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Alicia Keys joins Zane Lowe on Apple Music ahead of her seventh studio album ‘ALICIA’

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Alicia Keys joins Zane Lowe on Apple Music for a wide-ranging conversation ahead of the release of her seventh studio album ‘ALICIA’, out this Friday.

She tells Apple Music what she took for granted prior to the pandemic and reflects on struggles with early success, self worth, and her relationship with her parents growing up. She also runs through various tracks on the new album and shares what she’s learned from her husband Swizz Beatz, how her willingness to collaborate has evolved, why Verzuz is “our survival tool”, how she ended up collaborating with Jill Scott, and more.

Listen to Zane’s interviews with leading artists on Apple Music HERE and Apple Podcasts HERE.Video | Alicia Keys Tells Apple Music About Her Forthcoming Seventh Album ‘ALICIA’, Struggles With Early Success, Lessons Learned, Collaborations, The Significance of Verzuz, and More
Watch — https://youtu.be/tg4oDKl03nM

Alicia Keys Tells Apple Music What She Took For Granted Prior To The Pandemic…Prior to the last six months, I definitely took for granted stillness, just like how good it is to be in one place, to be able to really dig in, dive in, stay put. I don’t know if it’s a very American philosophy, or if it’s a very not New York mind state. I’m trying to figure out what it is, but there’s a certain mind state that the busier you are, the better you are. And that’s a lie. That’s a real live lie. And so, this time to just be still, because you can’t be busy if you tried.

I mean, you could Zoom all you want, and sure, you can still have a lot to do over Zoom, but the moving, why did we have to rush so much? How come we had to fill our gas tank that many times and fly that many times a year, and put that much gas in the sea? And all these things, definitely the stillness I took for granted.I took for granted what it means to actually have your hub and have your space with your people there, and that you’re always showing up for each other, no matter what. You’re figuring out the hard things, and you’re talking through. A lot of the times, moving so fast, I’m always concerned about, am I missing some of these conversations? Am I missing some of these moments with my family?

Alicia Keys Tells Apple Music About Early Success… 

A lot of the times, you’re kind of pushed to blend in or do what’s expected, and you feel awkward if you even have a dissenting point of view. And for me, I fell right into that whole trap. Oh, I fell so good into that trap because I was so young. I was 14 years old the first time that I was ever even signed. And when the first record came out, I was 18 years old. It was like, whap. It was just, that was it. I had to pretend so much the majority of the time that I knew what I was doing. I pretended I knew what I was doing for so much of the time. I didn’t know what I was doing.

Alicia Keys Tells Apple Music About Pleasing People…

Whoo, and the craziest part is, at some point, you don’t even know if what you’re doing is for you, or is it for the person that is next to you. And you think it’s for you. But as you start to live, you start to discover, man, a lot of this was for you. Of course, there’s a flow there and there’s an ebb there, and it benefits both. And of course, there’s an energy exchange, which I really believe in energy is so powerful. But you can, and I did, turn around. And I was so concerned with pleasing everybody, so concerned with saying the right thing, so concerned with not kind of getting caught up or tripped up in the people trying to have these sensational headlines.

I was so cautious and so protected, and had such a wall that was perfect. Who are you underneath all that? What is your opinion? Do you even know what your opinion is? I found that, no, I didn’t. And that was not good. But it took me a long time to even know I didn’t have an opinion. Because I thought I was quite opinionated. I’m like, woman’s worth, right? I’m supposed to… But underneath it all, I was quite insecure.

Alicia Keys Tells Apple Music About Titling Her Album ‘ALICIA’…

So deep, so deep. This is so deep. I feel like I think about this a lot. I specifically think about this a lot with the Alicia album. And that’s why I feel so strongly about calling this work Alicia. Because I feel like I have, for the first time, been most fully myself now. In the beginning, I was very myself. I really was. Although I was unsure of this crazy world that I was in and I definitely didn’t know the rules or how to do it or exactly what I was doing, I was very sure of myself.

I knew that I was a young woman. I’m boyish. I’m not trying to be all pretty and girly. I got my piano. I got my songs. I got my braids. Don’t try to make me do this. Don’t talk to me about that. Don’t bring me no flower dresses and sh-t. This is me. Take me or leave me, I don’t care. And then success came. I had never been successful before and everybody was there, and I was going places I’d never been before, and I was meeting people I never met before. And they were telling me things I never heard before.

I was having experiences that I would never have experienced before. And people liked what I did. So then, when it came time to do it again, for the first time in my life, I had been exposed to what it feels like when people like what you do. And then you start to think, well, what if people don’t like what I do? Then what?

Alicia Keys Tells Apple Music About Self Worth and Her Relationship With Her Parents Growing Up…

I realized that I have deeply struggled with feelings of self-worth. That came from my mother and father. They… My father didn’t raise me, my mother raised me. I think I definitely was always looking for his love, to some degree, and feeling like I could never really access it, for many different reasons. And I think that started to give me insecurities. My mother was also a very, very strong-minded woman, mostly out of necessity, because to survive New York City streets as a single mother, it’s hard as hell with a daughter. So, out of necessity, she’s very emotions on her sleeve. And so then, I had to accommodate for her, and always kind of fix and dodge and make things right. Somehow, I lost my voice in there.

Because I always had to accommodate for the protection of that relationship, to allow that relationship to function. I had to accommodate her. Because her style was her own. And she took up a lot of space in the room, you know what I mean? So, I learned that behavior. And so, on top of, I think the fact that I felt maybe unloved by my father, although I never admitted it. I didn’t feel like I did because I was like, “Well, I don’t really even know you, so how could I feel loved or unloved by someone you don’t really know?” I did. And so, I felt I created and started to discover an insecurity that I carried with me my whole… I mean, literally, it has been maybe four years that I finally don’t hold that anymore.

Alicia Keys Tells Apple Music About What She’s Learned From Working With Her Husband Swizz Beatz…

I mean, he’s taught me so much about magic. He knows how to access the magic in a way that’s so free. I know how to access the magic. Don’t get it twisted. But my access to the magic is from a more cerebral place. He teaches me about this openness to try whatever, whereas I’m quite mental. I’m like, “I’m want to make sure this sounds great. Let me make sure this is the right hook. Let me make sure my vocals are strong.” He’s just like, “Who cares, who cares, who cares? This is what I feel. This is what I think. I don’t care. No apology. Bang.” So, that’s what I think. That’s why I think you feel that rawness, and there is that difference. I feel safer, somehow, to just fail, to be off, to be wrong.

Alicia Keys Tells Apple Music About ‘Here’ Being Her Favorite Album of Hers and How It Opened Doors For Her…

‘Here’ is maybe my favorite album. It’s so special to me. It carries with it such a magic, such a portal. It was the first time that I did something without compromise. None. I didn’t give a sh-t. Don’t come in here talking to me about what’s the radio single. I don’t want to hear it. This is my whole everything poured out from me, no holds barred, completely free. The way that the songs came, it was like it came down from a divine thing, and it was like, boom, and they would get written in 20 minutes. And I never wrote like that before, I told you. So it was my opening. It was definitely my opening. And it lead me to here, Alicia, because I started to understand, “Wow, look at all these feelings that you have. Look at all these thoughts that you have. Look at all these opinions you have. Look at all these ways that you’re experiencing the world, look how you can verbalize, and look how you can put them into, something that means something.” And it was just the right combination of people, and the timing, and the space. And it really did open something in me that I never accessed before.

Alicia Keys Tells Apple Music About Collaboration…

It’s always been tricky for me, collaboration. At the very beginning I hated it so much. I was so uncomfortable. I just didn’t know how to even sit in a room with another being. I felt completely exposed. It was just too much. But over time, I’ve definitely learned to enjoy that process, and I do enjoy it because there’s something so crazy about what I bring, and then what you bring is going to be completely different, and there’s something about the merging of energy that’s fascinating to me. And now, I feel like that’s another alchemy that’s created that I love the process of. So yes, and that process of being open and receiving and what’s meant to come from each person and creating something out of nothing is always incredible.

Alicia Keys Tells Apple Music About Verzuz and Working With Jill Scott…

First of all, what the hell with my baby and Tim in this Verzuz situation? It’s our survival tool. It has been our survival, and I live with him and I know what’s coming. I know what’s coming. So I was saying he did the daggone Jill Scott/ Erykah Badu Verzuz, which was my personal favorite. I’m bugging like crazy. I’m driving home from wherever and I’m listening to the thing through the car. And I mean I’m fan-girling out all the way. I’m singing every word, I’m bugging. I get to the crib, get out, continue, it’s like a whole thing, and I’m watching these two queens and Jill and that daggone smile. What is that? That smile is the most beautiful thing I ever saw. She is illuminating everything. And after the thing was over… he’s like, “Babe, Jill is on the phone.” And I get on the phone with her and I’m like, “You’re just… This is crazy. You’re so…” And she’s like, “Hi, how are you? This was so great.” And we have a moment. And I’m like, “Why haven’t we worked together? Why haven’t we? This is crazy.” And so she’s like, “I know, and I hope to come, and let’s connect.” And I said, “Yes, let’s connect.” Boom, left it alone. Go to that end part of the album where I went away by myself and I was like, “Wait, what do we need? And what are we doing?” Went to this super desolate area and was just totally alone. And Swizzy, he’s like, “Babe, what about this vibe?” And I’m like, “Ooh.” And we start talking about this idea of celebrating putting love on display and being that confident and that much of… You have to put this love on display. And we’re vibing, we’re vibing, I’m like, “Ooh, what if it was like this, like some Jill Scott sh-t.” And I start pretending to be Jill Scott. I’m just totally pretending to be Jill Scott. And I put it down, and he’s like, “Ooh. Send it to her. Send it to her right now.” And so, my engineer, Ann Mincieli been with me forever and is such a boss. She’s like, “Wait, what are we calling the song?” And I was like, “Call it Joe Scott. Because I don’t want to forget. Don’t forget, because I know I’m going to send it to Jill. Call it Joe Scott.” Boom. Called it Joe Scott, talked to Jill, we have an amazing thing. She’s so unbelievable. She’s like, “Okay. You want me to do it?” She did it. Went out of her way, sorted it out, sent it back, called me like, “What you did was so cool. I was thinking, maybe I’ll just do a few backgrounds.” I said, “No, no, no, no, no. No. What I did was pretended to be you. I need you to be you.” And she was like, “Okay.” Came back, killed it, as per normal. And Ann did these sick background vocals, it was so outrageous. If you could hear the difference you could hear her mind, which is just ridiculous. And so then, we’re at the remastering, and we’re calling in this Joe Scott, featuring Joe Scott. I was like, “Definitely.”

Alicia Keys Tells Apple Music About Being Held On a Pedestal…

I remember that there was a very specific time. Maybe it was about “Girl on Fire” maybe, that I actually understood that somehow I was put up on this pedestal. And I didn’t know the I got up there. So who put me on that pedestal? Who put me up there? I don’t want to be up there. I don’t even belong up there. That’s not even natural to my – It’s horrible. It’s like this unrealistic expectation. You can imagine you’re supposed to be there and you’re supposed to be stone. You’re supposed to be unflawed like stone. You’re suppose to be perfectly crafted, and shaped, and sculpted into a thing that can’t even move, or evolve, or change, or grow, or anything. And I did not understand how I got up there, because I never wanted to be up there.

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Daniel Pemberton and Carlos Rafael Rivera win top prizes at 21st World Soundtrack Awards

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Daniel Pemberton has won the Film Composer of the Year Award at the 21st World Soundtrack Awards Ceremony in Ghent. Carlos Rafael Rivera received the Television Composer of the Year Award. “Call me Cruella” from Disney’s Cruella was presented with the Best Original Song Award, while Nainita Desai took home the Discovery of the Year Award. Benji Merrison and Dougal Kemp were honoured as well. Eleni Kariandrou received the Lifetime Achievement Award.

The 48th edition of Film Fest Ghent ended, as is tradition, with the World Soundtrack Awards, one of the most important international prizes for film music. The Film Composer of the Year Award went to the composer Daniel Pemberton, who was nominated for his work on Rising Phoenix, Enola Holmesand The Trial of the Chicago 7. Daniel Pemberton is no stranger to the WSA; in 2014, he won the WSA Discovery of the Year Award and has been nominated twice before in the Film Composer of the Year category.

Carlos Rafael Rivera won over the WSAcademy with his compositions for The Queen’s Gambit and Hacks (Season 1) and took home the Television Composer of the Year Award. This is the first time that Carlos Rafael Rivera has been honoured at the World Soundtrack Awards.

There were six songs in the running this year in the Best Original Songcategory and the award went to “Call me Cruella” from Disney’s Cruella. The song was written by Nicholas Britell, Florence Welch, Steph Jones, Jordan Powers and Taura Stinson.

With nominations in three different categories, Nainita Desai was one of the stars of this 21st edition of the World Soundtrack Awards, with the WSAcademy also allowing scores for documentary films in the film score categories for the first time this year. Nainita Desai became Discovery of the Year with her score for the documentary film The Reason I Jump.

The Public Choice Award went to the score of SAS: Red Notice (SAS: Rise of the Black Swan) composed by Benji Merrison. The score was well received by the audience and garnered the largest number of votes from film fans.

The British visual arts composer and sound designer Dougal Kemp received the Sabam Award for Best Original Composition by a Young Composer. He convinced the jury with the score he wrote for a scene from Nanook of the North, the silent documentary film from 1922 by Robert J. Flaherty.

During the World Soundtrack Award Ceremony & Concert in the Opera of Ghent the oeuvre of the Greek composer Eleni Karaindrou took centre stage. She performed on piano together with the Brussels Philharmonic, conducted by Film Fest Ghent music director Dirk Brossé. During the ceremony, Eleni Karaindrou received the Lifetime Achievement Award. She is known for her collaborations with the late Theo Angelopoulos, Greek director and master.

Overview of the winners

Film Composer of the Year
Daniel Pemberton, Enola Holmes, Rising Phoenix, The Trial of the Chicago 7

Television Composer of the Year
Carlos Rafael Rivera, Hacks (Season 1), The Queen’s Gambit

Best Original Song
“Call me Cruella” from Disney’s Cruella, Nicholas Britell, Florence Welch, Steph Jones, Jordan Powers & Taura Stinson

Discovery of the Year
Nainita Desai, The Reason I Jump

Public Choice Award
SAS: Red Notice, Benji Merrison

Sabam Award for Best Original Composition by a Young Composer
Dougal Kemp

Lifetime Achievement Award
Eleni Karaindrou

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Alec Baldwin fatally shoots woman with prop gun on movie set

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A woman has died and a man has been injured after actor Alec Baldwin fired a prop gun on a New Mexico film set for the 19th Century western Rust.

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SXSW Music Festival – Initial List of Showcasing Artists Announced

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The South by Southwest® Music Festival (SXSW®) has announced an initial list of Showcasing Artists invited to perform at the 36th annual event. The festival offers the opportunity to connect entertainment, technology, and media professionals with emerging acts, established artists and industry mavens, and share in something big on a truly global platform. The first essential and international music event on the industry’s calendar, the SXSW Music Festival takes place March 14 – 20, 2022 in Austin, Texas.

Each year, the SXSW Music Festival programmers present a global lineup of artists from Australia, Brazil, Canada, Colombia, Dominican Republic, England, France, Germany, Ireland, Japan, New Zealand, Philippines, Puerto Rico, Scotland, South Korea, Uganda, U.S., Wales, and Zambia, to name a few. The result is a unique live music experience where industry pros and music lovers experience multiple one-of-a-kind events from a range of up-and-coming and established artists. A few highlights from this first round of artists include: Aeon Station (Ocean City NJ), ANAVITÓRIA (São Paulo BRAZIL), BLACKSTARKIDS (Kansas City MO), CHAII(Auckland NEW ZEALAND), Claire Rousay (San Antonio TX), Delta Spirit (Los Angeles CA), DUMA (Nairobi KENYA), Ezra Furman (Chicago IL), HOODLUM (San Antonio TX), Horsegirl (Chicago, IL), James McMurtry (Austin TX), Maxo Kream(Houston TX), MC Yallah (Kampala UGANDA), Monaleo (Houston TX), Poppy Ajudha(London UK-ENGLAND),  Priya Ragu (St. Gallen SWITZERLAND), Surfbort (Los Angeles CA), TEKE::TEKE (Montreal CANADA), Vitreous Humor (Lawrence KS), W.I.T.C.H. (We Intend to Cause Havoc) (Lusaka ZAMBIA), Y2K92 (Seoul SOUTH KOREA), and Yard Act (Leeds UK-ENGLAND).

This is the first of several announcements revealing the wide array of Showcasing Artists who will perform for the international creative community at SXSW. These showcases give attendees the opportunity to experience tomorrow’s headliners in small-stage performances at unique venues in downtown Austin. A few of this year’s showcase presenters include British Music Embassy, American Dreams, The Legendary SOB.’s, Nyege Nyege Tapes, Fire Records, Rolling Loud, The Anniversary Group, High Road Touring, Jazz re:freshed Outernational, Move Forward Music, Kill Rock Stars, Cosmica Artists + Records, Ernest Jenning Record Co., New West Records, Rocky Road Touring, Polyvinyl Records, Double Double Whammy, Keeled Scales, Park the Van, Don Giovanni Records, Nine Mile Records and Touring, and Focus Wales.

Artists invited to perform include:

2nd Grade (Philadelphia PA)
49 Winchester (Castlewood VA)
A Giant Dog (Austin TX)
Abigail Lapell (Toronto CANADA)
Adam Ostrar (Austin TX)
Aeon Station (Ocean City NJ)
Aertex (Washington DC)
Alex Dupree (Austin TX)
Alien Tango (Murcia SPAIN)
ANAVITÓRIA (São Paulo BRAZIL)
Andrea Cruz (Puerto Rico PUERTO RICO)
Angélica Rahe (Austin TX)
Antti Paalanen (Kokkola FINLAND)
Arp Frique (Amsterdam NETHERLANDS)
Art d’Ecco (Victoria CANADA)
Authentically Plastic (Kampala UGANDA)
Ava Vegas (Berlin GERMANY)
Babehoven (Hudson NY)
Bandicoot (Swansea UK-WALES)
Beauty Sleep (Derry UK-N. IRELAND)
Being Dead (Austin TX)
Bendigo Fletcher (Louisville KY)
Big Bill (Austin TX)
BLACKSTARKIDS (Kansas City MO)
Blunt Bangs (Athens GA)
Blushing (Austin TX)
Bodywash (Montreal CANADA)
Boulevards (Raleigh NC)
Bread Pilot (Seattle WA)
Breanna Barbara (Far Rockaway NY)
Brigid Mae Power (Galway IRELAND)
Buffalo Hunt (Austin TX)
Buffalo Nichols (Austin TX)
Buzzard Buzzard Buzzard (Cardiff UK-WALES)
Caleb De Casper (Austin TX)
CHAII (Auckland NEW ZEALAND)
Charlotte Cornfield (Toronto CANADA)
Chief Cleopatra (Austin TX)
China Bears (Guildford UK-ENGLAND)
Claire Rousay (San Antonio TX)
Claud (Highland Park IL)
COBRAH (Stockholm SWEDEN)
Coco & Clair Clair (Atlanta GA)
Congee (London UK-ENGLAND)
Constant Follower (Stirling UK-SCOTLAND)
corook (Nashville TN)
Couch Prints (New York NY)
Creamer (Nashville TN)
Cuffed Up (Los Angeles CA)
Curse Mackey (Austin TX)
Dan Bettridge (Cardiff UK-WALES)
Danielle Ponder (Rochester NY)
DEETRANADA (Baltimore MD)
Delta Spirit (Los Angeles CA)
Desperate Journalist (London UK-ENGLAND)
Devin Shaffer (Chicago IL)
Diamante Perez (Wichita KS)
Dig Nitty (Brooklyn NY)
DJ DIAKI (Sanankoroba MALI)
Doeman (Houston TX)
Don Lifted (Memphis TN)
Donna Blue (Utrecht NETHERLANDS)
DUMA (Nairobi KENYA)
Ed Schrader’s Music Beat (Baltimore MD)
Elephant Stone (Montreal CANADA)
Eli Winter (Chicago IL)
Enjoyable Listens (Oxford UK-ENGLAND)
Enumclaw (Tacoma WA)
Estereomance (El Paso TX)
Evicshen (San Francisco CA)
Ezra Furman (Chicago IL)
Family Jools (Bristol UK-ENGLAND)
Fearing (Oakland CA)
Flossing (Brooklyin NY)
Flower (New York NY)
Geese (Brooklyn NY)
Gewalt (Berlin GERMANY)
GIFT (Brooklyn NY)
Glass Spells (San Diego CA)
Go Fever (Austin TX)
Goodbye Honolulu (Toronto CANADA)
Goya Gumbani (London UK-ENGLAND)
Grace Cummings and Her Band (Melbourne AUSTRALIA)
GRAE (Toronto CANADA)
Graham Reynolds (Austin TX)
Graham Reynolds & The Golden Arm Trio (Austin TX)
Greyhounds (Austin TX)
Guapo (Houston TX)
Gully Boys (Minneapolis MN)
Gustaf (New York NY)
HAEPAARY (Seoul SOUTH KOREA)
Hamish Hawk (Edinburgh UK-SCOTLAND)
Haru Nemuri (Yokohama JAPAN)
Henry Brun & the Latin Playerz (San Antonio TX)
HMLTD (London UK-ENGLAND)
Holly Macve (Brighton UK-ENGLAND)
HOODLUM (San Antonio TX)
Horsegirl (Chicago IL)
Hrishikesh Hirway (Los Angeles CA)
India Ramey (Nashville TN)
J Soulja (Austin TX)
Jacks Haupt (Dallas TX)
James Hersey (Vienna AUSTRIA)
James McMurtry (Austin TX)
Jay Aston’s Gene Loves Jezebel / Acoustic (London UK-ENGLAND)
JayWood (Winnipeg CANADA)
Jekyll (Blackpool UK-ENGLAND)
Jo Schornikow (Melbourne AUSTRALIA)
Jockstrap (London UK-ENGLAND)
JOPLYN (Berlin GERMANY)
Joshua Hedley (Nashville TN)
Junaco (Los Angeles CA)
KABEAUSHÉ (Nairobi KENYA)
KAINA (Chicago IL)
Kampire (Kampala UGANDA)
Katy J Pearson (Bristol UK-ENGLAND)
Katy Kirby (Austin TX)
KAWALA (London UK-ENGLAND)
Kevin Galloway (Austin TX)
Kiana V (Manila PHILIPPINES)
Kompas Trio (Santo Domingo DOMINICAN REPUBLIC)
Korine (Philadelphia PA)
Kristeen Young (New York NY)
Kristin Hersh (Providence RI)
Kyle Kidd (Cleveland OH)
Laura Lee & the Jettes (Berlin GERMANY)
Lauren Auder (Albi FRANCE)
Lee Bains + The Glory Fires (Birmingham AL)
Letting Up Despite Great Faults (Austin TX)
Linqua Franqa (Athens GA)
Little Mazarn (Austin TX)
Living Hour (Winnipeg CANADA)
Logan Lynn (Portland OR)
Lord Friday the 13th (Austin TX)
Lucy Gooch (Bristol UK-ENGLAND)
Luna Luna (Dallas TX)
Lunar Vacation (Atlanta GA)
Mace The Great (Cardiff UK-WALES)
MAITA (Portland OR)
Mandy, Indiana (Manchester UK-ENGLAND)
Maria BC (San Francisco CA)
Mariangela (San Antonio TX)
Marina Allen (Los Angeles CA)
Mark Burgess of The Chameleons UK (Manchester UK-ENGLAND)
Marta Del Grandi (Milan ITALY)
Mattiel (Atlanta GA)
Maxo Kream (Houston TX)
MC Yallah (Kampala UGANDA)
Me Rex (London UK-ENGLAND)
Meatraffle (London UK-ENGLAND)
MENZI (Durban SOUTH AFRICA)
Mister Goblin (Bloomington IN)
Mobley (Austin TX)
Monaleo (Houston TX)
Moon Panda (Copenhagen DENMARK)
Moriah Bailey (Oklahoma City OK)
My Idea (New York NY)
Native Sun (Brooklyn NY)
Neighbor Lady (Atlanta GA)
NewDad (Galway IRELAND)
Nuevo (Austin TX)
Nuha Ruby Ra (London UK-ENGLAND)
Number One Popstar (Los Angeles CA)
ONO (Chicago IL)
Ouri (Montreal CANADA)
Pachyman (Los Angeles CA)
PACKS (Ottawa CANADA)
Paisley Fields (Brooklyn NY)
PASTEL GHOST (Austin TX)
Paul Jacobs (Montreal CANADA)
Pays P. (Paris FRANCE)
Penelope Isles (Brighton UK-ENGLAND)
Phobophobes (London UK-ENGLAND)
Plato III (Abilene TX)
Polyplastic (Los Angeles CA)
Pom Poko (Oslo NORWAY)
Poppy Ajudha (London UK-ENGLAND)
Portrait XO (Los Angeles CA)
Priya Ragu (St. Gallen SWITZERLAND)
PYNKIE (Jersey City NJ)
Renée Reed (Lafayette LA)
Rett Smith (Austin TX)
REYNA (Milwaukee WI)
RF Shannon (Lockhart TX)
Riley Downing (Kansas City MO)
Ringo Deathstarr (Austin TX)
Roan Yellowthorn (Camden ME)
Roller Derby (Hamburg GERMANY)
Rosegarden Funeral Party (Dallas TX)
Ruby (Dumfries UK-SCOTLAND)
Ryder The Eagle (Toulouse FRANCE)
Salt Cathedral (Bogotá COLOMBIA)
Sara King (Dallas TX)
Sarah Kinsley (New York NY)
Sarpa Salpa (Northampton UK-ENGLAND)
Savak (Brooklyn NY)
Shawn James (Seattle WA)
Silver Synthetic (New Orleans LA)
Sir Woman (Austin TX)
Skirts (Dallas TX)
Smut (Chicago IL)
Sonoda (Los Angeles CA)
Sour Widows (Oakland CA)
Star Parks (Austin TX)
Stella Sommer (Berlin GERMANY)
Strawberry Guy (Liverpool UK-ENGLAND)
Sun June (Austin TX)
Surfbort (Los Angeles CA)
Tagua Tagua (São Paulo BRAZIL)
Taipei Houston (San Francisco CA)
Tallies (Toronto CANADA)
Teenage Halloween (Asbury Park NJ)
TEKE::TEKE (Montreal CANADA)
Tele Novella (Lockhart TX)
Tempers (New York NY)
THALA (Berlin GERMANY)
Thallo (Penygroes UK-WALES)
The Americans (Los Angeles CA)
The Bad Man (Minneapolis MN)
The Chris Lee Band (New Orleans LA)
The Deer (Austin TX)
The Pink Stones (Athens GA)
The Red Pears (El Monte CA)
The Royston Club (Wrexham UK-WALES)
Thee Sacred Souls (San Diego CA)
Tiarra Girls (Austin TX)
Tino Drima (Los Angeles CA)
Tomar and the FCs (Austin TX)
Tunic (Winnipeg CANADA)
Twin Tribes (Brownsville TX)
Vic Santoro (London UK-ENGLAND)
Vitreous Humor (Lawrence KS)
W.I.T.C.H. (We Intend To Cause Havoc)
(Lusaka ZAMBIA)
Walt Disco (Glasgow UK-SCOTLAND)
WANDERERS (Adelaide AUSTRALIA)
WARFIELD (Los Angeles CA)
Wargasm (London UK-ENGLAND)
Water From Your Eyes (Brooklyn NY)
Why Bonnie (Austin TX)
Wombo (Louisville KY)
XIXA (Tucson AZ)
Y2K92 (Seoul SOUTH KOREA)
Yard Act (Leeds UK-ENGLAND)
(This list is subject to change. More performers will be announced at later dates.)

Listen to the artists who will be performing at SXSW 2022 by subscribing to the official SXSW Apple Music, Spotify and YouTube Music Video playlists.

All SXSW Music registrants receive primary access to Music and Convergence Conference programming, including Keynotes and Featured Speakers, Music Festival showcases, the Comedy Festival, exhibitions, networking Meet Ups, Game Industry  Expo, the Flatstock Poster Show, Registrant Lounge, the SXSW Outdoor Stage at Lady Bird Lake concerts, and the closing BBQ & softball tournament. Secondary access is available for most Interactive and Film events.

The online SXSW Schedule provides a complete rundown of 2022 programming, broken down by time and event category, with the ability to build a customized schedule. To get started, please visit https://schedule.sxsw.com/.

SXSW dedicates itself to helping creative people achieve their goals. Founded in 1987 in Austin, Texas, SXSW is best known for its conference and festivals that celebrate the convergence of tech, film, music, education, and culture. An essential destination for global professionals, the annual March event features sessions, music and comedy showcases, film screenings, exhibitions, professional development and a variety of networking opportunities. SXSW proves that the most unexpected discoveries happen when diverse topics and people come together. SXSW 2022 will take place March 11 – 20, 2022. For more information, please visit sxsw.com. To register for the event, please visit sxsw.com/attend.

SXSW 2022 is sponsored by White Claw and The Austin Chronicle.

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World News

Dr. Dre served with divorce papers at grandmother’s funeral

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American music producer, Dr. Dre was served with divorce papers while laying his grandmother to rest in Los Angeles on Monday, October 18. (more…)

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World News

Jamie Foxx reveals why he’ll never get married

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Jamie Foxx, who is one one of Hollywood’s most eligible bachelors, has revealed why he plans on never getting married. (more…)

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HBO Max Acquires Morgan Freeman & Lori McCreary’s THE KILLING OF KENNETH CHAMBERLAIN For Streaming Starting November 19

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Following the Gravitas Ventures day and date theatrical release, HBO Max has acquired exclusive streaming rights to the award-winning, critically-acclaimed film THE KILLING OF KENNETH CHAMBERLAIN. The film will debut on the platform Friday, November 19. Based on a true story, the film was directed by David Midell (NightLights), produced by Midell and Enrico Natale of Redbird Entertainment, and executive produced by Lori McCreary, Morgan Freeman and Gary Lucchesi of Revelations Entertainment, along with Sharad Chib, Chris Paladino and Milan Chakraborty.

THE KILLING OF KENNETH CHAMBERLAIN, which won a bevy of prestigious awards during its festival run, tells the heart-breaking true story of the events that led to the death of Kenneth Chamberlain Sr., an elderly African American veteran with bipolar disorder who was killed by the police during a welfare check after his medical alert device was accidentally activated. Through a series of unfortunate circumstances and the overly aggressive policing tactics that make the news on an all-too-frequent basis, the life of Kenneth Chamberlain Sr. ended at the hands of those who were sworn to “protect and serve.”

The film’s HBO Max debut date, November 19, 2021, is the 10-year anniversary of Kenneth Chamberlain Sr.’s death.

While the title of the film gives away its tragic end, the real-time reenactment of Chamberlain’s final moments alive are a powerful reminder of how interactions with the police can, and do, end for many people of color, and people with mental health challenges, in the United States.

As a former behavioral therapist, and on the autism spectrum himself, director David Midell comes to this material with an added layer of personal experience. “Our goal all along has been to ask important questions about how our criminal justice system treats people of color, people in low-income areas, and people living with mental health challenges.

“I always say it’s bigger than my dad,” Kenneth Chamberlain Jr. said. “It’s about all the lives that have been lost in this pandemic of killing black men, women and children. And I just hope that the film is…going to force a discussion.”

Producing partners Freeman and McCreary were incensed that the film could not find distribution, and immediately offered to help by using Freeman’s voice and Revelations’ brand to help amplify the story. “We simply could not stand by and see this film ignored. Kenneth Chamberlain Sr.’s story, whose death in 2011 was largely ignored by the national media, deserves to be known by the world,” states Freeman and McCreary.

THE KILLING OF KENNETH CHAMBERLAIN comes at an important time in the national conversation about systemic racism and is a searing example of law enforcement’s sometimes callous and cruel treatment of people of color, echoing recent high-profile incidents involving George Floyd, Breonna Taylor, among countless others. THE KILLING OF KENNETH CHAMBERLAIN world-premiered at the Austin Film Festival and won the Audience Award and the Narrative Jury Award there. At the Urbanworld Film Festival last year, it claimed the Jury Award for best US Narrative, and continued winning at festivals, and led to an independent Spirit Award Nomination for David Midell in the “Someone to Watch” category.

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