On Thursday, Gov. Andrew M. Cuomo announced that all Broadway show houses will be closed.
That means no one will feel the love tonight at Lion King. The Phantom of the Opera will really be a ghost-town. And there is no chance for those big ole red steps to be lit.
He ordered the shutdown after he made mandatory that all gatherings within the entire state of 500 or more ve suspended… at least until April 12th.
Should within this time period, the pandemic of COVID-19 dies down, your favorite shows will resume on April 13th.
“Our top priority has been and will continue to be the health and well-being of Broadway theatergoers and the thousands of people who work in the theatre industry every day, including actors, musicians, stagehands, ushers, and many other dedicated professionals,” The president of the Broadway League, Charlotte St. Martin, said in a statement.
Broadway has shut down only a few times in the past.
The League instituted a shutdown in 2001, a couple of days after 9/11. Other times included a strike for actors in the 1960s, 1970s and in 2003.
In 1971, a show that would define a generation made its way on to television. Soul Train hosted by Don Cornelius was the flagship television program for black music and culture and now Questlove will executive produce a Broadway musical in honor of the legendary broadcast.
The musical is expected to hit Broadway in 2021 according to a report by Deadline which would mark the 50th anniversary of the original show. Questlove will team up with Co-Executive Producer Tony Cornelius, son of the late Don Cornelius, Playwright Dominique Morisseau, choreographer Camille A. Brown, and Director Kamilah Forbes.
Morisseau who grew up watching Soul Train compared Don Cornelius to Hamlet. “He is his best friend and his own worst enemy.” Cornelius died in 2012 due to a self-inflicted gunshot wound. He was 75 years old.
“The thing that excites me is the way that we can make this an explosion,” Morisseau told the New York Times. “celebrating the origins of dance culture and the black cultural experience.”
Dave Chappelle will take his talents to a different kind of stage this summer, but it should prove to be a breeze for the veteran performer. Chappelle is set to debut on Broadway via a limited run engagement beginning in July.
The iconoclast comic, actor and famed Rick James/Prince impersonator is set to make his Broadway debut with one of those fancy “limited engagements” from July 9 to 13 at the Lunt-Fontanne Theatre.
He will arrive on the Great White Way with plenty of live performance chops.
In addition to decades of work on the standup club circuit, he’s cranked out a series of acclaimed live-to-tape Netflix specials: “The Art of Spin,” “Deep in the Heart of Texas,” “Equanimity” and “The Bird Revelations.”
“Equanimity” and his guest host turn on “Saturday Night Live” scored him Emmy Awards in 2018 and 2017, respectively.
Titled “Dave Chappelle Live on Broadway,” tickets for the run go on sale to the general public on June 18 via Ticketmaster.
Tickets to see Dave Chappelle’s Broadway debut will be on sale for about a week.
Dave Chappelle Live on Broadway is coming to Lunt-Fontanne Theatre from July 9th to July 13th. The limited run will be documented by Netflix and marks Chappelle’s partnership with Live Nation, the Araca Group, and EBG.
At the top of the year, Dave Chappelle helped Will Smith make his stand up debut which was on his bucket list.
“The first thing I’ll tell you is confidence is key,” Chappelle told Smith, as seen in the episode of the Facebook Watch series. “The reason you should be confident is primarily because you’re Will Smith.” Chappelle advised him to be consistently interesting instead of worrying about being funny at every moment.
Chappelle will be given the distinction of the Mark Twain Prize for American Humor in D.C. in October. Previous honorees include Julia Louis-Dreyfus, David Letterman, Bill Murray, Eddie Murphy, and Whoopi Goldberg.
New Orleans, Louisiana veteran MC Curren$y is an underground sensation who has made a name for himself by staying out of the way, and in his lane. The laid-back lyricist most associated with classic cars and smoking herb seemingly never gets caught in drama. Instead, he has built a booming brand through releasing more music than just about any rapper on his level. His new collaborative effort Fetti—alongside Freddy Gibbs and entirely produced by Alchemist, is a testament to a catalog that has been in constant demand for upwards of a decade. Spitta recently sat down with the Rap Radar Podcast to discuss the album, his loyal following and a desire to maintain his status as an underground king.
While he’s had stints with labels No Limit, Cash Money, Young Money, Blu Roc/Def Jam, and Warner Bros. Records, Curren$y has made his most critical strides as an independent artist on his Jet Life imprint. That approach has served him well.
“I wait my turn,” he insists. “I never was on [Master] P’s bumper like, ‘Listen to this.’ I was there because of the homie. When somebody asked me what I could do, then that’s my turn. I never was on they bumper about [my Rap career or solo interests]. I used to pass out t-shirts.” In the early 2000s, Spitta was part of a 504 Boyz lineup. He joined P, Silkk The Shocker, Magic, Choppa, T-Bo, and Krazy ahead of 2002’s Ballers album, which cracked the Top 50 on the charts.
While earning a significant wage was an objective, Spitta never obsessed over it, because in his mind, it was just meant to be the way that it is. Like No Limit’s later years, that was the case during a fruitless period at Lil Wayne’s Young Money. “Where Da Cash At?” was a successful record, but the anticipated album never following. At 21:44, Spitta talks about “rolling the dice” and having faith in a higher power, which in turn ensures appropriate rewards from the universe. He continues, sharing his first interaction with Jadakiss at (22:02), where the LOX rapper acknowledged his Rap skills, but was more impressed by his determined spirit. “He was like, ‘You can rap and all that sh*t, but you was like, ‘Nah, I’ma do my own thing,’ and then you just did that sh*t!’” Spitta, who was rumored to have turned down an offer to be a Maybach Music Group artist in the early part of this decade, was a front-running example for an artist who does more independently.
To this day, Curren$y has no qualms sharing his music with the faithful masses, knowing his efforts will always come back to him. “I put [music] out, and if they get it for free, they get it for free,” he says. “But when I’m in they town, they can’t bootleg that. You gotta come off that $20 or $30.” Curren$y’s tours and spot dates have led him to a collection of an estimated 35 cars and several N.O. properties. During the Rap Radar interview, Spitta even admits that he bought an early-2000s model Bentley because it was the year that he thought he’d get one. The Rap industry had other plans.
The new father recalls an era when he recorded a string of mixtapes that are, to this day, considered classic material by many. His explanation is vivid, as he describes the 700-square-foot apartment and makeshift booth that helped him create improvisational magic. Among the items he used to record were a mic taped around an overturned chair, a tube sock and a wire hanger for the filter.
“Some people give me the credit I’m supposed to get, but I don’t give a f*ck about that,” he says, describing his impact on culture. As for collaborations, it’s something he’s all but perfected. Take the How Fly project with one Wiz Khalifa for example. “It changed the game. It changed how people smoke. It changed how people dress. It changed music,” he says with unbridled confidence. “That’s why a lot of those young dudes give it up to me.” Alluding to how comfortable he is with his place as an underground legend, Spitta shares another exchange with Talib Kweli where the Brooklyn rapper complimented his “Push Thru” collaborator (a song that also features Kendrick Lamar) about how loyal his fans are.
“You like the best and the worst buddy, because the people who listen to you, don’t want to hear shit else,’” the veteran says. The truth is, Curren$y’s overall trajectory and unwillingness to switch it up for the fetti, is a direct refutation of a verse made famous by one Shawn Carter:
“I dumbed down for my audience to double my dollars / They criticized me for it, yet they all yell ‘holla’ / If skills sold, truth be told, I’d probably be lyrically Talib Kweli / Truthfully I wanna rhyme like Common Sense But I did 5 mill’ – I ain’t been rhyming like Common since.”
#BonusBeat: Today, Spitta released “Flatbed Ferrari”:
New Orleans, Louisiana veteran MC Curren$y is an underground sensation who has made a name for himself by staying out of the way, and in his lane. The laid-back lyricist most associated with classic cars and smoking herb seemingly never gets caught in drama. Instead, he has built a booming brand through releasing more music than just about any rapper on his level. His new collaborative effort Fetti—alongside Freddy Gibbs and entirely produced by Alchemist, is a testament to a catalog that has been in constant demand for upwards of a decade. Spitta recently sat down with the Rap Radar Podcast to discuss the album, his loyal following and a desire to maintain his status as an underground king.
While he’s had stints with labels No Limit, Cash Money, Young Money, Blu Roc/Def Jam, and Warner Bros. Records, Curren$y has made his most critical strides as an independent artist on his Jet Life imprint. That approach has served him well.
“I wait my turn,” he insists. “I never was on [Master] P’s bumper like, ‘Listen to this.’ I was there because of the homie. When somebody asked me what I could do, then that’s my turn. I never was on they bumper about [my Rap career or solo interests]. I used to pass out t-shirts.” In the early 2000s, Spitta was part of a 504 Boyz lineup. He joined P, Silkk The Shocker, Magic, Choppa, T-Bo, and Krazy ahead of 2002’s Ballers album, which cracked the Top 50 on the charts.
While earning a significant wage was an objective, Spitta never obsessed over it, because in his mind, it was just meant to be the way that it is. Like No Limit’s later years, that was the case during a fruitless period at Lil Wayne’s Young Money. “Where Da Cash At?” was a successful record, but the anticipated album never following. At 21:44, Spitta talks about “rolling the dice” and having faith in a higher power, which in turn ensures appropriate rewards from the universe. He continues, sharing his first interaction with Jadakiss at (22:02), where the LOX rapper acknowledged his Rap skills, but was more impressed by his determined spirit. “He was like, ‘You can rap and all that sh*t, but you was like, ‘Nah, I’ma do my own thing,’ and then you just did that sh*t!’” Spitta, who was rumored to have turned down an offer to be a Maybach Music Group artist in the early part of this decade, was a front-running example for an artist who does more independently.
To this day, Curren$y has no qualms sharing his music with the faithful masses, knowing his efforts will always come back to him. “I put [music] out, and if they get it for free, they get it for free,” he says. “But when I’m in they town, they can’t bootleg that. You gotta come off that $20 or $30.” Curren$y’s tours and spot dates have led him to a collection of an estimated 35 cars and several N.O. properties. During the Rap Radar interview, Spitta even admits that he bought an early-2000s model Bentley because it was the year that he thought he’d get one. The Rap industry had other plans.
The new father recalls an era when he recorded a string of mixtapes that are, to this day, considered classic material by many. His explanation is vivid, as he describes the 700-square-foot apartment and makeshift booth that helped him create improvisational magic. Among the items he used to record were a mic taped around an overturned chair, a tube sock and a wire hanger for the filter.
“Some people give me the credit I’m supposed to get, but I don’t give a f*ck about that,” he says, describing his impact on culture. As for collaborations, it’s something he’s all but perfected. Take the How Fly project with one Wiz Khalifa for example. “It changed the game. It changed how people smoke. It changed how people dress. It changed music,” he says with unbridled confidence. “That’s why a lot of those young dudes give it up to me.” Alluding to how comfortable he is with his place as an underground legend, Spitta shares another exchange with Talib Kweli where the Brooklyn rapper complimented his “Push Thru” collaborator (a song that also features Kendrick Lamar) about how loyal his fans are.
“You like the best and the worst buddy, because the people who listen to you, don’t want to hear shit else,’” the veteran says. The truth is, Curren$y’s overall trajectory and unwillingness to switch it up for the fetti, is a direct refutation of a verse made famous by one Shawn Carter:
“I dumbed down for my audience to double my dollars / They criticized me for it, yet they all yell ‘holla’ / If skills sold, truth be told, I’d probably be lyrically Talib Kweli / Truthfully I wanna rhyme like Common Sense But I did 5 mill’ – I ain’t been rhyming like Common since.”
#BonusBeat: Today, Spitta released “Flatbed Ferrari”:
Galt MacDermot has died at the age of 89 today (December 17). It was one day before his 90th birthday. Although family members confirmed the news, according to Rolling Stone, a cause of death has not been made public.
In the early ’60s, MacDermot—who studied at South Africa’s Capetown University, relocated in New York City. He produced Julian “Cannonball” Adderley during this time. Towards the end of the decade, the emerging composer partnered with lyricists Gerome Ragni and James Rado to work on Hair, which debuted off-Broadway in 1967. In the 1970s, Galt lent his talents to Two Gentlemen Of Verona, a modernized William Shakespeare adaptation.
Ahead of his death, Galt MacDermot embraced his extended following through Hip-Hop, Rare Groove, and crate diggers. While Madlib sampled the great, Galt released his Up From The Basement series with some help from Now-Again Records. It included some Hair takes.
Ambrosia For Heads extends condolences to the family, friends, and fans of Galt MacDermot.
Galt MacDermot has died at the age of 89 today (December 17). It was one day before his 90th birthday. Although family members confirmed the news, according to Rolling Stone, a cause of death has not been made public.
In the early ’60s, MacDermot—who studied at South Africa’s Capetown University, relocated in New York City. He produced Julian “Cannonball” Adderley during this time. Towards the end of the decade, the emerging composer partnered with lyricists Gerome Ragni and James Rado to work on Hair, which debuted off-Broadway in 1967. In the 1970s, Galt lent his talents to Two Gentlemen Of Verona, a modernized William Shakespeare adaptation.
Ahead of his death, Galt MacDermot embraced his extended following through Hip-Hop, Rare Groove, and crate diggers. While Madlib sampled the great, Galt released his Up From The Basement series with some help from Now-Again Records. It included some Hair takes.
Ambrosia For Heads extends condolences to the family, friends, and fans of Galt MacDermot.
Kanye Westand his wife Kim Kardashian were in New York Monday night (Dec. 3) to take in The Cher Show on Broadway, but Yeezy wasn’t as attentive as he could have been. One of the actors in the show called out West on Twitter, to which the rapper responded with kindness and an apology.
An actor in “The Cher Show” ripped Kanye West on Monday night, chiding the rapper for staring at his cellphone during a performance.
Jarrod Spector — who plays Cher‘s former husband and musical companion Sonny Bono in the Broadway musical — tweeted at the “Yeezus” star after the show’s debut.
“Hey @kanyewest so cool that you’re here at @TheCherShow!” Spector wrote.
“If you look up from your cell phone you’ll see we’re doing a show up here. It’s opening night. Kind of a big deal for us. Thanks so much.”
The show opened at the Neil Simon Theater. Three actresses — Stephanie J. Block, Teal Wicks, and Micaela Diamond — depict the singing sensation.
The outlet added that West apologized via Twitter shortly after Spector’s missive.
“the dynamics of Cher and Sonny’s relationship made Kim and I grab each other’s hand and sing “I got you babe”
please pardon my lack of etiquette. We have so much appreciation for the energy you guys put into making this master piece,” Yeezy wrote.
the dynamics of Cher and Sonny’s relationship made Kim and I grab each other’s hand and sing “I got you babe” please pardon my lack of etiquette. We have so much appreciation for the energy you guys put into making this master piece.
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