Latest news with #TellMeSomethingGood
Yahoo
13-05-2025
- Entertainment
- Yahoo
In the court of R&B royalty with Chaka, Patti, Gladys and Stephanie
Near the end of an evening ruled by queens, a king was keeping Chaka Khan waiting. 'Stevie Wonder's in the house tonight,' Khan said late Sunday as she stood in the spotlight at Inglewood's Kia Forum. 'I don't know where he is.' The veteran soul-music star wandered over to the edge of the stage, the black fringe of her bedazzled cape swaying with every step, and peered out into the crowd. 'Steve, you over there?' Khan was in the middle of her set to close Sunday's installment of a traveling R&B revue called 'The Queens' that launched last week in Las Vegas and has her on the road through the fall with three fellow lifers in Patti LaBelle, Gladys Knight and Stephanie Mills. (One longs to have been in the room when they decided who plays last.) She'd come out singing 'I Feel for You' — saucy, casual, effortlessly funky — then glided through 'Do You Love What You Feel' and 'What Cha' Gonna Do for Me.' Now her would-be special guest was nowhere to be found. 'Stevie Wonder!' she said again, attempting to summon him to the stage. 'We go back a long, long way. I remember once we did a tour, he and I — must have been back in the '80s, the '70s or something. It was that long ago. We were on tour for dang near two years. Two friggin' frack years.' Khan went on for a minute about a vexing old record deal then seemed wisely to think better of that. 'Call him,' she instructed the crowd, which started up a 'Stevie' chant. 'What?' boomed a voice at last over the sound system. It was Wonder, shuffling out from the wings wearing his signature shades and beret to join his old friend for — well, for what? Khan had set up Wonder's cameo by saying they should do 'I Feel for You' again since Wonder played harmonica on the original record in 1984. But Wonder didn't appear to have gotten that note: After clasping hands with Khan, he started telling the story of writing 'Tell Me Something Good' a decade earlier for her group Rufus, which led Khan to cue her backing band on that number instead. And what a number it was — that slinky up-and-down riff still a marvel of rhythmic ingenuity that inspired Khan and Wonder to go off in a volley of ad libs like the seasoned pros they are. Signs of life such as that one are precisely the reason to go to a concert like 'The Queens,' in which the vast experience of the performers — Mills was the youngest at 68, LaBelle the oldest at 80 — serves not as a safeguard against the unexpected but as a guarantee that whatever might happen is fully roll-with-able. Mills got up there Sunday and discovered an unwelcome climate situation — 'I wish they would cut that air off,' she said, 'it's blowing so cold on me' — but went ahead and sang the bejesus out of 'Home,' from 'The Wiz.' LaBelle put out a call for willing men from the audience — 'Black, white, straight, gay,' she made clear — then presided over an impromptu talent show as each guy did a bit of 'Lady Marmalade' for her. And then there was Knight's handler, who seemed to show up a few beats early to guide her offstage after 'Midnight Train to Georgia.' No biggie: He could just stand there holding her arm gently for a minute while she traded 'I've got to go's' with her background singers. Another reason to go to 'The Queens,' especially on Mother's Day, was to behold the finery displayed onstage (and in the crowd). Knight wore a crisp red pantsuit with glittering figure-eight earrings, Mills an off-the-shoulder mermaid gown. LaBelle showed off two outfits, emerging in a silky blue suit before changing into a long tunic-style dress. During 'On My Own,' she kicked off her heels, sending them hurtling across the stage; later, she spritzed herself from a bottle of fragrance then spritzed the front row for good measure. As a three-hour program — Knight opened at 7 p.m. on the dot — Sunday's show moved quickly, with a rotating stage that whirred to life after each woman's set. And of course nobody stuck around long enough to offer up anything but hits. The musical pleasures were the ripples of detail in all those familiar tunes: a little ha-ha-ha Knight used to punctuate 'That's What Friends Are For'; LaBelle's frisky vocal runs in 'When You Talk About Love,' which she sang as a stagehand came out to help put her in-ear monitor back in; the way Khan toyed with her phrasing in 'Through the Fire,' slowing down when you thought she'd speed up and vice versa. (Nobody wants to start a fight here, but Khan was undoubtedly the night's best singer.) After bringing the Mother's Day audience to its feet with 'I'm Every Woman' — somewhere out there was Khan's own 91-year-old mom, she said — she started to make for the exit when her band revved up the throbbing synth lick from 'Ain't Nobody.' 'Oh, one more?' she said to no one in particular. 'S—. One more!' Get notified when the biggest stories in Hollywood, culture and entertainment go live. Sign up for L.A. Times entertainment alerts. This story originally appeared in Los Angeles Times.
Los Angeles Times
12-05-2025
- Entertainment
- Los Angeles Times
In the court of R&B royalty with Chaka, Patti, Gladys and Stephanie
Near the end of an evening ruled by queens, a king was keeping Chaka Khan waiting. 'Stevie Wonder's in the house tonight,' Khan said late Sunday as she stood in the spotlight at Inglewood's Kia Forum. 'I don't know where he is.' The veteran soul-music star wandered over to the edge of the stage, the black fringe of her bedazzled cape swaying with every step, and peered out into the crowd. 'Steve, you over there?' Khan was in the middle of her set to close Sunday's installment of a traveling R&B revue called 'The Queens' that launched last week in Las Vegas and has her on the road through the fall with three fellow lifers in Patti LaBelle, Gladys Knight and Stephanie Mills. (One longs to have been in the room when they decided who plays last.) She'd come out singing 'I Feel for You' — saucy, casual, effortlessly funky — then glided through 'Do You Love What You Feel' and 'What Cha' Gonna Do for Me.' Now her would-be special guest was nowhere to be found. 'Stevie Wonder!' she said again, attempting to summon him to the stage. 'We go back a long, long way. I remember once we did a tour, he and I — must have been back in the '80s, the '70s or something. It was that long ago. We were on tour for dang near two years. Two friggin' frack years.' Khan went on for a minute about a vexing old record deal then seemed wisely to think better of that. 'Call him,' she instructed the crowd, which started up a 'Stevie' chant. 'What?' boomed a voice at last over the sound system. It was Wonder, shuffling out from the wings wearing his signature shades and beret to join his old friend for — well, for what? Khan had set up Wonder's cameo by saying they should do 'I Feel for You' again since Wonder played harmonica on the original record in 1984. But Wonder didn't appear to have gotten that note: After clasping hands with Khan, he started telling the story of writing 'Tell Me Something Good' a decade earlier for her group Rufus, which led Khan to cue her backing band on that number instead. And what a number it was. That slinky up-and-down riff still a marvel of rhythmic ingenuity that inspired Khan and Wonder to go off in a volley of ad libs like the seasoned pros they are. Signs of life such as that one are precisely the reason to go to a concert like 'The Queens,' in which the vast experience of the performers — Mills was the youngest at 68, LaBelle the oldest at 80 — serves not as a safeguard against the unexpected but as a guarantee that whatever might happen is fully roll-with-able. Mills got up there Sunday and discovered an unwelcome climate situation — 'I wish they would cut that air off,' she said, 'it's blowing so cold on me' — but went ahead and sang the bejesus out of 'Home,' from 'The Wiz.' LaBelle put out a call for willing men from the audience — 'Black, white, straight, gay,' she made clear — then presided over an impromptu talent show as each guy did a bit of 'Lady Marmalade' for her. And then there was Knight's handler, who seemed to show up a few beats early to guide her offstage after 'Midnight Train to Georgia.' No biggie: He could just stand there holding her arm gently for a minute while she traded 'I've got to go's' with her background singers. Another reason to go to 'The Queens,' especially on Mother's Day, was to behold the finery displayed onstage (and in the crowd). Knight wore a crisp red pantsuit with glittering figure-eight earrings, Mills an off-the-shoulder mermaid gown. LaBelle showed off two outfits, emerging in a silky blue suit before changing into a long tunic-style dress. During 'On My Own,' she kicked off her heels, sending them hurtling across the stage; later, she spritzed herself from a bottle of fragrance then spritzed the front row for good measure. As a three-hour program — Knight opened at 7 p.m. on the dot — Sunday's show moved quickly, with a rotating stage that whirred to life after each woman's set. And of course nobody stuck around long enough to offer up anything but hits. The musical pleasures were the ripples of detail in all those familiar tunes: a little ha-ha-ha Knight used to punctuate 'That's What Friends Are For'; LaBelle's frisky vocal runs in 'When You Talk About Love,' which she sang as a stagehand came out to help put her in-ear monitor back in; the way Khan toyed with her phrasing in 'Through the Fire,' slowing down when you thought she'd speed up and vice versa. (Nobody wants to start a fight here, but Khan was undoubtedly the night's best singer.) After bringing the Mother's Day audience to its feet with 'I'm Every Woman' — somewhere out there was Khan's own 91-year-old mom, she said — she started to make for the exit when her band revved up the throbbing synth lick from 'Ain't Nobody.' 'Oh, one more?' she said to no one in particular. 'S—. One more!'
Yahoo
10-05-2025
- Yahoo
Shelter in place warning issued after menacing call in Syracuse
SYRACUSE, N.Y. (WSYR-TV) — Onondaga County 911 confirmed that the shelter-in-place warning sent out for Onondaga, New York, was due to a menacing call in Syracuse. Onondaga County 911 clarified that the shelter-in-place warning only applies to residents who live within a .25 mile radius of the incident on Tallman Street. Onondaga County 911 confirmed that Syracuse Police officers were sent to Tallman Street just after 3:30 a.m. on May 10 for a menacing call. The shelter in place warning said, 'A civil authority has issued a shelter in place warning for the following counties or areas; Onondaga, NY, at 7:01 a.m. on May 10, 2025. Effective until 9:01 a.m.' Sunshine returns this weekend Shelter in place warning issued after menacing call in Syracuse Tell Me Something Good: The end of the Vietnam War Trump tacks toward Ukraine amid renewed calls for ceasefire Trump millionaire tax hike idea upends Republican political wisdom We have reached out to Syracuse Police and are waiting to hear back. We will continue to update this story as we learn more. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
BBC News
25-04-2025
- Entertainment
- BBC News
Ewan McVicar: Working classes are being 'priced out' of culture
When Ewan McVicar was a a teenager, he would spend what money he had going to clubs while dreaming of becoming a superstar having realised his ambition, he fears the next generation of working class kids are being priced out of Scottish 31-year-old, who brings his Pavilion festival back to his native Ayr over the first weekend in May, is concerned the rising cost of going to gigs or clubs will stop people being energised by told BBC Scotland News he often felt alienated at industry events because they are dominated by people from affluent backgrounds. McVivar was working in a cold storage warehouse when his cover of Rufus track Tell Me Something Good cracked the Top 20 in the UK went on to be downloaded more than 83m previously spent years training to be a teacher, before deciding to to pursue his passion for DJ traces this back to watching rave documentaries as a teenager and going to nights at Glasgow's legendary Sub Club able to spend a few pounds and take in music is something that is increasingly rare, with major concerts often costing three figures, aided by controversial dynamic pricing systems - where the cost can increase if demand is high. "Going to clubs and gigs changed my life," he says."I ended up working at the Sub Club so I could see my favourites for free, and before that I'd spend a fiver going to see any DJ - that inspired me. "If I couldn't afford to do that, then none of this would ever have happened. "If you look deeper, that's where my story started – going to see a DJ or a band can change your life." McVicar's father died before he was born and, growing up in Ayr, he had to work hard for believes the current state of play will squeeze out people from ever getting into the music industry."Working class people getting priced out of things is getting worse and worse," he says."I know what it is like to be skint. About five years ago I was living off my overdraft. "If you look at football, working class people are being priced out of going to games and that's true in music too. "Look at the Brit Awards, nearly all the winners were privately educated apart from Sam Fender. "I feel quite alienated at these events where you'll ask someone how they got into there to perform and they'll say it's because their dad did this and that."I worked my buns off to get where I am." That attitude is why the Pavilion festival - named after a famed Ayrshire club night in the 90s - is so important to launched the event two years ago, having long wanted to make use of the Low Green area near the beach in the town. More than 7,000 people attended each day of the this year he has expanded it to three days, with the first day on 2 May presenting bands including James and will play the middle day of the festival alongside an array of other DJ's, including Annie Mac and Ben he is excited about the final day when Madchester pioneers the Happy Mondays top the bill. "Pavilion in the 90s was predominantly a rock club, where STREETrave [veteran Ayrshire promoters] happened to do dance events. "So I always kinda wanted to get bands into the festival."It's mental. If you said before the festival started that the Happy Mondays would be playing on the Low Green, then you'd be like 'aye, sure'." McVicar says there was plenty of scepticism surrounding his plans to hold events in Ayr, but also local support as now has the backing of South Ayrshire Council, who previously stated the weekend bash gave a "massive" financial boost to the there is one supporter of the event far more important than anyone else - his baby son Mac, who arrived in December."I've been back on tour the past couple of months and it gives me more of a purpose than ever," he smiles. "I was scared in a way because my whole life has always revolved around music and now I have even more of a reason to do bigger and better things. It's for him. "When I get home from tour the best thing ever is just seeing him smiling."You've done three flights but you see him and exhaustion just goes away." 'It feels crazy to be doing stuff this big' He admits the past year has seen some big changes, like Mac's arrival and buying his first home with fiancée Aimei Melvin. McVicar's life has changed musically too - he broke up with his management last year, having felt they didn't understand what he wanted from his career. Now, having performed in Japan and Korea, he has booked an American tour and also hopes to release new music."I definitely pinch myself," he says."It feels crazy to be doing stuff this big. There's a Scottish thing of being hard on yourself, and sometimes I don't give myself a pat on the back. "You see other artists and they're so confident, it almost verges on arrogance. "Maybe it would be easier to be like that - but I suppose it makes me who I am."
News.com.au
25-04-2025
- Entertainment
- News.com.au
Chaka Khan blows Sydney crowd's minds with powerful pipes and smoking hot jumpsuit
After the Queen of Funk Chaka Khan whipped the Sydney Opera House concert hall into a heaving dancefloor over two wild shows this week, her adoring fans were all raving about two things. That powerful voice, which has lost none of its range or potency. And how Khan rocked that glittering jumpsuit at 72. Before the ageless superstar took the Opera House stage this week, her stellar band of musicians and backing singers warmed up the crowd with an old school soul show introduction, demanding everyone 'get up on your feet'. And for most of the next 80 minutes, everyone stayed on their feet as Khan and her crew romped through a tight setlist of songs from her old band Rufus and her signature solo hits from the 80s. Just a week after the equally age-resistant Cyndi Lauper concluded her joyous farewell tour of Australia, so Khan demonstrated at her opening Sydney show that music is one of those rare careers that keep you young. The septuagenarian superstar stamped her intentions with the opening number, This Is My Night, from her mid-80s pop peak when the funk star became a bona fide global chart star. The crowd cheered when she introduced Tell Me Something Good, the 1974 hit for the band Rufus, written by Stevie Wonder. A strategically-positioned onstage fan acted both as a hair prop to billow those disco-frizzed locks and airconditioning for the all-singing, all-dancing diva who admitted she was sweating up a storm in that body-hugging jumpsuit. 'It's hotter than the dickens,' she told the crowd as she then went old school and cooled herself down with a giant ornamental fan, a rare accessory on a concert stage these days. While most pop concerts now are tightly choreographed affairs with big screens, dazzling production and the same setlist every night, Khan brought back the old showbiz stardust of a freewheeling concert which also trained the spotlight on her peers. Cynics may suggest those moments where the backing vocalists take the lead or the guitarist stretches out in a solo are just to buy time for the main attraction to get their breath back. But when you've got singers and players as good on stage, why wouldn't you let them do their thing? 'Maybe I'm gonna sing a bit of background with the girls … improv … nothing better than off the cuff,' she told her fans. By the time she got to her signature hits, the 1978 classic I'm Every Woman and 1983 dance smash Ain't Nobody, the beaming Khan was feeling the love from the euphoric crowd. 'Thank you mums and dads for playing my songs for your kids; and thank you grandparents for playing my songs for your kids.'
