Latest news with #Gamma
Yahoo
2 days ago
- Entertainment
- Yahoo
Mariah Carey Confirms Release Date For 16th Album ‘Here For it All'
Mariah Carey has shared the release date for her upcoming 16th album Here For it All, with the pop icon confirming the record will come out September 26. Carey shared the news on her Instagram Monday morning, sharing a brief snippet of her vocals on what seems to be the album's title track. Here For It All marks Carey's first album since 2018's Caution, which released through Sony's Epic Records and debuted at Number 5 on Billboard's 200 Albums chart. More from The Hollywood Reporter Bruce Springsteen Joins Zach Bryan for Surprise Appearance at New Jersey Concert Chris Martin Jokes About Kiss-Cam Scandal at First Coldplay Concert Since Video Went Viral Travis Scott's 'JackBoys 2' Tops Chart, Ends Justin Bieber's Six-Album Streak of No. 1 Debuts Back in June, Carey had disclosed that she signed a multi-album deal with Larry Jackson's independent music company Gamma, and she subsequently released the album's lead single 'Type Dangerous,' which debuted at 95 on Billboard's Hot 100 and marked her first non-holiday single to hit the chart since 2017. She debuted the song at the BET Awards. View this post on Instagram A post shared by Mariah Carey (@mariahcarey) 'It's a cultural shift, and I'm excited to be part of something that honors legacy while pushing boundaries,' Carey told Forbes of her Gamma partnership and her next album. 'This next chapter is about owning my narrative and creating freely on my own terms.' 'Type Dangerous' was co-written by Anderson .Paak and was accompanied by a Joseph Kahn-directed music video featuring a cameo from Mr. Beast. Best of The Hollywood Reporter From 'Party in the U.S.A.' to 'Born in the U.S.A.': 20 of America's Most Patriotic (and Un-Patriotic) Musical Offerings Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Most Notable Deaths of 2025
Express Tribune
2 days ago
- Entertainment
- Express Tribune
Mariah Carey announces new album 'Here For It All' — what we know so far
Mariah Carey has officially announced her long-awaited sixteenth studio album, Here For It All, scheduled for release on September 26 via independent label Gamma. The pop icon revealed the news on social media Monday morning, sharing a brief video featuring her signature strut in spike heels and a teaser of the title track playing in the background. Here For It All 🦋 My new album out 9/26 🦋 Pre-order now! — Mariah Carey (@MariahCarey) July 21, 2025 The album rollout began in early June with the release of its lead single, 'Type Dangerous,' co-written and co-produced with acclaimed musician Anderson .Paak. The track, which channels Carey's classic sound, samples Eric B. & Rakim's 'Eric B. Is President' and features a cameo from YouTuber Mr. Beast in the official video. Although the full tracklist remains under wraps, Carey has hinted that the next single could be titled 'Sugar Sweet.' In a 2024 interview with Variety, Carey shared her excitement about the new material, saying she had written several songs and was in the process of deciding which ones to include on the final album. Here For It All marks her first full-length project in seven years, following 2018's Caution, which was released through Epic Records and featured collaborations with producers like Skrillex, Mustard, No I.D., and Timbaland. Carey's new album also marks a major career move. She is now signed to Gamma, an independent label founded in 2023 by music industry veterans Larry Jackson and L.A. Reid. According to Forbes, Reid will serve as executive producer on the album through his company Mega. 'It's a game-changing moment,' Reid said, highlighting the significance of a global superstar partnering with a self-contained indie label rather than a major record company. With anticipation building, Here For It All promises a return to form for Carey and a new chapter in her storied career.
Irish Examiner
4 days ago
- Irish Examiner
Photojournalist Gilles Caron's life and disappearance, bearing witness to conflict
France was already six years into its war with Algeria when journalist Gilles Caron was drafted into the French army. During his two years serving as a paratrooper in Algeria — from July 1960 to April 1962, two months of which he spent in a military prison for refusing to fight — he wrote daily to his mother Charlotte, whom he affectionately called Mame, often sending several letters in a day. In them, he recounted stories of what he was witnessing and his thoughts about a war to which he was opposed. One line from this cache of letters provides a valuable contextual insight into Caron's future motivations and actions. He writes: 'I can't understand how I'm not hidden away in a department in Algiers. Well yes, I know, I wanted to see…'. Bogside No Entry. Pic: Gilles Caron I wanted to see. Gilles Caron's desire to observe the world and bear witness to what he saw would ultimately define the trajectory of his life. Caron's lens went on to document many of the era-defining conflicts of the 20th century — the Six-Day War, Vietnam, Biafra, The Troubles — as well as the scenes and stars of 1960s Paris, creating a body of photojournalism that comprises a peerless document of social change and historic events. The 100,000 photographs Caron took during this time highlight his incredible talent as a storyteller, an artist and a fearless journalist. It's an extraordinary legacy for someone whose career was so brief. Bogside slingshot man. Pic: Gilles Caron Gilles Caron disappeared while on assignment in Cambodia on April 5, 1970, leaving behind his wife, Marianne, and their two daughters, seven-year-old Marjolaine, and two-year-old Clémentine. He was 30 years old. 'My mother learned about it on the radio. When she turned on the radio in the morning, she learned that Gilles Caron had disappeared,' says Marjolaine Caron when I ask what her memories are of that time. The now 62-year-old visual artist speaks in French; also on our Zoom is Frederique, who translates, and Anne-Laure Buffard, Gilles Caron's gallerist. Marjolaine's father had been staying at The Royal hotel in Phnom Penh, having reluctantly travelled to Cambodia to document the growing unrest in the wake of a March 18 coup deposing head of state Norodom Sihanouk. Soldats britanniques. Pic: Gilles Caron Writing to Marianne during his time in Phnom Penh he said: 'I am all about family life now, and [news agency] Gamma needs to find a replacement for me.' Caron had become increasing conflicted about the role of the photojournalist as bystander, wondering if it was it enough to just bear witness to the horrors of war. Bogside soldiers. Pic: Gilles Caron On Sunday, April 5, Caron, on the hunt for a story about the escalating conflict, was captured, along with three others, on National Road 1 in Cambodia's Parrot's Beak region, which was controlled by Vietnamese communist forces and the Khmer Rouge. 'It was quite a shock for her,' recalls Marjolaine of her mother's reaction to the radio report relaying the news that her husband was missing. 'She was like [she was] frozen.' Caron was one of almost 40 journalists who would disappear during the five years of the Cambodian civil war. His remains have never been found. Marjolaine Caron: 'When my father disappeared, my sister was two years old. She doesn't have those memories.' Marianne was left in limbo, not knowing if her husband was alive, dead, or being subjected to torture. 'My mother was constantly waiting for news,' Marjolaine says, explaining that she would regularly hear false reports Gilles might be on the next plane. 'So she was still waiting for his return. Without knowing if he was dead, if he was a prisoner, if he was going to come back, if he wasn't going to come back.' Some years ago, Marjolaine asked her mother if she recalled how she had reacted to the news of her father's disappearance. 'She told me that I had asked her two or three times, where was my father? When was he going to come back? And she told me that she didn't know.' Seven year-old Marjolaine had 'fits of despair. Two, three fits of despair, where I cried for a very long time, very loudly. And then, it was over. Afterwards, we didn't talk about it anymore… I wasn't going to ask her again when he was coming back, she wasn't going to tell me she didn't know.' Should there be news of her father, the child knew that her mother would tell her and so, she says, 'I didn't ask the question again'. For the family, there would be no funeral, no closure, and, says Marjolaine, very little support, either from Gamma or her father's colleagues, bar from fellow photojournalist Raymond Depardon. Caron was finally declared dead on September 22, 1978. Demonstration of catholics to defend their rights. Pic: Gilles Caron Despite only knowing her father for a few short years, Marjolaine has evocative memories of them together. She recalls accompanying him to a Parisian café near their home — 'I remember the ambience of that café, me in front of my father, the smoke, the atmosphere… it was a special moment, I think, for me' — as well as a trip to the cinema in his red Volkswagen 'which smelled of leather… of Gauloises' to see The Jungle Book, at which she asked her father 'why boys had long hair' (doubtless referencing Mowgli's French-style bob). She feels privileged to have these recollections of her papa. 'When my father disappeared, my sister was two years old. She doesn't have those memories.' Despite the torturous limbo into which the Carons were plunged, not knowing if Gilles was alive or dead, the three of them coped as best they could, with Marjolaine largely continuing to be the 'happy little girl' she'd always been, perhaps trying, she thinks now, to be joyful for her mother's sake. Bogside women group. Pic: Gilles Caron 'I was in symbiosis with my mother', she says, noting that she never saw Marianne 'really depressed or having anxiety attacks, of tears. I never witnessed that. I think she really held on in front of her children.' Marianne held no bitterness towards her husband for the legacy of his life choices, says Marjolaine. 'She adored my father. She wanted him to be able to do what he wanted to do. She especially didn't want to prevent him from doing what he wanted to do. So she never held it against him.' Marjolaine doesn't either. 'What I think is that he was very young when he left for Algeria, and then he started doing his job; he was 25… and everything happened very quickly. Between the trauma of the Algerian War that he experienced and then my birth [nine months] after [he returned from] the Algerian War…Things happened too quickly for him to have time to think and I can't say that I blame him. That doesn't mean I'm not angry [he disappeared]. But I don't blame him [for his choices].' Bogside molotovs. Pic: Gilles Caron Caron's images of war were powerful and influential. If his 1967 photographs of the bloody battle at Vietnam's Dak-To appear familiar, it's perhaps because there are echoes of their essence in Kubrick's Full Metal Jacket and Coppola's Apocalypse Now; both directors collected Caron's work. Similarly, Caron's images of an Orange march from his stint in Derry in August 1969 are said to have inspired the Droogs' attire in A Clockwork Orange. His iconic images of the Battle of the Bogside were given 10 pages in Paris-Match, with a young boy in a gas mask holding a Molotov cocktail making the cover. Bogside Belfast soldiers. Pic: Gilles Caron Afterwards, Gilles Caron said: 'It's quite simple. I was in Ireland before anyone else. The evening before the fighting broke out, I had arrived to cover a march… In Paris, they thought there was no point in sending someone. The demonstrators took the arrival of the British Army to be a victory for the Catholics. I thought it was all over and I was going to leave when things started up again in Belfast. I took a taxi from Derry to Belfast. I worked all day and all night then got on a plane to London and gave my photos to a passenger who was flying on to Paris. That meant that Gamma had the originals the following day before the slow coaches in the English papers. The guys from Paris Match arrived on the Saturday when I was leaving.' Bogside Bradley Sons. Pic: Gilles Caron 'I think he really wanted to be able to tell both sides,' Marjolaine says of those images. 'He was still very sensitive to the revolt and the energy.' Caron's photographs are incredibly dynamic, perfectly framed and, despite featuring events of almost half a century ago, seem somehow timeless. He gets extraordinarily close to his subjects and in doing so he tells their story, giving his images an authenticity and power that is arguably unparalleled in photojournalism. Manifestante republicaine Bogside. Pic: Gilles Caron Marjolaine travelled to Cambodia in 2012. In Phnom Penh, she unveiled a plaque honouring her father. She told The Cambodian Daily: 'When I arrived and the plane landed, I was feeling very oppressed. It was very hard for me. I was crying. I didn't think I could come to this country. Because I didn't think I could do anything to find him. I would like to find some bones or something. I would like it very much, because we have nothing.' Marjolaine, gallerist Anne-Laure points out, has carried 'this very heavy story and heritage' her entire life, while also searching for her own identity as an individual. Of her father's work, Marjolaine says, 'I feel like I've always known these photos. I don't know when I discovered them, but I feel like I've always lived with them, I've always known them somewhere… These photos are part of my life.' The Park Hotel Kenmare is showing a selection of photographic works from its own collection by renowned photojournalist Gilles Caron from July 24 until August 24, for more information, see Read More Discover Ireland's hidden gems with these memorable guided tours
Campaign ME
14-07-2025
- Business
- Campaign ME
Where is the agency model headed?
Where is the agency model headed? That's the question we asked ourselves recently when Saudi FMCG brand invited us to pitch for the launch of their new product category. It was a full-service brief covering brand positioning, launch campaign, execution, media planning, and buying. Naturally, we were told it would be a multi-round process. Our first instinct? Here we go again. Weeks of back-and-forth, creative wars, long nights, and internal sparring, with the hope of landing the final knockout punch. But there was a shift. And before deciding how to respond, we paused. We chose to be still. Because sometimes, stillness gives you more answers than constantly operating at 100 miles per hour. We handed the entire pitch to one of our account directors. Just one person. No departments. No internal back-and-forth. Just clarity, creativity, and the right tools. He worked solo, using ChatGPT for strategy, Midjourney for visualisation, Gemini VEO for mockups, and Gamma to bring it all together. We told the team, 'Let's enjoy the moment and just observe.' What we witnessed was one person, deeply familiar with the FMCG space, who called the LLM model Rhea. Yep, he named her and interacted with her like a human. The outcome? More nuanced, relatable outputs – especially critical, considering the brief was designed to appeal to Gen Z. We saw that same person transform scattered notes into a powerful, insight-led presentation while the rest of the team stood still, watching in awe. Not of him, but of where we are clearly heading. One person. A full-service pitch. The result? Account in the bag. What is the future of agencies? It was answered in real time. It became clear that the future of agency work may not require multiple layers to be effective. A single person, equipped with the right tools and clarity, can deliver what previously required entire teams. This isn't a celebration of solo heroes. It's a wake-up call to how radically the agency model is being reshaped. For decades, agencies have operated in silos, with strategy in one corner, creative in another, and media somewhere else, all held together by process-heavy workflows and a reliance on manpower. But the game is changing. Smart individuals, using intuitive and powerful tools, can ideate, plan, create, and deliver campaigns at a speed and scale that would have been unthinkable just a few years ago. This is not about replacing teams. It's about recalibrating how we work. What once required a room full of people can now, in some cases, be done by one person with range. Not because they're superhuman, but because they understand how to prompt, adapt, and build using the platforms available to all of us. The barriers to entry have fallen and with them, the myth that size guarantees capability. Agencies that remain locked in traditional structures – layered hierarchies, long approval chains, departmental dependencies, risk becoming too slow for today's market. The ability to move from brief to execution rapidly, without compromising quality, is becoming the expectation, not the exception. Brands are shifting gears too. Many now expect their agency partners to function like business collaborators, not just execution arms. They're looking for problem-solvers who bring strategic thinking, creativity, and operational efficiency to the table, not just polished decks. So where does that leave the industry? It leaves us at a crossroads. One path continues business as usual, with large teams, disconnected tools, and the belief that more heads equal better output. The other embraces a new reality. One where tools have democratised execution, and agencies are training teams to think cross-functionally, become fluent with AI, and adopt more agile, leaner models. AI is no longer a future disruptor. It is already levelling the playing field. Small agencies, freelancers, even in-house brand teams now have access to the same creative firepower once reserved for large networks. The difference no longer lies in access; it lies in how well people think and how quickly they act on that thinking. In this new era, thinking smart will matter more than thinking big. So, as agencies and brands, we need to ask ourselves: Are we building cultures that reward curiosity, experimentation, and efficiency rather than just process? The future is here. It belongs to the curious, the clear, and the calm – those who move with intent and pause with purpose. By Sameer Abdur Rehman, Founder and CEO, Xplore
Daily Mail
08-07-2025
- Entertainment
- Daily Mail
Mariah Carey, 56, continues to show off her jaw-dropping weight loss... as she hits Disneyland as the eternal diva enlists an umbrella-carrying aide to protect her from the sun
She has been showing off her incredible new physique in recent weeks. And Mariah Carey made no exception as she headed to Disneyland on Monday, during which she donned a skin-tight look to help showcase her frame. The Always Be My Baby hitmaker, 56, wore a bardot black top with a pair of black and white patterned trousers and $1075 (£790) Christian Dior wedges. In a nod to her surroundings, she wore a pair of Minnie Mouse ears with oversized sunglasses as she shielded herself from the sun. Known for her diva ways, Mariah was assisted by an aide who held an umbrella over her head to prevent the sun beating down. Mariah looked incredible in the ensemble, which made the most of her tiny waist and eye-popping bust following her recent weight loss. Earlier this month, the hitmaker then sat down with DJs Ebro Darden and Zane Lowe to chat in LA, where she teased her upcoming sixteenth studio album. It marks her first LP in eight years and first since partnering with new music company Gamma for her comeback, after leaving label Epic Records, who released her last album Caution in 2018. Last month, Mariah released the lead single, Type Dangerous, which debuted at number 95 on the Billboard Hot 100. Chatting to Zane and Ebro, she teased: 'What is next? Well it's the album coming out! I don't want tell too much about it because I just don't want to reveal the whole thing.' However, the All I Want For Christmas star confirmed that the album was finished and would be made up of '11 or 12 songs', before adding: 'We got some Mariah ballads' to cheers from the crowd. She continued: 'Second single is coming soon, I've very excited about it. It's very summery, I like the beat as well'. According to Forbes, the songstress, who has 19 number one singles, is aiming to get her 20th chart topper with Type Dangerous. 'She's fighting to stay contemporary,' her longtime producer LA Reid told the publication. And it appears her name still carries much weight in the music industry, after it was reported that fellow superstar Beyoncé 'bowed down' to Mariah and moved out a £25k-a-night penthouse for her. The singer, 43, had booked a 12-night stay at the Corinthia while performing at London's Tottenham Hotspur Stadium last month. However, she reportedly moved out when self-confessed diva Mariah touched down in London, to play at Capital's Summertime Ball. A source told The Sun: 'Superstars as big as Beyoncé and Mariah want to stay in only the best hotels. Beyoncé had been staying in Corinthia's penthouses. 'But when Mariah flew in, Beyoncé packed up so Mariah could take over her suites. It was like Beyoncé was bowing down to another music queen.'
