Rhythm Showbiz and Celebrity Breaking News

A trio of incredible music festivals will be taking over Southport's Victoria Park as part of the Seaside Weekender Festival this July.

Tina Turner‘s cause of death has been revealed one day after she passed away at age 83.

Tina Turner has passed away at the age of 83, after a lengthy battle with a long, unspecified illness.  The legendary singer died at her home in Kusnacht near Zurich, Switzerland. Her representatives announced the news, saying: 'With her the world loses a music legend and role model. 'Did Tina Turner have any children? Was the singer married prior to her death? Read on below for all you need to know about the legendary vocalist's family.   The 'Queen of Rock 'n' Roll' had two biological children.

Tina Turner rose to fame alongside her ex-husband, Ike Turner, in what seemed to be a musical match made in heaven. But it wasn’t until Turner fled the couple's hotel room in 1976 and later revealed the reality of their relationship in a bombshell 1981 interview that the world knew about the toxic marriage the musical icon had survived. "It was my relationship with Ike that made me most unhappy.

A loving mother. Tina Turner had four sons as she navigated life in the spotlight.

Ike Turner, however, was as bad a husband as he was good a songwriter. Violent, addictive and adulterous, he terrorised his wife until she walked out with only a young family and huge debts to show for 15 years at the top of the music industry. Through sheer willpower, however, Tina Turner reinvented herself as a rock singer and slowly rebuilt her career by giving her all, in everything from McDonald’s sales conferences to grimy cabaret venues.

Catherine Bray A Jewish thirtysomething, Ann (Joanna Arnow) has never been in a conventional relationship. She engages in submissive sexual relationships with “sexfriends” and seems dimly uneasy that the most longstanding of these, with Allen (Scott Cohen), is now clocking in at around a decade, with neither one of them knowing very much about the other. She asks him about himself; it turns out he’s a Zionist. She rolls away from him. The anthropologist David Graeber has analyzed the harm caused to society and individuals by the existence of meaningless so-called “bullshit jobs.” Ann is employed in a classic example of one of these: the objectives are hazy, the prospects limited; she is given an award for having worked in her office for one year and has to tell them it’s actually been over three years — and perhaps even worse, she has to go to meetings and listen to Boomers say things like, “the iPhone was invented.”

Jazz Tangcay Artisans Editor Ari Aster‘s three-hour surrealist drama “Beau Is Afraid” marked a tonal shift from his nightmare-inducing films “Midsommar” and “Hereditary.” In the feature, which tackles inherited trauma and mommy issues, Joaquin Phoenix plays Beau, who finds himself on an Odyssean journey to return home after his mother’s untimely death. To score the film, Aster recruited “Midsommar” composer Bobby Krlic, but, unlike their last collaboration, creating the music of “Beau Is Afraid” was a “long and arduous process” as they worked to crack the sound of Beau’s journey. Here, the two discuss their collaboration and how one cue, “Suburban Dream,” helped unlock the film’s sonic landscape.

To this Turkish critic, Nuri Bilge Ceylan is our Mike Leigh and Anton Chekhov in one, with multilayered characters of social and political complexities engaging through dialogue lines that feel both off-the-cuff and studiously planned in their lavish rhythms. Ceylan is also a master of luxuriously slow cinema with a recognizable visual style, haunting, minimalistic and sneakily riveting across textured, widescreen pastoral scenes and dimly-lit interiors that evolve with peerless patience.Written by Ceylan, Akin Aksu and Ebru Ceylan, his latest stunner “About Dry Grasses”—Ceylan’s best feature since “Once Upon a Time in Anatolia”—flutters with all these pictorial qualities and emotional dispositions.

Warwick Thornton is a master maker of images. The first frames of The New Boy – a sweep of dusty ground; a flash of a small boy on a policeman’s back, strangling him; a pre-war telegraph pole, all drenched in the searing white midday light of the desert – create a collage of inland Australia, a world of open spaces. The boy is duly pulled off of the policeman, put in a sack and delivered in the dark to a mission; a nun opens the door to receive the delivery. At that point, the gallery of Thornton’s frame becomes a series of golden brown interiors that could have come from Rembrandt, except that they are peopled with Indigenous boys – Lost Boys, as Sister Eileen (Cate Blanchett) describes them to God – and the trio of adults who look after them. 

Owen Gleiberman Chief Film Critic “Indiana Jones and the Dial of Destiny” is a dutifully eager but ultimately rather joyless piece of nostalgic hokum. It’s the fifth installment in the “Indiana Jones” franchise, and though it has its quota of “relentless” action, it rarely tries to match (let alone top) the ingeniously staged kinetic bravura of “Raiders of the Lost Ark.” How could it? “Raiders,” whatever one thinks of it as a movie (I always found it a trace impersonal in its ’40s-action-serial-on-steroids excitement), is arguably the most influential blockbuster of the last 45 years, even more so than “Star Wars.” Back in 1977, George Lucas took us through the looking glass of what would become our all-fantasy-all-the-time movie culture. But it was Steven Spielberg, teaming up with Lucas in “Raiders,” who introduced the structural DNA of the one-thing-after-another, action-movie-as-endless-set-piece escapist machine. This means that “Indiana Jones and the Dial of Destiny” isn’t just coming after four previous “Indiana Jones” films. It’s coming after four decades of high-priced Hollywood action decadence, from the “Fast and Furious” series to the “Mission: Impossible” and “Terminator” and “Lara Croft” and “Transformers” and latter-day “Bond” films (not to mention the Marvel space operas), all of which owe a boundless debt to the aggro zap of the “Raiders” aesthetic.

NEON announced today that they have taken the North American rights to Spanish filmmaker Pablo Berger’s first animated feature film “Robot Dreams,” based on the award-winning graphic novel of the same name by Sara Varon. The movie will be screened for the first time in Cannes this coming Saturday, May 20 in the Special Screenings section of the festival.

Pat Saperstein Deputy Editor In its first acquisition at the Cannes Film Festival, Neon has picked up North American rights to director Pablo Berger’s animated feature “Robot Dreams” ahead of its world premiere in Cannes on Saturday. The Spanish filmmaker of “Blancanieves” based his first animated feature on the award-winning graphic novel by Sara Varon. “Robot Dreams” screens Saturday in the Special Screenings section of the festival. Neon previously scored three consecutive Palme d’Or wins with “Parasite,” “Titane” and “Triangle of Sadness.” “Robot Dreams” is described as a “universal exploration of the importance and fragility of friendship.” It follows DOG, a New York canine who decides to build himself a robot companion. They become inseparable, to the rhythm of 1980s New York city, until the sad summer night when DOG is forced to abandon ROBOT at the beach.

Neon has acquired North American rights to Robot Dreams, the first animated feature from Spanish filmmaker Pablo Berger (Blancanieves), which is poised to premiere in the Special Screenings section of the Cannes Film Festival this Saturday, May 20th.

Japanese auteur Hirokazu Kore-eda is a perceptive observer of families, keenly detecting the quirks that make an individual unique and the whole stronger and more complicated. 2018’s masterful Palme d’Or winner “Shoplifters” was perhaps the finest display of Kore-eda’s skills and preoccupations as a minimalist artist of mysterious domestic rhythms, informed by social and financial realities.

Retirement is far from Martha Stewart’s mind.

Retirement is far from Martha Stewart’s mind.

It Ends With Us, the film adaptation of Colleen Hoover's best-selling novel of the same name, with a mop of tomato-red curls where her iconic blonde mermaid waves once lived. In the first photos from the set, Lively wears a pink T-shirt and fuchsia jacket layered over a brown dress. The Valentino logo bag in her hand, I'd have to imagine, is the actor's personal tote, and not belonging to Lily Bloom, the florist character she plays in the film.This isn't the first time that Lively has gone red for a role.

Hoda Kotb had to take time off from hosting the Today show when her 3-year-old daughter was hospitalized in March.

An iconic Manchester hotel is set for a facelift — in order to make it safer in a fire.

Hoda Kotb is sharing an update on her 3-year-old daughter Hope Catherine amid her on-going health scare.

Ben Croll Opening this year’s Directors’ Fortnight, “The Goldman Case” soars on rhetoric and singes with political debate, condensing a decade worth of civic upheaval into the narrow contours of a courtroom thriller. At the center of this docudrama is Pierre Goldman (Arieh Worthalter), a left-wing radical appealing a murder charge – alongside a number of other offenses he actually does cop to – who became a galvanizing figure in France of the 1970s. Working with co-writer Nathalie Hertzberg, director Cedric Kahn lifted from the accused’s two trials in 1974 and 1975, from subsequent interviews with friends and associates, and from the pages of the landmark book, “Dim Memories of a Polish Jew Born in France,” that turned the imprisoned Goldman into a left-wing cause célèbre. Growing up amid fellow travelers, Kahn recognized the 1975 tome from his parents’ night table, though he only became familiar with its contents later in life.

Hoda Kotb, recently shared an uplifting update on her three-year-old daughter Hope's health, following a recent scare that saw the young child in intensive care. Speaking at the Webby Awards in New York, where she bagged the Best Interview/Talk Show Podcast for her series "Making Space with Hoda Kotb," the 58-year-old opened up about Hope's condition. "Hope's doing much better, much better," she told PEOPLE.

Thania Garcia Latin hip-hop found its footing in the bicoastal stomping grounds of the East and West Coasts where Spanglish-speaking communities were influenced and surrounded by urban rap and trap. Today that reach is much more global with booming subgenres extending beyond the United States, into Mexico, Puerto Rico and all the way down to Argentina. Amazon Music wants to showcase Latin rap’s growth and multicultural evolution by interviewing and spotlighting its most influential pioneers for hip-hop’s 50th anniversary with the new “Hip-Hop X Siempre” campaign. With visuals designed by Puerto Rican artist COVL, “Hip-Hop X Siempre” invites audiences to explore the intersection between Spanish language hip-hop with unique programming and editorial content including an Amazon Original by Eladio Carrión, and new playlists like “Hip-Hop x Siempre,” “Sin Filtro,” “pov: ur hyped,” “Puro Trap,” and “Puro Rap.”

The Great Escape festival continues today with hundreds of acts performing in venues all over the city.We’ve picked out a handful of the artists we’re most excited to see and are sharing them with you here in the CMU Daily, along with a track to check out from each of them.Listen to all of our selections in this Spotify playlist, and read on to find out more about our next five picks…Marina Herlop – MiuUsing cut-up techniques – building melodies and rhythm out of snatches of sound – Herlop’s new material can at first seem chaotic. Listening feels like being dropped and caught repeatedly, but eventually this sensation becomes something more akin to floating.

see all winners here.ENTERTAINER OF THE YEARChris StapletonFEMALE ARTIST OF THE YEARLainey WilsonMALE ARTIST OF THE YEARMorgan WallenDUO OF THE YEARBrothers OsborneGROUP OF THE YEAROld DominionNEW FEMALE ARTIST OF THE YEARHailey WhittersNEW MALE ARTIST OF THE YEARZach BryanALBUM OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]Bell Bottom Country – Lainey WilsonProducer: Jay JoyceRecord Company-Label: Broken Bow RecordsSINGLE OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]She Had Me At Heads Carolina – Cole SwindellProducer: Zach CrowellRecord Company-Label: Warner Music NashvilleSONG OF THE YEAR [Awarded to Songwriter(s)/Publisher(s)/Artist(s)]She Had Me At Heads Carolina – Cole SwindellSongwriters: Ashley Gorley, Cole Swindell, Jesse Frasure, Mark D. Sanders, Thomas Rhett, Tim NicholsPublishers: Ashley Gorley Publishing Designee; Be A Light Publishing; Colden Rainey Music; EMI Blackwood Music Inc; Songs Of Roc Nation Music; Sony Tree Publishing; Telemitry Rhythm House Music; Universal Music Corp; WC Music Corp; Warner-Tamerlane Publishing CorpVISUAL MEDIA OF THE YEAR [Awarded to Producer(s)/Director(s)/Artist(s)]wait in the truck – HARDY feat.

Pep Guardiola hinted at Manchester City changes for the second leg as they look to make home advantage count against Real Madrid.

Quinta Brunson understands the power of fashion. Over the last several months, the comedian has slayed on every red carpet she’s graced in the best designer garbs. 

When it has come to the art of scoring goals this season, it hasn't been something that Manchester United have been able to master all that easily.

Catching up. Prince Harry and Princess Anne chatted while in attendance at King Charles III‘s coronation in London on Saturday, May 6.

There was surprise to see Ederson on the bench for Manchester City against West Ham.

Pep Guardiola refused to confirm whether Kalvin Phillips has a long-term future at Manchester City, telling the England midfielder that he has to earn his place in the team just like everyone else.

Double trouble? Jennifer Lopez got real about raising teenage twins Emme and Max — and revealed how they are “giving it” to her as a parent.

Chris Willman Senior Music Writer and Chief Music Critic Testimony wrapped up in the Ed Sheeran copyright infringement trial at the end of the court day Wednesday, as the judge sent the Manhattan jury into deliberations with a pointed admonition: “Independent creation is a complete defense, no matter how similar that song is.” U.S. District Court Judge Louis Stanton’s instructions may have left a high bar in the jury’s minds for just how much evidence the plaintiffs’ attorneys needed to have established to prove that Sheeran and his co-writer actually copied Marvin Gaye’s “Let’s Get It On” when they wrote the pop hit “Thinking Out Loud.” According to Insider, Stanton told jurors that the lawyers for the heirs of Gaye’s co-writer, Ed Townsend, needed to “prove by a preponderance of the evidence… that Sheeran actually copied and wrongfully copied ‘Let’s Get It On'” — as opposed to the coincidental, negligible similarities argued by Sheeran’s attorneys.

Blake Lively’s got milk.

Longtime pals Kate Berlant and John Early started honing their craft as comedians via YouTube, in the days it when it was considered “the wild, wild west” and you could post whatever you want. Those 12-minute sketches not only helped them to find a rhythm but ultimately paved the way for Would It Kill You to Laugh?, an hourlong sketch show for Peacock that showcases their specific brand of knee-slappers.