Musician Gab

Bachata singer Romeo Santos has announced that he is a father for a second time. Santos made the announcement through social media, posting a photo of his baby's feet along with the cover of his next album. Billboard can confirm Santos' new baby is a boy.

In the past few days, Santos has been giving clues about a new musical project, and in the post he confirmed that new music is on the way and that his next album is called Utopia.

See the post below:

Source: https://www.billboard.com/articles/columns/latin/8504261/romeo-santos-baby-announcement

The Hollywood Reporter brings word that Netflix has acquired the rights to director Anne Fletcher’s new film Dumplin’ starring Friends alum Jennifer Aniston. The film is based on Julie Murphy’s 2015 best-selling novel of the same name about child beauty pageants.

RELATED: Jennifer Aniston Joins Pageant Film Dumplin’

The original novel is set around an overweight teenager named Willowdean, nicknamed “Dumplin‘” by her mom. Will is full of confidence and comfortable with her body, despite the fact that her mother Rosie was a beauty queen in her teen years. She doesn’t really mind getting teased about her weight. She meets a boy named Bo who might be interested in her and now Will is starting to have feeling of self doubt. Throughout the story, she and her mom Rosie have to deal with what they’ve done for each other, and change their relationship.

Like the novel, the film follows the story of Dumplin’, who signs up for her mom’s pageant as a protest that escalates when other contestants follow in her footsteps, revolutionizing the pageant and their small Texas town. Aniston as Rosie with Danielle Macdonald as the titular character. Other cast members include Odeya Rush (Goosebumps), Dove Cameron (Descendants), Harold Perrineau (Lost), Bex Taylor-Klaus and Ginger Minj. 

RELATED: Netflix Buys Global Rights to Soderbergh’s NBA Drama High Flying Bird

Said to feature music as a prominenant factor, the film will include new versions of Dolly Parton songs re-recorded by the legendary artist. Furthermore, Parton will collaborate with musicians like Sia and Miranda Lambert and pen six new original songs (co-written by Parton and Linda Perry). Other music artists such as Alison Krauss, Elle King, Mavis Staples and many others are also contributing to the original motion picture soundtrack for the film.

Dumplin’ is slated to premiere later this year on Netflix and will also have a theatrical release in select U.S. theaters.

(Photo Credit: Getty Images)

Eighty Ninety is "raging against growing pains" on its new single "Got Your Message," according to the sibling duo's Abner James.

The melodic track appears on Eighty Ninety's upcoming second EP Bowery Beach Road, due out later this year, and is "about these difficult transitional things that we go through as we leave youth and transition to something where you're a little bit more of an adult," according to Harper James. "It's about wanting to be with someone but knowing on a more rational and intellectual or practical level that they're not good for you and understanding the differences." Abner, who at 30 is two years younger than Harper, adds that, "It's about facing that reality and then also understanding that an experience or relationship like that can be meaningful, even if you know it has to end."

And both James brothers feel that "Got Your Message" shows the benefits of being in their early thirties. "Getting a little older, you've got a lot more emotional clarity, which is not a bad thing," says Harper, who also produces other indie acts. "You have some clarity over some of the confusions and heartbreaks and suffering you don't really understand when you go through them in your twenties. This whole (EP) comes from that point of more clarity, for sure."

Bowery Beach Road is the Brooklyn act's second EP, following 2017's Elizabeth -- whose "Your Favorite Song" showed up on Taylor Swift's Songs Taylor Loves playlist on Spotify. Eighty Ninety continues to be something the brothers do when Harper has free time between production jobs, but Abner says there are usually "tons of songs" around whenever they do get a chance to work together.

"Our creative process is fairly open and organic and there's room to work and sit on stuff and come back to it," Harper explains. "One of the best things about (Eighty Ninety) is it grew organically out of our lives." Abner adds that, "It turns out we have very complementary skill sets and passions in making records," with Harper in particular as the studio perfectionist. "We both have so much respect for the other person's process and ability," Abner says. "If we're both happy with something at the end, then it's something we want to share."

The James gang hopes to share it on stage soon, too -- and they're adamant that it will be a truly live concern. "One of the things we always wanted is to be a band, not a DJ duo," Harper says. "When we do play live it's sort of like indie rock meets pop rather than straight pop." Abner, meanwhile, clarifies that, "I think we'd feel more comfortable on a tour with The 1975 or LANY than with the Chainsmokers. We definitely want to play our music."

Frozen, if you can remember anything beyond that fucking song, was loosely based on a Hans Christian Andersen story from the 1800s. Or that's what Disney wants you to think. In reality, or at least in the reality that Isabella Tanikumi lives in, Frozen is a blatant ripoff of her 2010 autobiography, appropriately titled Living My Truth.

By now you're probably recalling how Frozen featured magic, a talking snowman, and several elaborate musical numbers. But any thieving hack can invent supplementary details like those. Only a true artist can invent the elements that Tanikumi claimed Disney stole, including the fact that both stories take place in a village at the base of a snow-covered mountain, feature loving sisters who are close in age, and use open gates as metaphors. Perhaps the biggest gotcha is that both stories contain a key scene set under the moon, because we all know that only the bravest artists use the moon in their work, while most fear and shun it.

Tanikumi sued for $250 million and the immediate cessation of sales of all Frozen merchandise, which at their peak represented 37 percent of America's GDP. Because honestly, what's more likely? That Disney injected some common tropes and their own trademark style into a fairy tale, or that a gigantic corporation capable of employing as many writers as its black heart desires stumbled across a book self-published in Peru and decided that they had to steal this groundbreaking idea about sisters who go on an adventure?

Walt Disney Pictures"I rode in a sleigh once, this is plagiarism! ... Well, a bus, but close enough."

Now, there is a whole genre of frivolous lawsuit wherein the creator of an obscure work will sue the creator of a popular work to get free publicity (a small army of hacks sued J.K. Rowling for the attention). But given that Tanikumi's books aren't easily available, she's been going on about this for years, and she's been alleging that Facebook is suppressing her rambling demands for justice, she appears to be a true believer.

On one hand, her claims are beyond inane, and while the government keeps reminding us that we're not legal experts, it seems like the ruling should obviously be in Disney's favor. On the other hand, Disney responded to the suit by telling Tanikumi to "let it go," so we demand that the courts award her a billion dollars.

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It pays to be Megyn Kelly: The former Today host is nearing a $30 million settlement to finalize her exit from NBC News, according to the New York Post.

The $30 million represents the full value remaining on the reported $69 million contract Kelly signed when she joined NBC News in January 2017 after a long stint at Fox News. The deal won’t be officially locked down for at least another week, sources tell the Post, but “everyone wants this to be over — both Megyn and NBC — and Comcast has the money to pay off Megyn.”

Kelly’s daytime talk show Megyn Kelly Today was cancelled last month after a series of on-air controversies, with the host coming under fire for not understanding why blackface is wrong. The ratings weren’t great, either: Megyn Kelly Today was regularly topped by rival Live! With Kelly and Ryan. Kelly’s nighttime news magazine Sunday Night With Megyn Kelly was a misfire as well, with NBC quietly pulling it off the schedule after just eight airings.

This might not be the last we see of Kelly on our TV screens, though: The Post‘s sources expect her to “take a short break from TV and return to cable news ahead of the 2020 election.”

"PETE HOLMES: DIRTY CLEAN," HIS SECOND HBO STAND-UP SPECIAL, DEBUTS DEC. 15

Before his hit comedy series "Crashing" kicks off its third season next year, an HBO favorite headlines his second stand-up special on the network when PETE HOLMES: DIRTY CLEAN debuts SATURDAY, DEC. 15 (10:00-11:00 p.m. ET/PT).

The special will also be available on HBO NOW, HBO GO, HBO On Demand and partners' streaming platforms.

Taping next month at the Aladdin Theatre in Portland, Ore., his latest comedy hour finds Holmes confronting personal truths about the mechanisms of consciousness, Michael Jackson, the afterlife and Elon Musk, as well as sharing a few thoughts on being a new dad. The exclusive presentation will be directed by Marcus Raboy, who also directed his first HBO special, 2016's "Pete Holmes: Faces and Sounds."

Holmes is co-creator and star of the critically acclaimed HBO comedy series "Crashing," which is co-executive produced by Judd Apatow and Judah Miller. The show draws on his own experiences as a comedian, offering a behind-the-scenes look at the world of stand-up comedy in New York City.

He also hosts the popular podcast "You Made It Weird," which has featured such guests as Larry Charles, Garry Shandling, Zach Galifianakis, Sarah Silverman, Norman Lear, Deepak Chopra and Tig Notaro, among many others, and previously hosted the cable program "The Pete Holmes Show." In addition, Holmes has appeared on "Jimmy Kimmel Live!," "Conan" and "The Tonight Show Starring Jimmy Fallon," as well as starring in two other cable comedy specials, and has voiced characters for "American Dad," "Ugly Americans" and HBO's "Animals." He has also animated several cartoons for the New Yorker magazine.

PETE HOLMES: DIRTY CLEAN is executive produced by Pete Holmes, Dave Rath, Neal Marshall, Marcus Raboy; produced by Oren Brimer and Rhonda Freeson; directed by Marcus Raboy; written by Pete Holmes.

The label's annual showcase includes core label artists Voigt & Voigt, Justus Köhncke and Gui Boratto.

Every month, Philip Sherburne sifts through the never-ending avalanche of new DJ mixes online to bring you the best of the bunch. August’s picks skew toward the clubbier end of the spectrum, thanks to peak-time energy from Nightwave, Courtesy, and Titonton Duvante, but if the end of summer has got you feeling contemplative, headier, moodier sets from Galcher Lustwerk and Katya Yonder may fit the bill. Helado Negro, meanwhile, hangs on to August sunset vibes for all they’re worth.

Galcher Lustwerk – White Material Mix Series #4

A new White Material mix is cause for celebration under any circumstances, especially since they only come around once a year or so—the last one, from Young Male, dropped in January 2017. Not only is this the first time that Galcher Lustwerk, the collective’s most visible member, has helmed the series; the set, drawing on outtakes from his 2017 album Dark Bliss, also comprises all unreleased material, making it something of a companion piece to the all-exclusive 100% Galcher mixtape that was the Ohio native’s breakthrough. In sound and mood, the dreamy set burrows deep into his wheelhouse, with dusky chords swirling above pitter-pat drum machines and hypnotic whisper-rapping. It took a good three years for the highlights from 100% Galcher to turn up on EPs; with any luck, a few of these—like the spellbinding “Untitledxx fixed COOLEST DRIVERS HIGH ORIGINAL,” even more immersive than the album version—will eventually see a proper release.

Nightwave – RA.638

Glasgow’s Nightwave delivers an hour of peak-time thrills in this no-holds-barred set for Resident Advisor, traversing time-tested styles guaranteed to keep a dancefloor on its toes: gravelly acid, buoyant Detroit techno, bare-knuckled breakbeats, and judicious dabs of electro. Despite the considerable force, Nightwave never bangs listeners over the head: More often than not, she fits together even her heaviest tracks with the finesse of someone threading a needle. The final 20 minutes are particularly gripping, as Mella Dee’s Basic Channel-inspired “Woodlands” and Nightwave’s percussive “Bang the Rocks” lead the way to a heart-in-mouth peak in the form of Clark’s “Honey Badger,” followed by Kenny Larkin’s lickety-split “Without Sound.” It’s the rare instance of the denouement outpacing the climax—and further proof of Nightwave’s knack for switching up energy levels.

Courtesy – Mixmag In Session

Denmark’s Courtesy turns up with some frequency in this column, and her new set for Mixmag’s In Session series illustrates why she’s so great. The tempo is fast, the mixing is tight, and her selections are drenched in color and fun. Check the way she slams in a rave-soaked piano-house bomb from 1992 after a bleepy techno meditation from Joey Beltram. She follows that with a clanging segment of a 2001 live set by Cristian Vogel and then feints sideways into a brand-new tune with some new wave flavor from fellow Dane Kasper Marott. Courtesy’s sets are always an education, and she spends the duration of her Mixmag session switching between old and new, setting up a conversation between classics and contemporary tunes that spans decades. Speaking of new releases, keep an ear out for the plangent synths of Schacke’s “Automated Lover,” forthcoming from Courtesy’s brand-new label, Kulør.

Axel Boman – Beats in Space #951

The Swedish DJ Axel Boman’s latest session for Tim Sweeney’s Beats in Space show ranges from melodica maestro Augustus Pablo to the early-1990s Swedish dance-pop group Army of Lovers. Mostly, though, he focuses on new and forthcoming material from his Studio Barnhus label. Much of it comes from the brand-new Studio Barnhus Volym 1 compilation: Paradise Alley’s “What Road” is a toe-scuffing take on downbeat electro-pop; Adrian Lux’s “Teenage Crime (Axel Boman Dub)” is a slow-motion acid tearjerker graced with winsome falsetto. There’s some unreleased music in there too, including a sweet, dubby stepper from Boman himself. The whole thing is as lazy as an August daydream—the kind of dance music for which the mere idea of dancing suffices just as nicely as the act.

Maral – Mix for the Astral Plane

Back in March, the Los Angeles DJ Maral turned in an unusual set that took the Iranian folk of her upbringing and recast it as a kind of shape-shifting ambient music. Now, in a mix for the Astral Plane, she applies her heavily hands-on aesthetic—radically reshaping source material with time-stretching, dub effects, and cut-and-paste techniques—to a much broader palette. There’s still plenty of Iranian influence here, from the addition of tombak drums to interwoven field recordings from across the country; there are also tracks from Blawan, Le Tigre, Cassie, 1960s crooner Glen Campbell, and anarcho-punks Crass, most of them reworked nearly beyond recognition. It’s rare enough to find all those names in the same tracklisting; it’s all the more fascinating when they’ve been so forcefully rearranged, and so seamlessly interwoven with a musical tradition rarely encountered in a club-music context.

Titonton Duvante – Truancy Volume 223

Titonton Duvante is one of the unsung heroes of American house and techno. Perhaps it’s because he’s from Columbus, Ohio—not Detroit or Chicago or New York—that’s kept his star from rising higher, but his 1990s output on labels like Metamorphic, Phono, and his own Residual is a wellspring of deep, kinetic machine funk. That sensibility carries through to his DJ sets today, whether it’s in the bass squelch that pops up around the 41-minute mark here or the swinging, heavily syncopated grooves he tends to favor over a straight four-to-the-floor stomp. Heavily layered and peppered with spinbacks, this hourlong session—complete with synth disco from I:Cube and an unexpected foray into heavy-hitting UK bass—treats the art of the DJ like a jigsaw puzzle; it’s all about the joy of finding elements that fit together perfectly.

Katya Yonder – Métron Mixtape 055

The Métron Mixtape series has carved out its terrain along the periphery of ambient home listening and globe-trotting experimental sounds, and this set from Russia’s Katya Yonder offers a particularly atmospheric example of that aesthetic. Building on the ethereal sounds of last year’s Winter Skins, the Yekaterinburg composer has written and recorded an entire album’s worth of new material for the occasion. Vibraphones and shimmering drones of faintly Japanese provenance give way to sentimental synth pop and vaporous strains of early Oneohtrix Point Never; there are echoes of Philip Glass and classical minimalism, and one particularly satisfying passage suggests the Blade Runner theme reimagined by Cocteau Twins. The déjà vu runs deep; after just a few listens, I feel like I’ve known some of these songs for years.

Helado Negro – Phonic Mirror Part 6

Last time I checked in on Helado Negro’s Phonic Mirror series, his warm, melodic mix of sounds got me thinking about backyard barbecues. His latest update zeroes in on that neighborhood vibe, sourced from stoop sales and secondhand shops around his stomping grounds of Crown Heights, Flatbush, and surrounding Brooklyn neighborhoods. This set’s even sunnier than Part 3 was: Themed around “music from islands, islets, reefs and cays,” it’s a feast of Caribbean vibes, from calypso to reggae to discofied hybrids. Full of steel pans, analog synths, and drifting close harmonies, all topped off with a suggestive layer of vinyl fuzz, it’s a true late-summer treat.