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Sidharth Malhotra, Kiara Advani starrer Shershaah locks release date!

Helmed by Vishnu Varadhan, ‘Shershaah’ is bankrolled by Karan Johar's Dharma Productions, Shabbir Boxwala, Ajay Shah and Himanshu Gandhi. While Sidharth Malhotra will essay the role of Param Vir Chakra recipient Vikram Batra, Kiara Advani will be seen in the role of Vikram’s fiancé Dimple Cheema in the film. 


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‘White art audience’ job listing prompts resignation of Indianapolis museum head

INDIANAPOLIS — The president of the The Indianapolis Museum of Art at Newfields resigned on Wednesday, days after the institution apologized for posting a job listing seeking a new director who would maintain the museum’s “traditional, core, white art audience.”

The museum’s board of trustees and board of governors said in a public letter that Charles Venable’s resignation was “necessary for Newfields to become the cultural institution our community needs and deserves.” It said Chief Financial Officer Jerry Wise will serve as the interim president.

In the job posting, the museum said it was seeking a director to “attract a broader and more diverse audience while maintaining the Museum’s traditional, core, white art audience.” The posting sparked letters from a group of Newfields employees and community art leaders calling for Venable’s resignation.

Venable said the decision to use “white” had been intentional to show the museum would not abandon its existing audience as it worked toward more diversity. It was a bullet point on the fourth page of the six-page job description.

“I think the fact you can read that one sentence and now reading it as a single sentence or a clause, I certainly can understand and regret that it could be taken that way,” he told The Indianapolis Star. “It certainly was not the intent at all.”

In addition to the resignation, the boards announced a series of steps that would be taken.

“We will engage an independent committee to conduct a thorough review of Newfields’ leadership, culture and our own Board of Trustees and Board of Governors, with the goal of inclusively representing our community and its full diversity,” it said.

Newfields also will expand “curatorial representations” of exhibitions and programming of, for and by Black and Latino people, women, people with disabilities, the LGBTQ community and “other marginalized identities,” the letter said.

The museum also will include additional free or reduced-fee days to increase its access, form an advisory committee consisting of artists, activists and members of communities of color “whose primary function is to hold leadership accountable to these goals,” ands continue anti-racist training for its boards, staff, and volunteers.

Newfields is the Indianapolis museum’s 152-acre campus which includes gardens and an art and nature park.


A matter of trust: Overcoming COVID-19 vaccine hesitancy

When coronavirus vaccinations were first offered late last year, millions of Americans flocked to sign up. But some — especially in historically underserved communities of color — were hesitant, if not outright opposed. Senior contributor Ted Koppel sits down with community leaders and healthcare workers to explore the roots of this skepticism, and the challenges of getting the vaccine to the people who need it the most.


Dan Talbot, Influential Art-House Exhibitor, Has Died

Daniel Talbot, the renowned art-film exhibitor who ran New York’s Lincoln Plaza Cinema, and a longtime independent film distributor, died Friday morning in New York City. He was in his early 90s.

Ewneto Admassu, the longtime manager of the Lincoln Plaza Cinemas, confirmed the death to Variety.

“He was like a father to me. It is a huge loss,” Admassu said.

Talbot’s death comes two weeks after it was first reported that the Lincoln Plaza Cinema was at the end of its lease and scheduled to close in January.

The six-screen Lincoln Plaza theater, which opened in 1981, is jointly operated by the building’s owner Milstein Properties and the Talbots. The facility is located in the basement of a residential building on the corner of Broadway and 62nd Street.

Milstein Properties, which has been the Talbots’ co-partners in the theater since its opening in 1981, stated earlier this month that it hoped to reopen the theater after structural work to the building.

The Talbots have been married for 68 years and had been key members of the independent film community since the 1960s. Dan Talbot managed the New Yorker Theater in the early 1960s and  founded New Yorker Films in 1965, starting his distribution efforts with the 1965 release of “Before the Revolution,” the debut film by Bernardo Bertolucci.

“I had no interest in distribution,”  Talbot told Variety in a 2009 interview. “I made him a very small offer and I got the film, and that was the beginning of New Yorker Films.”

Talbot followed up with art-house releases by Jean-Luc Godard, Ousmane Sembene, Werner Herzog and Rainer Werner Fassbinder. He also released Louis Malle’s “My Dinner With Andre” in 1981, and Wayne Wang’s “Chan Is Missing” in 1982. He closed down New Yorker Films in 2009.

“I think there’s less attention paid to the deeper, moral political issues that the great filmmakers dealt with in the ’60s, ’70s and ’80s,” he said in 2009.

A memorial has  been scheduled for Sunday at 9:30 am at the Riverside Memorial Chapel, 180 W. 76th Street in New York City.

Talbot had been in declining health in recent months. He is survived by his wife and business partner, Toby Talbot, and by daughters Nina, Emily and Sara.



U-Roy, Whose ‘Toasting’ Transformed Jamaican Music, Dies at 78

U-Roy, who helped transform Jamaican music by expanding the role of D.J. into someone who didn’t just introduce records but added a layer of vocal and verbal improvisation to them, a performance that was known as toasting and that anticipated rap, died on Wednesday in Kingston, Jamaica. He was 78.

His label, Trojan Records, posted news of his death, in a hospital, but did not give a cause.

U-Roy, whose real name was Ewart Beckford, wasn’t the first toaster, but he expanded the possibilities of the form with his lyricism and sense of rhythm. Just as important, he took it from the open-air street parties, where it was born, into the recording studio.

“I’m the first man who put D.J. rap on wax, you know,” he told The Daily Yomiuri of Tokyo in 2006, when he toured Japan.

In 1970, his singles “Wake the Town,” “Rule the Nation” and “Wear You to the Ball” held the top three positions on the Jamaican charts. Those songs and his subsequent debut album, “Version Galore,” made him a star not only in Jamaica but also internationally.

His “inspired, lyrical, goofy and always swinging toasts” (as Billboard once put it) made him the king of the form, earning him the nicknames Daddy U-Roy and the Originator (although he acknowledged that D.J.s like King Stitt and Count Machuki worked the territory before him).

“He elevated talking and street talk to a new popular art form,” Steve Barrow, author of several books on reggae history, told The Daily Yamiuri in 2006. “So I think we can call him the ‘Godfather of Rap,’ because he did that on record before anyone was rapping on record in America.”

In 2010 U-Roy recalled his breakthrough with humility.

“Is jus’ a talk me have,” he told The Gleaner of Jamaica. “Is like the Father say, ‘Open up your mouth and I will fill it with words.’”

Ewart Beckford was born on Sept. 21, 1942, in the Jones Town section of Kingston. In his youth the music of Jamaica began to be disseminated by “sound systems,” groups of D.J.s and engineers with portable equipment who would set up for street dances and parties. A D.J. would introduce the tracks and fill transitions with patter.

U-Roy never made it through high school; he was D.J.-ing at 14. He made his professional debut at 19, working with the sound systems of Dickie Wong and others. Later in the 1960s he teamed up with King Tubby, who had one of Jamaica’s more famous sound systems and was developing the genre known as dub — bass-heavy remixes of existing hits that played down the vocal tracks and that left U-Roy plenty of space to toast.

“That’s when things started picking up for me,” he told The Los Angeles Times in 1994.

Duke Reid, a leading producer, heard him at a dance and brought him into the studio for his breakthrough recordings. He quickly stole the spotlight from the singers on the tracks, earning top billing and becoming a star in his own right.

In the late 1970s, U-Roy had his own sound system, in part to foster new toasting talent.

“That was the biggest fun in my life when I started doing this,” he told the magazine United Reggae in 2012.

His influence was profound. U-Roy and fellow Jamaican toasters provided a foundation for hip-hop in the early 1970s. D.J.s at parties in New York City, notably the Jamaican-American DJ Kool Herc in the Bronx, picked up the idea of Jamaican toasting and adapted it to rapping over disco and funk instrumentals.

In 2007, U-Roy was awarded the Jamaican Order of Distinction.

He released numerous singles and albums across a half century. His recent albums included “Pray Fi Di People” (2012) and “Talking Roots” (2018).

Information on his survivors was not immediately available.

U-Roy collaborated with numerous artists over the years, including some from Africa. In 2010, he still seemed surprised at the stir he had caused when he visited Ivory Coast on a tour.

“In the airport is like every customs officer, every man who work on the line, want to take a picture with me,” he told The Gleaner.

“If me come out of the hotel me have to have security,” he added. “Is a mob.”


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