in “Hoy Aquí,” made contemporary by a retro-futuristic, synth-heavy production style.

    A spinoff album is a tricky thing. There’s an expectation that these songs could be a collection of sub-tier tracks that didn’t make the original release, but that is not the case here. “Playa Saturno” is an alternative storyline in a larger musical universe. If there is a misstep, it’s in the similarity between “Hoy Aquí” and “Lejos Del Cielo” from “Saturno,” but coincidences can be expected when working in the same sonic template.

    The successes of “Playa Saturno” far outweigh those moments: Particularly “Baby Hello,” the electro-pop lead single in collaboration with Argentine producer Bizarrap, known for his viral BZRP Music Sessions on YouTube. It’s innovative pop music, a late song of the summer contender for those looking to party among the stars. If space is the final frontier, Alejandro’s album serves as a reminder that there’s a lot more to discover — and the boundlessness of his music is a reflection of that fact.

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  • Springsteen has mortality on his mind but celebration in his songs at London show

    Springsteen has mortality on his mind but celebration in his songs at London show

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    LONDON — Bruce Springsteen was not going to let concert promoters pull the plug on him like the last time he played Hyde Park 11 years ago.

    “F— ’em is right,” Springsteen growled in delight as he feigned concern that a looming curfew would bring down the lights on his sold-out show Thursday before 65,000 faithful.

    Blowing the deadline was never a real threat as Springsteen, still going strong at 73, got an earlier start and powered through a three-hour set Thursday in rapid-fire succession. He only broke stride a few times to reflect on the passing of time and the passing of friends.

    The 28-song set included anthemic classics like “Born in the U.S.A.,” “Prove it all Night” and “Born to Run,” along with several newer tunes and one cover in a show that leaned heavy on a message of mortality but felt more like a celebration of life as an enthusiastic audience sang along on a beautiful summer evening.

    “London is there anyone alive out there tonight?” he boomed in an intro to “Mary’s Place,” one of several tunes that showcased the E Street Band’s crisp horn section, dueling keyboards and impressive group of backup singers supported, of course, by tens of thousands of amateurs. “If you’re alive, then I’m alive. And that’s what we came here for.”

    The tour, Springsteen’s first in seven years, kicked off in Tampa in February and has included almost the same set list every night, which is unusual for a performer who has often played requests fans post on handwritten signs.

    Springsteen followed the members of the E Street Band onto stage just after 7 p.m. to a roar of “Bruuuuuce” that can sound like boos to the uninitiated. His short-cropped silvery hair slicked back, Springsteen wore a black button-snap shirt with short sleeves rolled up to show his still-taut pipes, dark jeans cuffed at the ankle and oxblood Doc Martens boots.

    After the requisite “Hello London,” he promptly counted out “one, two, three, four” for the chest-thumping drum intro to “No Surrender” that set fans roaring and band charging forward like a hard-rocking freight train.

    Even that opener about friendship and the power of music with its memorable line about learning “more from a three-minute record … than we ever learned in school” captured the theme of the evening.

    “Young faces grow sad and old,” he sang in a stanza that gives way to “I’m ready to grow young again” before the eventual chorus vow of “no retreat … no surrender.”

    He followed with “Ghosts,” a soaring tribute to bandmates he had lost that concludes with “I’m alive and I’m out here on my own/I’m alive and I’m comin’ home.”

    But Springsteen was not alone. He had 17 supporting members of the E Street Band that has been rocking for 50 years in an evolving cast of talented musicians, that included some of the longest-serving members: guitarists Little Steven Van Zandt and Nils Lofgren, drummer Max Weinberg, bassist Garry Tallent and keyboardist Roy Bittan.

    Saxophonist Jake Clemons, the nephew of Springsteen’s longtime sax player and friend, Clarence Clemons, who died in 2011, had his arm around Springsteen’s shoulder as they sang a seemingly countless string of la-la-la’s at the end of the song. Then, as he did throughout the night, Clemons took center stage and wailed on his sax that glimmered in the setting sun.

    Despite a few cancellations on the tour due to unspecified illness, Springsteen remains a formidable performer though he moved a little more stiffly as he hustled along the stage or walked down several steps to slap palms and pose for selfies with ecstatic front-row audience.

    On a rousing “Out in the Street,” in which he sings “I walk the way I want to walk,” he stumbled climbing stairs back to the stage. It was not as awkward as a fall on stage at an Amsterdam show in May. He sat on the stairs to finish the song and Clemons sat next to him.

    He conducted the E Street Band like a symphony, waving his arms, swinging his hand to indicate a downbeat or counting out time with his right hand. He joked that he practices the motions in the mirror at night.

    After a jazzy jam of more than 10 minutes on “Kitty’s Back” that had Springsteen open the tune by running his fingers along the fretboard of his Fender electric guitar to produce a screeching wail of feedback and growled like Tom Waits, the band eased into “Night Shift” a Commodores tribute to R&B singers Marvin Gaye and Jackie Wilson. The song recorded on his latest record, “Only the Strong Survive,” of soul covers featured beautiful backing vocals by Curtis King whose impressive ability to hit high notes put a smile on Springsteen’s face.

    Halfway through the show, the band took a break and Springsteen approached the mic alone with acoustic guitar. The audience was silent as he told how he “embarked on the greatest adventure of my young life” in 1965 by joining his first band, The Castiles. A half-century later, he was at the deathbed of the friend who founded the band, George Theiss, and realized he’d soon be the lone survivor of that group of guys.

    “Death is like you’re standing on the railroad tracks with an oncoming train bearing down upon you,” he said. “It brings a certain clarity of thought and of purpose and of meaning. … Death’s final and lasting gift to all of us is an expanded vision of this life. Of how important it is to seize the day whenever you can.”

    “At 15, it’s all hellos and later on there’s a lot more hard goodbyes,” he said. “So be good to yourself and those that you love.”

    He then sang the song inspired by Theiss’ death, “Last Man Standing,” from his from his most recent album of original material, “Letter to You,” from 2020.

    The band then tore through Springsteen staples including “Because the Night,” “Badlands,” “Thunder Road,” “Glory Days” and “Dancing in the Dark.” Even with the crowd singing full-throttle, they couldn’t drown out Bruce’s powerful voice or the sound system amplifying it.

    During a rocking “Tenth Avenue Freezeout,” which includes a reference to Clarence Clemons joining the band, a video montage of the larger-than-life figure nicknamed “The Big Man,” and former organ player and accordionist Danny Federici, who died in 2008, played behind the band.

    For an encore, Springsteen emerged alone with acoustic guitar and harmonica and joked he was just getting warmed up.

    He then sang “I’ll see you in my Dreams,” a lullaby-like comment on mortality inspired by yet another friend’s death.

    “For death is not the end,” he sang, “’cause I’ll see you in my dreams.”

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  • Q&A: Violinist and singer Sudan Archives brings ‘fiddle soft punk’ to Glastonbury debut

    Q&A: Violinist and singer Sudan Archives brings ‘fiddle soft punk’ to Glastonbury debut

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    PILTON, England (AP) — Brittney Denise Parks, better known as Sudan Archives, is an avant-garde violinist and singer-songwriter who describes her style as “fiddle soft punk.”

    Late last month, she made her debut at the Glastonbury Festival in the U.K. After a shaky start, the packed crowd danced around in the afternoon sun as she rapped and played the violin in a corset of red leather belts and buckles, cowboy boots, violin bow strapped to her back like Robin Hood.

    “At first my mic wasn’t working, so the crowd was like, We can’t hear you. and I was like, Really? They’re like, No! So then once we figured that out, then it was amazing!” she told The Associated Press backstage.

    Now based in Los Angeles, Sudan Archives taught herself the violin as a child in Ohio. She’s been making waves with her exploration of non-Western string traditions, unconventional pop and R&B melodies as well as rap inspired by her collaborator and boyfriend, Nocando.

    Her second breakthrough album “Natural Brown Prom Queen,” recorded in the couple’s home studio during the pandemic, was released in 2022. The track “Home Maker” subsequently made Barack Obama’s favorite music of 2022 playlist.

    The following interview has been condensed for brevity and clarity.

    AP: What was your starting point with the violin?

    Sudan Archives: I didn’t start classical, but I just was really into fiddle music. So I started just trying to learn fiddle music. And there was an after-school program called Fiddle Club, so we learned a lot of Irish music and stuff, but when I moved to a different school, there wasn’t an orchestra or any after-school program. So I just taught myself more in church how to play by ear.

    And then since I didn’t really have any training, I didn’t really have the training and skills to pursue college and go to school like that. But I basically started to incorporate electronic music with the violin. And I remember when they first started making electric violins, I had bought my first electric violin and plugged in to guitar pedals. And I started making strange sounds and making music.

    AP: The violin does have a particular image, was that something you were conscious of?

    Sudan Archives: Yeah, I was. I think, all over, there’s a very Western view of the violin. But there’s so many other cultures that play violin. But for some reason, when you think of violin, you think of maybe classical orchestra. But I was just in Istanbul, and I just bought one of the first traditional violins from Turkey. And when I was in Ghana, I bought a Hausa violin. So basically I feel like my goal is to show the Black roots of the violin.

    AP: What made you want to mix the violin with rap?

    Sudan Archives: I think it works because it hasn’t been done a lot and I really want to be unique. So I started dating my boyfriend and he’s a really good rapper. So I feel like when you’re around rappers, something clicked and I was like, “Wait a minute, maybe I should play violin and rap too.”

    AP: And what have people from the rap scene made of that and made of you?

    Sudan Archives: I think they like it. I feel like I consider myself soft punk. Like it’s not punk. It’s not, like, crazy. I’m not going to smash my violin, but I might scream and rap. It’s like, a fiddle soft punk.

    AP: You have dates in Japan and Australia coming up. Do you like the travel?

    Sudan Archives: I kind of like it. I don’t know why because sometimes I get bored and I just feel when you travel a lot, you just never get bored.

    AP: Especially if you get to spend time in a place?

    Sudan Archives: Yeah. I make sure that I have off days in really cool places. So I had three days off in Istanbul and I really wanted to stay there because they have a lot of string instruments. So when I have an off day in Japan, I’m going to go get a string instrument there.

    AP: How many violins have you bought altogether?

    Sudan Archives: I probably have like six.

    AP: And do you use them all when you perform?

    Sudan Archives: I don’t have enough money to be like “I have a violin tech. They carry all my violins” and I can only bring one or maybe two if a friend is coming and then I make them take it on the plane.

    AP: But one day, one day you’ll have the entourage.

    Sudan Archives: One day, I’ll have five violins on stage with different effects.

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  • Gloria Estefan gets loud, Teddy Riley swings and Jeff Lynne rocks at Songwriters Hall induction

    Gloria Estefan gets loud, Teddy Riley swings and Jeff Lynne rocks at Songwriters Hall induction

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    NEW YORK — Gloria Estefan sang a medley of her hits, Post Malone sang one of his forgotten gems, Teddy Riley swayed to New Jack Swing and Jeff Lynne rocked out to “Mr. Blue Sky” at the Songwriters Hall of Fame induction ceremony Thursday night.

    The gala at the Marriott Marquis Hotel in New York City celebrated a diverse group of songwriters, with Broadway represented by lyricist Tim Rice, pop from Glen Ballard and a Nashville twang from Liz Rose. Each inductee spoke about how important music was to them growing up and how it connected them to the past and future.

    “To those fans that have found in my music what I found in the music of the life-changing songwriters that nourished my soul throughout my life, I thank you for that privilege,” said Estefan, the first Hispanic woman to be inducted. “And I can assure you that it is just as magical from the other side of the song.”

    Lynne, of the prog-rock Electric Light Orchestra, who worked with the Travelling Wilburys and Tom Petty, was the first to be honored, with guitarist Joe Walsh introducing his friend as a “a one-man Renaissance artist” and playing ELO’s “Don’t Bring Me Down.”

    Lynne recalled a day in 1977 when he was in a Swiss chalet trying to write his next album but for weeks it had been dark and misty. Then he woke to the sun shining and blue sky. He soon wrote 14 songs, one of which was “Mr. Blue Sky,” which he performed.

    Rose recalled being a single, working mom with three children who turned to songwriting in her late 30s. She co-wrote many songs with Taylor Swift beginning when the singer-songwriter was 14, including “You Belong with Me,” “Teardrops on My Guitar” and “White Horse.” Rose doesn’t sing or play an instrument and thanked all the artists.

    “The cool thing about songwriting is that you get to hang out with your friends and you get to have therapy and you get to cry and drink wine and eat Cheez-Its,” Rose said. “I just love to dig in and just see that song come out at the end of the session. There’s just nothing like it.”

    Broadway star Heather Headley introduced Rice and sang “I Don’t Know How to Love Him” from “Jesus Christ Superstar,” the musical he wrote with Andrew Lloyd Webber. Rice, who is already in the hall, was honored with the Johnny Mercer Award, the highest honor bestowed by the event.

    Miles Frost, another Broadway star from the Michael Jackson musical “MJ,” helped introduce Ballard, who helped write and produce Alanis Morissette’s monster 1995 album “Jagged Little Pill” and was involved in the recording and writing of several Jackson albums, including “Thriller,” “Bad” and “Dangerous.”

    “The journey of a songwriter is quixotic and occasionally exotic. Never a straight line, but always serpentine,” Ballard said. “I’ve been writing songs from age 4, not for money but because I had to.”

    Doug E. Fresh and Keith Sweat inducted Riley, the singer, songwriter and producer credited with creating New Jack Swing, which fuses hip-hop, R&B, dance and pop, and its top anthems such as Bobby Brown’s “My Prerogative.” The trio did a medley of hits that included “I Want Her,” “No Diggity” and “Rump Shaker.”

    Producer Louis Bell introduced Malone, having met him when he was 19 in a recording studio: “Not only is he one of the most talented people I’ve ever had the pleasure of sharing a room with, more importantly he’s also one of the purest, most beautiful souls I’ve ever met.”

    Malone, 27, received the Hal David Starlight Award, given to “gifted young songwriters who are making a significant impact in the music industry.”

    Malone thanked his baby and his fiancee, removed his suit jacket, picked up an acoustic guitar and played “Feeling Whitney,” a deep cut from first album “Stoney,” with the lyrics: “To each their own and find peace in knowin’/Ain’t always broken, but here’s to hopin.’”

    “I’m sorry that I played a song that nobody knows,” he said to laughter.

    The last performer of the night was Estefan, who is credited for popularizing Latin rhythms with such crossover smashes as “Rhythm Is Gonna Get You” and “Let’s Get Loud.” I

    “Music has saved my life,” she said.

    Joined by her husband, Emilio, and 11-year-old grandson, Sasha, Estefan ended the night with a medley of songs that got people on their feet: “Reach,” “Words Get in the Way,” “Anything for You,” “Can’t Stay Away from You,” “Don’t Wanna Lose You,” “Let’s Get Loud” and “Rhythm Gonna Get You.”

    Snoop Dogg, whose hits include “Drop It Like It’s Hot” and “Gin & Juice,” deferred his induction to next year. Sade also deferred her induction.

    The Songwriters Hall of Fame was established in 1969 to honor those creating popular music. A songwriter with a notable catalog of songs qualifies for induction 20 years after the first commercial release of a song.

    Some already in the hall include Carole King, Paul Simon, Billy Joel, Jon Bon Jovi and Richie Sambora, Elton John and Bernie Taupin, Brian Wilson, James Taylor, Bruce Springsteen, Tom Petty, Lionel Richie, Bill Withers, Neil Diamond and Phil Collins.

    ___

    Online: http://www.songhall.org

    ___

    Follow Mark Kennedy at http://twitter.com/KennedyTwits

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  • Beyoncé Kicks Off the Renaissance World Tour in Stockholm

    Beyoncé Kicks Off the Renaissance World Tour in Stockholm

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    The superstar returned the stage in Stockholm, Sweden.

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  • Usher And Chris Brown Play Same Las Vegas Music Festival Hours After Alleged Violent Altercation

    Usher And Chris Brown Play Same Las Vegas Music Festival Hours After Alleged Violent Altercation

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    By Alex Nino Gheciu.

    Usher and Chris Brown played the same music festival, on the same stage, just hours after allegedly getting into a physical confrontation on Saturday.

    According to reports, a heated argument between the two artists became violent early Saturday morning, leading to the “U Remind Me” singer sustaining a bloody nose and bruised ribs. The news was originally reported by Hollywood Unlocked


    READ MORE:
    Usher And Chris Brown Get Into Heated Argument in Las Vegas, Allegedly Turns Violent

    A video from TMZ purports to show an argument between Usher, 44, and Brown, 34, during the “With You” singer’s birthday party at Skate Rock City roller rink in Las Vegas. According to the outlet, Brown was trying to talk to Teyana Taylor and became incensed when she ignored him. This prompted Usher to intervene in an attempt to deescalate the situation. It’s said Brown and his crew then left the skating rink, but not without Usher following them.

    TMZ goes on to report, citing eyewitnesses, that Usher met the group behind a string of charter buses and reemerged with a bloody nose.

    Neither Usher, Brown nor Taylor have confirmed the story.


    READ MORE:
    Kim Kardashian Gets Serenaded By Usher After Finally Making It To Las Vegas Residency

    Later that same day, both artists performed at the Lovers & Friends music festival, also in Las Vegas, which featured a stacked bill of stars from the ’90s and early 2000s, including Mariah Carey, Missy Elliot, Christina Aguilera, Shaggy and more.

    If there was any bad blood between the two artists, they certainly didn’t show it. They both seemed in good spirits during their sets, which were back-to-back on the “Friends” stage — Brown’s set was at 6:30 p.m. while Usher’s was at 8:10 p.m., separated by a quick 50 Cent performance on the adjacent “Lovers” stage.

    Neither Usher nor Brown referenced the alleged fracas during their respective sets, although 50 couldn’t resist: “Usher did a great job putting this festival together; Chris didn’t like that, busted him in the face,” he told the crowd at one point.

    Chris Brown appeared first, smiling often while delivering a high-energy performance of some of his greatest hits, including “With You” and “Go Crazy”.

    Chris Brown performing at Lovers & Friends 2023.
    — Photo: Meg Blair, Lovers & Friends

    Ahead of his set, Usher took to his Instagram Story to post a video of himself backstage at the festival, showing no signs of injury to his face and telling fans he was “having a great time.”

    The positive energy continued during Usher’s smouldering set, which saw him beaming and flashing his abs on more than one occasion while crooning through an hour of his many hits, from “My Boo” to “Yeah!”

    Usher performing at Lovers & Friends 2023.
    Usher performing at Lovers & Friends 2023.
    — Photo: @justnjames, Lovers & Friends

    At one point, the eight-time Grammy winner spoke to the crowd to express his gratitude for their support.

    “These songs that we’ve made for you have been a connection for all of us, and I appreciate all the love throughout all of these years,” Usher told the audience.


    READ MORE:
    Zendaya Sings Along At Usher Concert During Outing With Tom Holland

    “Whether going through tough times or just celebrating and turning up with y’all, I just don’t get a chance to see you at all but I wanna let you know I appreciate you tonight for the love and the support. 

    “More than anything, I’ve got an appreciation for the fact that God has allowed me to be able to be that vessel to be able to make that connection with y’all.”

    Usher and Brown have been longtime friends, and have collaborated on several songs, including “Party” and “New Flame.”

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    Alex Nino Gheciu

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  • Jazz Fest’s Saturday opening delayed by weather

    Jazz Fest’s Saturday opening delayed by weather

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    A line of strong thunderstorms, with wind gusts of up to 60 mph, prompted organizers of the New Orleans Jazz and Heritage Festival to delay Saturday’s opening at the Fair Grounds by at least two hours

    NEW ORLEANS — A line of strong thunderstorms, with wind gusts of up to 60 mph (about 97 kph), prompted organizers of the New Orleans Jazz and Heritage Festival to delay Saturday’s opening at the Fair Grounds by at least two hours.

    In an announcement on Twitter, the festival told festgoers to “stay tuned” for more information and “See you this afternoon!”

    The festival is in its final weekend for its 2023 two-week run. Saturday’s scheduled performers include rock band Dead and Company, R&B singer/musician H.E.R, alternative folk band The Lumineers, jazz trumpeter Terence Blanchard, featuring The E Collective and Turtle Island Quartet, blues singer Keb’ Mo and gospel artist Anthony Brown and group therAPy.

    The festival’s final day is Sunday.

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  • Jury finds Ed Sheeran didn’t copy Marvin Gaye classic

    Jury finds Ed Sheeran didn’t copy Marvin Gaye classic

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    NEW YORK — British singer Ed Sheeran didn’t steal key components of Marvin Gaye’s classic 1970s tune “Let’s Get It On” to create his hit song “Thinking Out Loud,” a jury said with a trial verdict Thursday, prompting Sheeran to joke later that he won’t have to follow through on his threat to quit music.

    The emotions of an epic copyright fight that stretched across most of the last decade spilled out as soon as the seven-person jury revealed its verdict after over two hours of deliberations.

    Sheeran, 32, briefly dropped his face into his hands in relief before standing to hug his attorney, Ilene Farkas. As jurors left the courtroom in front of him, Sheeran smiled, nodded his head at several of them, and mouthed the words: “Thank you.” Later, he posed for a hallway photograph with a juror who lingered behind.

    He also approached plaintiff Kathryn Townsend Griffin, the daughter of Ed Townsend, who co-created the 1973 soul classic with Gaye and had testified. They spoke about 10 minutes, hugging and smiling and, at one point, clasping their hands together.

    Sheeran later addressed reporters outside the courthouse, revisiting his claim made during the trial that he would consider quitting songwriting if he lost the case.

    “I am obviously very happy with the outcome of this case, and it looks like I’m not going to have to retire from my day job, after all. But at the same time, I am unbelievably frustrated that baseless claims like this are allowed to go to court at all,” the singer said, reading from a prepared statement.

    He also said he missed his grandmother’s funeral in Ireland because of the trial, and that he “will never get that time back.”

    Inside the courthouse after the verdict, Griffin said she was relieved.

    “I’m just glad it’s over,” she said of the trial. “We can be friends.”

    She said she was pleased Sheeran approached her.

    “It showed me who he was,” Griffin said.

    She said her copyright lawsuit wasn’t personal but she wanted to follow through on a promise to her father to protect his intellectual property.

    A juror, Sophia Neis, told reporters afterward that there was not immediate consensus when deliberations began.

    “Everyone had opinions going in. Both sides had advocates, said Neis, 23. ”There was a lot of back and forth.”

    The verdict capped a two-week trial that featured a courtroom performance by Sheeran as the singer insisted, sometimes angrily, that the trial was a threat to all musicians who create their own music.

    Sheeran sat with his legal team throughout the trial, defending himself against the lawsuit by Townsend’s heirs, who had said “Thinking Out Loud” had so many similarities to “Let’s Get It On” that it violated the song’s copyright protection.

    It was not the first court victory for a singer whose musical style draws from classic soul, pop and R&B, making him a target for copyright lawsuits. A year ago, Sheeran won a U.K. copyright battle over his 2017 hit “Shape of You” and then decried what he labeled a “culture” of baseless lawsuits that force settlements from artists eager to avoid a trial’s expense.

    Outside court, Sheeran said he doesn’t want to be taken advantage of.

    “I am just a guy with a guitar who loves writing music for people to enjoy,” he said. “I am not and will never allow myself to be a piggy bank for anyone to shake.”

    At the trial’s start, attorney Ben Crump told jurors on behalf of the Townsend heirs that Sheeran himself sometimes performed the two songs together. The jury saw video of a concert in Switzerland in which Sheeran can be heard segueing on stage between “Let’s Get It On” and “Thinking Out Loud.” Crump said it was “smoking gun” proof Sheeran stole from the famous tune.

    In her closing argument on Wednesday, Farkas said Crump’s “smoking gun was shooting blanks.”

    She said the only common elements between the two songs were “basic to the tool kit of all songwriters” and “the scaffolding on which all songwriting is built.”

    “They did not copy it. Not consciously. Not unconsciously. Not at all,” Farkas said.

    When Sheeran testified over two days for the defense, he repeatedly picked up a guitar resting behind him on the witness stand to demonstrate how he seamlessly creates “mashups” of two or three songs during concerts to “spice it up a bit” for his sizeable crowds.

    The English pop star’s cheerful attitude on display under questioning from his attorney all but vanished under cross examination.

    “When you write songs, somebody comes after you,” Sheeran testified, saying the case was being closely watched by others in the industry.

    He insisted that he and the song’s co-writer — Amy Wadge — stole nothing from “Let’s Get it On.”

    Townsend’s heirs said in their lawsuit that “Thinking Out Loud” had “striking similarities” and “overt common elements” that made it obvious that it had copied “Let’s Get It On,” a song that has been featured in numerous films and commercials and scored hundreds of millions of streams spins and radio plays in the past half century.

    Sheeran’s song, which came out in 2014, was a hit, winning a Grammy for song of the year.

    Sheeran’s label, Atlantic Records, and Sony/ATV Music Publishing were also named as defendants in the “Thinking Out Loud” lawsuit, but the focus of the trial was Sheeran.

    Wadge, who was not a defendant, testified on his behalf and hugged Sheeran after the verdict.

    Gaye was killed in 1984 at age 44, shot by his father as he tried to intervene in a fight between his parents. He had been a Motown superstar since the 1960s, although his songs released in the 1970s made him a generational musical giant.

    Townsend, who also wrote the 1958 R&B doo-wop hit “For Your Love,” was a singer, songwriter and lawyer who died in 2003. Griffin, his daughter, testified during the trial that she thought Sheeran was “a great artist with a great future.”

    ___

    Associated Press Writer Andrew Dalton in Los Angeles contributed to this report. Find more AP stories about Ed Sheeran: https://apnews.com/hub/ed-sheeran

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  • Jazz Fest — ‘one of the gems’ — cranks up in New Orleans

    Jazz Fest — ‘one of the gems’ — cranks up in New Orleans

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    NEW ORLEANS (AP) — This year’s New Orleans Jazz and Heritage Festival began its two-weekend run on Friday, filling the air with the sounds of R&B, rock ’n roll, Zydeco, pop, blues, country, rap, gospel — and of course jazz.

    Music fans poured into the Fair Grounds Race Course when gates opened at 11 a.m. They wandered among 14 stages or tents, many spreading blankets or tarps and setting up folding chairs, laying claim to spots where their favorite artists were to perform.

    And some were dancing, particularly in front of the festival’s Fais Do-Do Stage, where Zydeco rang out, played by Geno Delafose & French Rockin’ Boogie.

    Retiree Joe Hulsey of Seattle said he and his wife have spent the last four months in New Orleans. A music festival veteran, Hulsey said Jazz Fest is his favorite.

    “There’s just no comparison,” he said. “It’s just one of the gems about New Orleans that I love. It’s a whole vibe.

    “You can’t beat the music, the food, the music,” he said, smiling.

    Food was available from dozens of booths staffed by Louisiana restaurants. There were a variety of takes on traditional Louisiana fare — numerous seafood dishes or po’boy sandwiches featuring crawfish, sausage, pork or alligator. And there were other cuisines, like pan fried noodles from the Ajun Cajun.

    Friday’s music lineup included scheduled performances by Lizzo; Robert Plant & Alison Krauss; Big Freedia; Tank and The Bangas; Wu-Tang Clan + The Soul Rebels; Nicholas Payton; Mavis Staples; Kermit Ruffins & the Barbecue Swingers; Charlie Musselwhite; and Terrance Simien and the Zydeco Experience.

    It was Lizzo that drew Kalindi Cordero, of Dallas, and her best friend, Lana Zring, of Atlanta, to the festival.

    “This city is just so special and when I heard Lizzo was going to be here, I started tracking the lineup and tickets and hotels and everything,” Cordero said. “It’s the city’s diversity and representation that shines through with this festival.”

    Lizzo did not disappoint fans as she roared through a host of her hits including “About Damn Time” and “Grrls.”

    “I’ve been on tour but it ain’t nothing like being at Jazz Fest,” she told the crowd, which stretched from the front of the stage to the back of the track.

    Jennifer Seagle, of New Orleans, said she is a huge fan of the singer who advocates for empowerment, self-love and body positivity.

    “I absolutely love her,” Seagle said. “I love her energy. I love her attitude. You can’t hear her music and not feel good about yourself.”

    Big Freedia’s bounce/rap show was set for the festival’s main stage, before Lizzo and Tank and The Bangas. “I love that I get the opportunity to showcase my artistry before a bigger audience and there’s a lot more room to do my thing. We’re here to entertain and we’re gonna bust it open,” she said.

    Freedia, known for collaborations with Drake on “Nice for What” and Beyoncé on “Break My Soul,” said there were no plans to join Lizzo’s closing performance even though the two paired up for Freedia’s 2018 hit “Karaoke.”

    “I support her either way,” she said.

    Freedia dropped new music Friday — “$100 Bill” — a collaboration with R&B singer and songwriter Ciara.

    This year’s festival is also casting a spotlight on Puerto Rico with appearances Friday by two artists from the U.S. territory: Tambuye and Grammy-nominated Latin dance band Plena Libre.

    “There’s a whole vibe out there and people should come out and feel it. I’m thrilled with what’s about to happen,” festival producer Quint Davis said.

    “We’ve got a lot of people coming in,” he said. “Lizzo, a phenomenal talent on Friday, and Ed Sheeran and Jazmine Sullivan on Saturday and Jill Scott on Sunday. And that’s just the first weekend. We’ve also got H.E.R. coming next week along with Dead & Company, Kane Brown and Jon Batiste. Everybody wants to play the festival and everything just fell together to allow that to happen.”

    Crowds were helped by sunshine, temperatures around 80 degrees (26 C) and cooling breezes. Davis said a good opening day forecast helped ticket sales. Spotty showers, however, may dampen Saturday and Sunday shows.

    Kelly Schulz, a spokeswoman for New Orleans and Company, said hotel occupancy for the city’s downtown corridor was above the 2022 Jazz Fest numbers — the first year after COVID-19-related cancellations in 2020 and 2021 — but not quite as good as those for 2019.

    “We’re at 83% occupancy for Saturday. In 2022, that was 78% and in 2019, pre-COVID, it was 92%,” she said.

    Schulz said this was just a snapshot of how well the city’s tourism industry is rebounding after COVID-19 forced a shutdown: “The numbers we’re seeing for Jazz Fest is just another example of people ready to travel again and experience face-to-face connections again.”

    This year’s festival is also going cashless for the first time in its 52-year run. The festival will offer booths exchanging cash for prepaid cards. All major credit cards, debit cards, prepaid cards as well as Apple Pay, Google Pay and Samsung Pay were being accepted for tickets, food, merchandise and more.

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  • Today in History: April 30, George Washington’s oath

    Today in History: April 30, George Washington’s oath

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    Today in History

    Today is Sunday, April 30, the 120th day of 2023. There are 245 days left in the year.

    Today’s Highlight in History:

    On April 30, 1945, as Soviet troops approached his Berlin bunker, Adolf Hitler took his own life, as did his wife of one day, Eva Braun.

    On this date:

    In 1789, George Washington took the oath of office in New York as the first president of the United States.

    In 1803, the United States purchased the Louisiana Territory from France for 60 million francs, the equivalent of about $15 million.

    In 1812, Louisiana became the 18th state of the Union.

    In 1900, engineer John Luther “Casey” Jones of the Illinois Central Railroad died in a train wreck near Vaughan, Mississippi, after staying at the controls in a successful effort to save the passengers.

    In 1947, President Harry S. Truman signed a resolution officially confirming the name of Hoover Dam, which had also come to be known as “Boulder Dam.”

    In 1958, Britain’s Life Peerages Act 1958 allowed women to become members of the House of Lords.

    In 1970, President Richard Nixon announced the U.S. was sending troops into Cambodia, an action that sparked widespread protest.

    In 1973, President Richard Nixon announced the resignations of top aides H.R. Haldeman and John Ehrlichman, Attorney General Richard G. Kleindienst and White House counsel John Dean, who was actually fired.

    In 1975, the Vietnam War ended as the South Vietnamese capital of Saigon fell to Communist forces.

    In 1983, blues singer and guitarist Muddy Waters died in Westmont, Illinois, at age 68.

    In 1993, top-ranked women’s tennis player Monica Seles was stabbed in the back during a match in Hamburg, Germany, by a man who described himself as a fan of second-ranked German player Steffi Graf. (The man, convicted of causing grievous bodily harm, was given a suspended sentence.)

    In 2004, Arabs expressed outrage at graphic photographs of naked Iraqi prisoners being humiliated by U.S. military police; President George W. Bush condemned the mistreatment of prisoners, saying “that’s not the way we do things in America.”

    Ten years ago: President Barack Obama said he wanted more information about chemical weapons use in the Syrian civil war before deciding on escalating U.S. military or diplomatic responses, despite earlier assertions that use of such weapons would be a “game-changer.” The FDA lowered to 15 the age at which females could buy the Plan B emergency contraceptive without a prescription, and said it no longer had to be kept behind pharmacy counters. Willem-Alexander became the first Dutch king in more than a century as his mother, Beatrix, abdicated after 33 years as queen.

    Five years ago: Central Americans who traveled in a caravan through Mexico to the U.S. border near San Diego began turning themselves in to U.S. authorities to seek asylum in a challenge to the Trump administration. New details emerged on a rift between White House Chief of Staff John Kelly and President Donald Trump, with one former administration official saying Kelly had privately called Trump “an idiot.” (Trump announced in December that Kelly would be leaving at the end of the year.)

    One year ago: Ukrainian forces fought village by village to hold back a Russian advance through the country’s east, while the United Nations worked to broker an evacuation of the approximately 100,000 civilians remaining in the last Ukrainian stronghold in the bombed-out ruins of the port city of Mariupol. A tornado barreled through parts of Kansas, damaging multiple buildings, injuring several people and leaving more than 6,500 without power. Naomi Judd, the Kentucky-born singer of the Grammy-winning duo The Judds and mother of Wynonna and Ashley Judd, died at age 76.

    Today’s Birthdays: Singer Willie Nelson is 90. Actor Burt Young is 83. King Carl XVI Gustaf of Sweden is 77. Movie director Allan Arkush is 75. Actor Perry King is 75. Singer-musician Wayne Kramer is 75. Singer Merrill Osmond is 70. Movie director Jane Campion is 69. Movie director Lars von Trier is 67. Former Canadian Prime Minister Stephen Harper is 64. Actor Paul Gross is 64. Basketball Hall of Famer Isiah Thomas is 62. Actor Adrian Pasdar is 58. Rock singer J.R. Richards (Dishwalla) is 56. Rapper Turbo B (Snap) is 56. Rock musician Clark Vogeler (Toadies) is 54. R&B singer Chris “Choc” Dalyrimple (Soul For Real) is 52. Rock musician Chris Henderson (3 Doors Down) is 52. Country singer Carolyn Dawn Johnson is 53. Actor Lisa Dean Ryan is 52. R&B singer Akon is 51. R&B singer Jeff Timmons (98 Degrees) is 50. Actor Johnny Galecki is 48. Actor Sam Heughan is 43. Actor Kunal Nayyar is 42. Rapper Lloyd Banks is 41. Actor Kirsten Dunst is 41. Actor Dianna Agron is 37. Country singer Brandon Lancaster is 34. Rapper/producer Travis Scott is 32.

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  • Jazz Fest — ‘one of the gems’ — cranks up in New Orleans

    Jazz Fest — ‘one of the gems’ — cranks up in New Orleans

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    NEW ORLEANS — This year’s New Orleans Jazz and Heritage Festival began its two-weekend run on Friday, filling the air with the sounds of R&B, rock ‘n roll, Zydeco, pop, blues, country, rap, gospel — and of course jazz.

    Music fans poured into the Fair Grounds Race Course when gates opened at 11 a.m. They wandered among 14 stages or tents, many spreading blankets or tarps and setting up folding chairs, laying claim to spots where their favorite artists were to perform.

    And some were dancing, particularly in front of the festival’s Fais Do-Do Stage, where Zydeco rang out, played by Geno Delafose & French Rockin’ Boogie.

    Retiree Joe Hulsey of Seattle said he and his wife have spent the last four months in New Orleans. A music festival veteran, Hulsey said Jazz Fest is his favorite.

    “There’s just no comparison,” he said. “It’s just one of the gems about New Orleans that I love. It’s a whole vibe.

    “You can’t beat the music, the food, the music,” he said, smiling.

    Food was available from dozens of booths staffed by Louisiana restaurants. There were a variety of takes on traditional Louisiana fare — numerous seafood dishes or po’boy sandwiches featuring crawfish, sausage, pork or alligator. And there were other cuisines, like pan fried noodles from the Ajun Cajun.

    Friday’s music lineup included scheduled performances by Lizzo; Robert Plant & Alison Krauss; Big Freedia; Tank and The Bangas; Wu-Tang Clan + The Soul Rebels; Nicholas Payton; Mavis Staples; Kermit Ruffins & the Barbecue Swingers; Charlie Musselwhite; and Terrance Simien and the Zydeco Experience.

    It was Lizzo that drew Kalindi Cordero, of Dallas, and her best friend, Lana Zring, of Atlanta, to the festival.

    “This city is just so special and when I heard Lizzo was going to be here, I started tracking the lineup and tickets and hotels and everything,” Cordero said. “It’s the city’s diversity and representation that shines through with this festival.”

    Lizzo did not disappoint fans as she roared through a host of her hits including “About Damn Time” and “Grrls.”

    “I’ve been on tour but it ain’t nothing like being at Jazz Fest,” she told the crowd, which stretched from the front of the stage to the back of the track.

    Jennifer Seagle, of New Orleans, said she is a huge fan of the singer who advocates for empowerment, self-love and body positivity.

    “I absolutely love her,” Seagle said. “I love her energy. I love her attitude. You can’t hear her music and not feel good about yourself.”

    Big Freedia’s bounce/rap show was set for the festival’s main stage, before Lizzo and Tank and The Bangas. “I love that I get the opportunity to showcase my artistry before a bigger audience and there’s a lot more room to do my thing. We’re here to entertain and we’re gonna bust it open,” she said.

    Freedia, known for collaborations with Drake on “Nice for What” and Beyoncé on “Break My Soul,” said there were no plans to join Lizzo’s closing performance even though the two paired up for Freedia’s 2018 hit “Karaoke.”

    “I support her either way,” she said.

    Freedia dropped new music Friday — “$100 Bill” — a collaboration with R&B singer and songwriter Ciara.

    This year’s festival is also casting a spotlight on Puerto Rico with appearances Friday by two artists from the U.S. territory: Tambuye and Grammy-nominated Latin dance band Plena Libre.

    “There’s a whole vibe out there and people should come out and feel it. I’m thrilled with what’s about to happen,” festival producer Quint Davis said.

    “We’ve got a lot of people coming in,” he said. “Lizzo, a phenomenal talent on Friday, and Ed Sheeran and Jazmine Sullivan on Saturday and Jill Scott on Sunday. And that’s just the first weekend. We’ve also got H.E.R. coming next week along with Dead & Company, Kane Brown and Jon Batiste. Everybody wants to play the festival and everything just fell together to allow that to happen.”

    Crowds were helped by sunshine, temperatures around 80 degrees (26 C) and cooling breezes. Davis said a good opening day forecast helped ticket sales. Spotty showers, however, may dampen Saturday and Sunday shows.

    Kelly Schulz, a spokeswoman for New Orleans and Company, said hotel occupancy for the city’s downtown corridor was above the 2022 Jazz Fest numbers — the first year after COVID-19-related cancellations in 2020 and 2021 — but not quite as good as those for 2019.

    “We’re at 83% occupancy for Saturday. In 2022, that was 78% and in 2019, pre-COVID, it was 92%,” she said.

    Schulz said this was just a snapshot of how well the city’s tourism industry is rebounding after COVID-19 forced a shutdown: “The numbers we’re seeing for Jazz Fest is just another example of people ready to travel again and experience face-to-face connections again.”

    This year’s festival is also going cashless for the first time in its 52-year run. The festival will offer booths exchanging cash for prepaid cards. All major credit cards, debit cards, prepaid cards as well as Apple Pay, Google Pay and Samsung Pay were being accepted for tickets, food, merchandise and more.

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  • Jazz Fest — ‘one of the gems’ — cranks up in New Orleans

    Jazz Fest — ‘one of the gems’ — cranks up in New Orleans

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    NEW ORLEANS — This year’s New Orleans Jazz and Heritage Festival began its two-weekend run on Friday, filling the air with the sounds of R&B, rock ‘n roll, Zydeco, pop, blues, country, rap, gospel — and of course jazz.

    Music fans poured into the Fair Grounds Race Course when gates opened at 11 a.m. They wandered among 14 stages or tents, many spreading blankets or tarps and setting up folding chairs, laying claim to spots where their favorite artists were to perform.

    And some were dancing, particularly in front of the festival’s Fais Do-Do Stage, where Zydeco rang out, played by Geno Delafose & French Rockin’ Boogie.

    Retiree Joe Hulsey of Seattle said he and his wife have spent the last four months in New Orleans. A music festival veteran, Hulsey said Jazz Fest is his favorite.

    “There’s just no comparison,” he said. “It’s just one of the gems about New Orleans that I love. It’s a whole vibe.

    “You can’t beat the music, the food, the music,” he said, smiling.

    Food was available from dozens of booths staffed by Louisiana restaurants. There were a variety of takes on traditional Louisiana fare — numerous seafood dishes or po’boy sandwiches featuring crawfish, sausage, pork or alligator. And there were other cuisines, like pan fried noodles from the Ajun Cajun.

    Friday’s music lineup included scheduled performances by Lizzo; Robert Plant & Alison Krauss; Big Freedia; Tank and The Bangas; Wu-Tang Clan + The Soul Rebels; Nicholas Payton; Mavis Staples; Kermit Ruffins & the Barbecue Swingers; Charlie Musselwhite; and Terrance Simien and the Zydeco Experience.

    It was Lizzo that drew Kalindi Cordero, of Dallas, and her best friend, Lana Zring, of Atlanta, to the festival.

    “This city is just so special and when I heard Lizzo was going to be here, I started tracking the lineup and tickets and hotels and everything,” Cordero said. “It’s the city’s diversity and representation that shines through with this festival.”

    Lizzo did not disappoint fans as she roared through a host of her hits including “About Damn Time” and “Grrls.”

    “I’ve been on tour but it ain’t nothing like being at Jazz Fest,” she told the crowd, which stretched from the front of the stage to the back of the track.

    Jennifer Seagle, of New Orleans, said she is a huge fan of the singer who advocates for empowerment, self-love and body positivity.

    “I absolutely love her,” Seagle said. “I love her energy. I love her attitude. You can’t hear her music and not feel good about yourself.”

    Big Freedia’s bounce/rap show was set for the festival’s main stage, before Lizzo and Tank and The Bangas. “I love that I get the opportunity to showcase my artistry before a bigger audience and there’s a lot more room to do my thing. We’re here to entertain and we’re gonna bust it open,” she said.

    Freedia, known for collaborations with Drake on “Nice for What” and Beyoncé on “Break My Soul,” said there were no plans to join Lizzo’s closing performance even though the two paired up for Freedia’s 2018 hit “Karaoke.”

    “I support her either way,” she said.

    Freedia dropped new music Friday — “$100 Bill” — a collaboration with R&B singer and songwriter Ciara.

    This year’s festival is also casting a spotlight on Puerto Rico with appearances Friday by two artists from the U.S. territory: Tambuye and Grammy-nominated Latin dance band Plena Libre.

    “There’s a whole vibe out there and people should come out and feel it. I’m thrilled with what’s about to happen,” festival producer Quint Davis said.

    “We’ve got a lot of people coming in,” he said. “Lizzo, a phenomenal talent on Friday, and Ed Sheeran and Jazmine Sullivan on Saturday and Jill Scott on Sunday. And that’s just the first weekend. We’ve also got H.E.R. coming next week along with Dead & Company, Kane Brown and Jon Batiste. Everybody wants to play the festival and everything just fell together to allow that to happen.”

    Crowds were helped by sunshine, temperatures around 80 degrees (26 C) and cooling breezes. Davis said a good opening day forecast helped ticket sales. Spotty showers, however, may dampen Saturday and Sunday shows.

    Kelly Schulz, a spokeswoman for New Orleans and Company, said hotel occupancy for the city’s downtown corridor was above the 2022 Jazz Fest numbers — the first year after COVID-19-related cancellations in 2020 and 2021 — but not quite as good as those for 2019.

    “We’re at 83% occupancy for Saturday. In 2022, that was 78% and in 2019, pre-COVID, it was 92%,” she said.

    Schulz said this was just a snapshot of how well the city’s tourism industry is rebounding after COVID-19 forced a shutdown: “The numbers we’re seeing for Jazz Fest is just another example of people ready to travel again and experience face-to-face connections again.”

    This year’s festival is also going cashless for the first time in its 52-year run. The festival will offer booths exchanging cash for prepaid cards. All major credit cards, debit cards, prepaid cards as well as Apple Pay, Google Pay and Samsung Pay were being accepted for tickets, food, merchandise and more.

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  • Did Ed Sheeran hit pilfer Marvin Gaye classic? Trial to tell

    Did Ed Sheeran hit pilfer Marvin Gaye classic? Trial to tell

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    NEW YORK — Opening statements were set to occur Tuesday after a jury was chosen in a trial that mashes up Ed Sheeran’s “Thinking Out Loud” with Marvin Gaye’s “Let’s Get It On.”

    The heirs of Ed Townsend, Gaye’s co-writer of the 1973 soul classic, sued Sheeran, alleging the English pop star’s hit 2014 tune has “striking similarities” to “Let’s Get It On” and “overt common elements” that violate their copyright.

    The lawsuit filed in 2017 has finally made it to a trial that is expected to last up to two weeks in the Manhattan federal courtroom of 95-year-old Judge Louis L. Stanton.

    Sheeran, 32, is among the witnesses expected to testify, though he was not in court at the start of jury selection. He was expected to be in court on Tuesday.

    “Let’s Get It On” is the quintessential, sexy slow jam that’s been heard in countless films and commercials and garnered hundreds of millions of streams, spins and radio plays over the past 50 years. “Thinking Out Loud,” which won a Grammy for song of the year, is a much more marital take on love and sex.

    While the jury will hear the recordings of both songs, probably many times, their lyrics — and vibes — are legally insignificant. Jurors are supposed to only consider the raw elements of melody, harmony and rhythm that make up the composition of “Let’s Get It On,” as documented on sheet music filed with the United States Patent and Trademark Office.

    Sheeran’s attorneys have said the songs’ undeniable structural symmetry points only to the foundations of popular music.

    “The two songs share versions of a similar and unprotectable chord progression that was freely available to all songwriters,” they said in a court filing.

    Townsend family attorneys pointed out in the lawsuit that artists including Boyz II Men have performed seamless mashups of the two songs, and that even Sheeran himself has segued into “Let’s Get It On” during live performances of “Thinking Out Loud.”

    They sought to play a potentially damning YouTube video of one such Sheeran performance for the jury at trial. Stanton denied their motion to include it, but said he would reconsider it after he sees other evidence that’s presented.

    Gaye’s estate is not involved in the case, though it will inevitably have echoes of their successful lawsuit against Robin Thicke, Pharrell Williams and T.I. over the resemblance of their 2013 hit “Blurred Lines” to Gaye’s 1977 “Got to Give it Up.”

    A jury awarded Gaye’s heirs $7.4 million at trial — later trimmed by a judge to $5.3 million — making it among the most significant copyright cases in recent decades.

    Sheeran’s label Atlantic Records and Sony/ATV Music Publishing are also named as defendants in the “Thinking Out Loud” lawsuit. Generally, plaintiffs in copyright lawsuits cast a wide net in naming defendants, though a judge can eliminate any names deemed inappropriate. In this case, however, Sheeran’s co-writer on the song, Amy Wadge, was never named.

    Townsend, who also wrote the 1958 R&B doo-wop hit “For Your Love,” was a singer, songwriter and lawyer. He died in 2003. Kathryn Townsend Griffin, his daughter, is the plaintiff leading the lawsuit.

    Already a Motown superstar in the 1960s before his more adult 1970s output made him a generational musical giant, Gaye was killed in 1984 at age 44, shot by his father as he tried to intervene in a fight between his parents.

    Major artists are often hit with lawsuits alleging song-stealing, but nearly all settle before trial — as Taylor Swift recently did over “Shake it Off,” ending a lawsuit that lasted years longer and came closer to trial than most other cases.

    But Sheeran — whose musical style drawing from classic soul, pop and R&B has made him a target for copyright lawsuits — has shown a willingness to go to trial before. A year ago, he won a U.K. copyright battle over his 2017 hit “Shape of You,” then slammed what he described as a “culture” of baseless lawsuits intended to squeeze money out of artists eager to avoid the expense of a trial.

    “I feel like claims like this are way too common now and have become a culture where a claim is made with the idea that a settlement will be cheaper than taking it to court, even if there is no basis for the claim,” Sheeran said in a video posted on Twitter after the verdict. “It’s really damaging to the songwriting industry.”

    The “Thinking Out Loud” lawsuit also invokes one of the most common tropes in American and British music since the earliest days of rock ‘n’ roll, R&B and hip-hop: a young white artist seemingly appropriating the work of an older Black artist — accusations that were also levied at Elvis Presley and The Beatles, whose music drew on that of Black forerunners.

    “Mr. Sheeran blatantly took a Black artist’s music who he doesn’t view as worthy as compensation,” Ben Crump, a civil rights attorney who represents the Townsend family but is not involved in the trial, said at a March 31 news conference.

    ___

    Dalton reported from Los Angeles.

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  • Ed Sheeran hit, Marvin Gaye classic soul of copyright trial

    Ed Sheeran hit, Marvin Gaye classic soul of copyright trial

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    NEW YORK — Jury selection and opening statements are set to begin Monday in a trial that mashes up Ed Sheeran’s “Thinking Out Loud” with Marvin Gaye’s “Let’s Get It On.”

    The heirs of Ed Townsend, Gaye’s co-writer of the 1973 soul classic, sued Sheeran, alleging the English pop star’s hit 2014 tune has “striking similarities” to “Let’s Get It On” and “overt common elements” that violate their copyright.

    The lawsuit filed in 2017 has finally made it to a trial that is expected to last a week in the Manhattan federal courtroom of 95-year-old Judge Louis L. Stanton.

    Sheeran, 32, is among the witnesses expected to testify.

    “Let’s Get It On” is the quintessential, sexy slow jam that’s been heard in countless films and commercials and garnered hundreds of millions of streams, spins and radio plays over the past 50 years. “Thinking Out Loud,” which won a Grammy for song of the year, is a much more marital take on love and sex.

    While the jury will hear the recordings of both songs, probably many times, their lyrics — and vibes — are legally insignificant. Jurors are supposed to only consider the raw elements of melody, harmony and rhythm that make up the composition of “Let’s Get It On,” as documented on sheet music filed with the United States Patent and Trademark Office.

    Sheeran’s attorneys have said the songs’ undeniable structural symmetry points only to the foundations of popular music.

    “The two songs share versions of a similar and unprotectable chord progression that was freely available to all songwriters,” they said in a court filing.

    Townsend family attorneys pointed out in the lawsuit that artists including Boyz II Men have performed seamless mashups of the two songs, and that even Sheeran himself has segued into “Let’s Get It On” during live performances of “Thinking Out Loud.”

    They sought to play a potentially damning YouTube video of one such Sheeran performance for the jury at trial. Stanton denied their motion to include it, but said he would reconsider it after he sees other evidence that’s presented.

    Gaye’s estate is not involved in the case, though it will inevitably have echoes of their successful lawsuit against Robin Thicke, Pharrell Williams and T.I. over the resemblance of their 2013 hit “Blurred Lines” to Gaye’s 1977 “Got to Give it Up.”

    A jury awarded Gaye’s heirs $7.4 million at trial — later trimmed by a judge to $5.3 million — making it among the most significant copyright cases in recent decades.

    Sheeran’s label Atlantic Records and Sony/ATV Music Publishing are also named as defendants in the “Thinking Out Loud” lawsuit. Generally, plaintiffs in copyright lawsuits cast a wide net in naming defendants, though a judge can eliminate any names deemed inappropriate. In this case, however, Sheeran’s co-writer on the song, Amy Wadge, was never named.

    Townsend, who also wrote the 1958 R&B doo-wop hit “For Your Love,” was a singer, songwriter and lawyer. He died in 2003. Kathryn Townsend Griffin, his daughter, is the plaintiff leading the lawsuit.

    Already a Motown superstar in the 1960s before his more adult 1970s output made him a generational musical giant, Gaye was killed in 1984 at age 44, shot by his father as he tried to intervene in a fight between his parents.

    Major artists are often hit with lawsuits alleging song-stealing, but nearly all settle before trial — as Taylor Swift recently did over “Shake it Off,” ending a lawsuit that lasted years longer and came closer to trial than most other cases.

    But Sheeran — whose musical style drawing from classic soul, pop and R&B has made him a target for copyright lawsuits — has shown a willingness to go to trial before. A year ago, he won a U.K. copyright battle over his 2017 hit “Shape of You,” then slammed what he described as a “culture” of baseless lawsuits intended to squeeze money out of artists eager to avoid the expense of a trial.

    “I feel like claims like this are way too common now and have become a culture where a claim is made with the idea that a settlement will be cheaper than taking it to court, even if there is no basis for the claim,” Sheeran said in a video posted on Twitter after the verdict. “It’s really damaging to the songwriting industry.”

    The “Thinking Out Loud” lawsuit also invokes one of the most common tropes in American and British music since the earliest days of rock ‘n’ roll, R&B and hip-hop: a young white artist seemingly appropriating the work of an older Black artist — accusations that were also levied at Elvis Presley and The Beatles, whose music drew on that of Black forerunners.

    “Mr. Sheeran blatantly took a Black artist’s music who he doesn’t view as worthy as compensation,” Ben Crump, a civil rights attorney who represents the Townsend family but is not involved in the trial, said at a March 31 news conference.

    ___

    Dalton reported from Los Angeles.

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