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Posts tagged as “Miguel”

Alicia Keys, John Legend, Pharrell and Others Perform at "Shining A Light: Concert For Progress on Race in America" Airing Tonight on A+E Networks & Several Others

By goodblacknews on November 20, 2015
John Legend at "Shining A Light" Concert
John Legend at “Shining A Light” Concert

A+E Networks and iHeartMedia are simultaneously airing “Shining a Light: A Concert for Progress on Race in America” on Friday, November 20 at 8PM ET/PT.  The sold-out concert was recorded at The Shrine Auditorium in Los Angeles, CA on Wednesday, November 18th, and the two-hour special event will air across the entire A+E Networks portfolio in more than 130 territories globally, including A&E, HISTORY, Lifetime, H2, LMN and FYI, as well as on more than 130 iHeartMedia broadcast radio stations nationwide and the iHeartRadio digital platform.  Additionally, AOL has joined in the simulcast making the historic special event available to anyone with internet access across the globe on AOL.com.

Artists Aloe Blacc, Andra Day, Nick Jonas, Tom Morello, Smokey Robinson and Big Sean join the previously announced performers including Zac Brown Band, Eric Church, Jamie Foxx, Rhiannon Giddens, Tori Kelly, John Legend, Miguel, Pink, Jill Scott, Ed Sheeran, Sia, Bruce Springsteen, Sting and Pharrell Williams.  LL Cool J, Marshall Faulk, Morgan Freeman, George Lopez, Mario Lopez, Nicki Minaj, Kurt Warner and Nick Young are among the presenters joining the telecast.

Alicia Keys has joined John Legend and Pharrell on extraordinary journeys to Baltimore, Ferguson and Charleston, where they met with a diverse group of residents in communities at the center of the national conversation on racial inequality and violence.  Joined by NPR’s Michele Norris with John Legend in Ferguson, award-winning journalist Soledad O’Brien with Pharrell Williams in Charleston and ABC News’ Byron Pitts in Baltimore, these visits included intimate discussions and special private performances by each for those most effected.  These incredibly moving, heart wrenching and eye-opening moments will be featured throughout the two-hour concert, as well as in the one-hour special, “Shining a Light: Conversations on Race in America,” airing immediately following the concert on A&E Network and AOL.com at 10pm ET/PT.

To see Alicia Keys perform Donny Hathaway’s “Someday We Will All Be Free”, watch below:
https://youtu.be/vqt2OHsAFiU
The concert will kick off A+E Networks’ campaign to confront issues of race, and promote unity and progress on racial equity, inspired by the response of the Mother Emanuel family members in Charleston and others working for reconciliation and change around the country.
The concert and the ancillary programming will help raise money for the Fund for Progress on Race in America powered by United Way Worldwide (ShiningALightConcert.com).  The fund will provide grant funding to individuals and organizations fostering understanding, eliminating bias, as well as provide support to Mother Emanuel A.M.E. Church and the broader A.M.E. denomination. The fund will support efforts to address racism and bias through public policy change, individual innovation, and community mobilization.
Tickets for the concert on November 18 sold out within 3 hours of the on-sale date raising more than $150,000 to benefit the Fund for Progress on Race in America powered by The United Way Worldwide.
To see a clip of John Legend’s performance of “Bridge Over Troubled Water,” from the event, watch below:
https://youtu.be/F4PLzIrzI6k

article by Lori Lakin Hutcherson (follow @lakinhutcherson)

NYT MUSIC FEATURE: Can the Weeknd Turn Himself Into the Biggest Pop Star in the World?

By goodblacknews on August 1, 2015
02weeknd1-superJumbo
The Weeknd (Photo Credit: Peter van Agtmael/Magnum, The New York Times)

The scene backstage last November at the American Music Awards, that annual gathering of pop perennials and idiosyncratic arrivistes, was carnivalesque: Niall and Liam of One Direction toddled about trying to snap a picture with a selfie stick, while Zayn, their bandmate at the time, smoked coolly out of frame; Ne-Yo was there in a leopard-­print blazer two sizes too small; Lil Wayne was wandering around, alone, wearing absurd shoes. In the middle of it all, Abel Tesfaye, better known as The Weeknd, remained calm, slow ­motion to everyone else’s warp speed.

Allergic to these sorts of scrums, he found his way to his trailer to hang with his friends, five or so fellow Canadians, all of them art-goth chic, wearing expensive sneakers and draped in luxurious, flowing black. Tesfaye, 25, was dressed down by comparison, in a black corduroy jacket and paint-­splattered jeans (Versace, but still). He stands 5-foot-7, plus a few more inches with his hair, an elaborate tangle of dreadlocks that he has been growing out for years, more or less letting it go where it wants. It spills out at the sides of his head and shoots up over it, like a cresting wave. Casually, Tesfaye did some vocal warm-ups and sat indifferently as his underutilized makeup artist dabbed foundation under his eyes and balm on his lips.

Abel Tesfaye, a.k.a. the Weeknd, at his apartment building in Toronto last December. (Credit: Peter van Agtmael/Magnum, for The New York Times)

He’d just had his first flash of true pop success: ‘‘Love Me Harder,’’ his duet with Ariana Grande, the childlike pop star with the grown-up voice, cracked the Top 10 of the Billboard Hot 100. He was scheduled to make a surprise cameo here at the end of a Grande medley. Until that song and, in a sense, that moment, Tesfaye had been a no-hit wonder: a cult act with millions of devotees and almost no mainstream profile.

When Tesfaye came out from the shadows midway through Grande’s performance, the crowd screamed. For two minutes, the singers traded vocal riffs and unflinching eye contact, Grande playing the naïf and Tesfaye the aggressor. The performance was quick and sweaty, and seconds after it was over, Tesfaye was already speeding for the exit, stopping only for a quick embrace from Kendall and Kylie Jenner. When he reached the parking lot, a yappy talent wrangler for an entertainment-­news show sensed an opportunity and asked for an interview. Tesfaye gave him an amused half-smile and kept walking. ‘‘Hey!’’ the guy shouted in desperation, fumbling for a name before landing on the wrong one: ‘‘A$AP Rocky!’’ Tesfaye turned his head and said, ‘‘C’mon, man,’’ arching an eyebrow, then picked up the pace.

Even though he had just performed for an audience of millions, Tesfaye was still, to many of them, a total stranger. When he began releasing music in 2010 — murky Dalí-esque R.&B., sung in an astrally sweet voice, vivid with details of life at the sexual and pharmacological extremes — Tesfaye chose to be a cipher. The only photos of him in circulation were deliberately obscured; he didn’t do interviews. His reticence was an asset — fans devoured the music without being distracted by a personality. Their loyalty was to the songs and, in a way, to the idea of the Weeknd. He was happy to stay out of the way.

NYT MUSIC FEATURE: Can the Weeknd Turn Himself Into the Biggest Pop Star in the World?

By goodblacknews on August 1, 2015
02weeknd1-superJumbo
The Weeknd (Photo Credit: Peter van Agtmael/Magnum, The New York Times)

The scene backstage last November at the American Music Awards, that annual gathering of pop perennials and idiosyncratic arrivistes, was carnivalesque: Niall and Liam of One Direction toddled about trying to snap a picture with a selfie stick, while Zayn, their bandmate at the time, smoked coolly out of frame; Ne-Yo was there in a leopard-­print blazer two sizes too small; Lil Wayne was wandering around, alone, wearing absurd shoes. In the middle of it all, Abel Tesfaye, better known as The Weeknd, remained calm, slow ­motion to everyone else’s warp speed.

Allergic to these sorts of scrums, he found his way to his trailer to hang with his friends, five or so fellow Canadians, all of them art-goth chic, wearing expensive sneakers and draped in luxurious, flowing black. Tesfaye, 25, was dressed down by comparison, in a black corduroy jacket and paint-­splattered jeans (Versace, but still). He stands 5-foot-7, plus a few more inches with his hair, an elaborate tangle of dreadlocks that he has been growing out for years, more or less letting it go where it wants. It spills out at the sides of his head and shoots up over it, like a cresting wave. Casually, Tesfaye did some vocal warm-ups and sat indifferently as his underutilized makeup artist dabbed foundation under his eyes and balm on his lips.

Abel Tesfaye, a.k.a. the Weeknd, at his apartment building in Toronto last December. (Credit: Peter van Agtmael/Magnum, for The New York Times)

He’d just had his first flash of true pop success: ‘‘Love Me Harder,’’ his duet with Ariana Grande, the childlike pop star with the grown-up voice, cracked the Top 10 of the Billboard Hot 100. He was scheduled to make a surprise cameo here at the end of a Grande medley. Until that song and, in a sense, that moment, Tesfaye had been a no-hit wonder: a cult act with millions of devotees and almost no mainstream profile.

When Tesfaye came out from the shadows midway through Grande’s performance, the crowd screamed. For two minutes, the singers traded vocal riffs and unflinching eye contact, Grande playing the naïf and Tesfaye the aggressor. The performance was quick and sweaty, and seconds after it was over, Tesfaye was already speeding for the exit, stopping only for a quick embrace from Kendall and Kylie Jenner. When he reached the parking lot, a yappy talent wrangler for an entertainment-­news show sensed an opportunity and asked for an interview. Tesfaye gave him an amused half-smile and kept walking. ‘‘Hey!’’ the guy shouted in desperation, fumbling for a name before landing on the wrong one: ‘‘A$AP Rocky!’’ Tesfaye turned his head and said, ‘‘C’mon, man,’’ arching an eyebrow, then picked up the pace.

Even though he had just performed for an audience of millions, Tesfaye was still, to many of them, a total stranger. When he began releasing music in 2010 — murky Dalí-esque R.&B., sung in an astrally sweet voice, vivid with details of life at the sexual and pharmacological extremes — Tesfaye chose to be a cipher. The only photos of him in circulation were deliberately obscured; he didn’t do interviews. His reticence was an asset — fans devoured the music without being distracted by a personality. Their loyalty was to the songs and, in a way, to the idea of the Weeknd. He was happy to stay out of the way.

2014 Grammys Red Carpet Arrivals – Miguel

By goodblacknews on January 26, 2014

2014 Grammys Red Carpet Arrivals - Miguel

Singer Miguel in Yves St. Laurent

2013 Soul Train Awards: Kendrick Lamar Leads Nominations

By goodblacknews on September 17, 2013
2013 Soul Train Awards
SEATTLE, WA – AUGUST 31: Kendrick Lamar performs on stage during the Bumbershoot Music Festival at Seattle Center on August 31, 2013 in Seattle, Washington. (Photo by Timothy Hiatt/Getty Images)
NEW YORK — Kendrick Lamar is the top nominee for the Soul Train Awards.  The rapper is up for six awards, including album of the year for “good kid, m.A.A.d city” and song and video of the year for “Poetic Justice.” R&B singers Justin Timberlake, Miguel, Robin Thicke, Chris Brown and Tamar Braxton follow with five nominations each.  See a full list of nominees here.
The latest albums from Lamar, Timberlake and Miguel will battle efforts from Jay-Z, Rihanna and Fantasia for album of the year. Lamar’s other nominations include best new artist, hip-hop song of the year and collaboration.
The Soul Train Awards will be presented Nov. 8 at the Orleans Arena in Las Vegas. The awards will air Dec. 1 on BET and Centric.
Actor-comedian Anthony Anderson will host the show.
article via huffingtonpost.com
 

Native Sons Miguel, Kendrick Lamar and Snoop Lion Perform at BET Festival at L.A. Live This Weekend

By goodblacknews on June 29, 2013

Miguel and Kendrick Lamar
Miguel and Kendrick Lamar

There is a particular sound to the R&B and hip-hop music coming out of Los Angeles right now, an approach stylistically distinctive from the current rhythms emanating from New York, Atlanta or Chicago. Despite predictions that the Internet would render moot such differences, a regionalism that in the past birthed and defined subgenres including cool jazz, surf rock, hard-core punk and gangsta rap is forging a new music that’s uniquely of this town.

Those wondering whether it’s still possible for a distinct sound to blossom in a region, far enough away from the tyranny of commercial strains, to create a surprising new time stamp, can look not only to Los Angeles but also to this weekend’s BET Festival at L.A. Live.
The festival couldn’t land at a better time. The roster for Saturday night’s Staples Center show includes the two most promising male voices to come out of Southern California in a few years: San Pedro-born Miguel and Compton-raised Kendrick Lamar, both of whom released excellent and commercially successful albums in 2012.
They’ll perform alongside rising Compton rapper Schoolboy Q (who, along with Lamar, Jay Rock and Ab-Soul, comprise the Black Hippy collective) and headliner Snoop Dogg, purveyor of the so-called G-funk sound. That particular vibe came to define the early ’90s work of Dr. Dre and N.W.A, Death Row Records and the artist formerly known as Snoop Doggy Dogg, born in South L.A. a quarter century ago. (North Carolina-raised J. Cole is also on the bill.)