A rep for the pop star calls “Daily Mirror” report “100 percent false.”
A representative for Bruno Mars says a report claiming he will portray Prince in a new movie is “100 percent false.”
The Daily Mirror, a British tabloid, published a story over the weekend saying that Mars was “being lined up to play Prince” in a biopic to air on Netflix. The story was picked up by several online sites and was circulating widely.
But Mars’ representative says the story is not true and Netflix says there’s no film in development.
Paul Cockerton, online deputy digital editor, said in an email to The Associated Press that the paper was reaching out to the reporter on the story to see if it needed to be corrected or clarified and checking with Netflix and Mars for an official statement.
ITS NOT TRUE GUYS! BRUNO LOVES AND RESPECTS PRINCE WAY TOO MUCH TO EVER PORTRAY HIM IN A MOVIE! BRUNO WOULD NEVER!
Following a slow start in terms of attendance Thursday on day one of Lollapalooza 2018 in Chicago’s Grant Park, day two did brisk business early, with a massive crowd gathered on the festival’s south end by 4PM central Friday.
All of that can be credited to headliner Bruno Mars. Lollapalooza is the only American festival date Mars has booked and was easily the weekend’s most anticipated concert performance.
A massive throng gathering at the Grant Park main stage more than four hours before Mars’ 8:30PM slot.
Large crowds moved south, seemingly en masse, following sets by Post Malone and Texas pop-rap collective Brockhampton for not just the biggest performance of the weekend, but in recent Lollapalooza history: Bruno Mars.
A giant crowd on the festival’s south end turned out for Red Hot Chili Peppers in 2016. That crowd was topped during a Lollapalooza Chicago homecoming set by Chance the Rapper last summer. But both of those gatherings were easily eclipsed by the one assembled Friday night for Bruno Mars.
Mars is the rare pop star whose appeal spans generations, conjuring up images of Prince for fans on the older end alongside an unquestionable charisma that’s ageless.
“Is Chi-Town in da house?” asked the star rhetorically following “24K Magic” second in his set. Fireworks soared above the stage, interacting with the Chicago skyline to provide a virtually unparalleled urban festival backdrop.
Mars, who barred photographers from his set, continued to roll out the hits, following quickly with “Treasure.”
“Chi-Town, I wanna see y’all movin’!” he declared, working the immense crowd into a frenzy with “Perm.”
Bruno Mars will have quite the homecoming run when his 24k Magic World Tour hits Honolulu in November. The Grammy-winning singer has added a third date to his stop at Aloha Stadium, Nov. 8. Reacting to high demand, the bonus show comes ahead of already booked performances on Nov. 10 and 11, all three of which have sold out.
After hitting Europe, the Far East and Australasia, Mars’ tour, produced by Live Nation, picks up its North American route on Sept. 7 in Denver, Colorado.
In booking the trio of homecoming shows, Mars becomes the first artist to break the concert attendance records of U2 and Michael Jackson, both of whom played for two nights at the 50,000-capacity stadium.
Tickets moved swiftly as Mars offered priority sales to zip code-restricted Hawaii residents for the first 48 hours.
Playing two nights in Hong Kong in May, Mars grossed $4,814,632 on ticket sales of 27,847, according to Pollstar.
The 24K Magic trek marks Mars’ first full-length tour since his Moonshine Jungle Tour launched in 2013, which sold 2 million tickets globally across 155 sold-out dates.
When Bruno Mars stopped at Madison Square Garden last year during his 24K Magic Tour, he didn’t feel the need to dress up—hitting the stage in sneakers, shorts and a pastel baseball jersey with the word “HOOLIGANS” displayed backwards on the front. Periodically, artillery-grade pyrotechnics pummeled the eardrums of the sellout crowd, while those within 200 feet felt flames nearly close enough to singe an eyebrow. As Mars told me the last time I interviewed him: “You gotta be fearless, man.”
The “Uptown Funk” singer—who closed his set in New York with the song whose 3 billion-plus YouTube views place it in the all-time top ten—can do whatever he wants these days. In addition to being one of the biggest stars in the music firmament, Mars is among a handful of high-profile acts who no longer answer to a traditional artist manager, choosing instead to take control of his own career starting two years ago.
For the 32-year-old Mars, the move has paid off. He’s garnered more than 1 billion streaming spins over the past year and raked in a career-best $100 million pretax—his tour has grossed upwards of $300 million since its 2017 launch—placing him at No. 11 on Forbes’ Celebrity 100 list and securing his place as America’s highest-paid musician. Best of all, Mars doesn’t have to hand over as much as 20% to a manager. Instead, he relies on salaried staff, with an estimated cost in the low six figures—a setup that should save him at least $10 million this year alone.
Of course, handing over a cut of income isn’t anathema to all musicians. Many of the industry’s top-paid acts still rely on high-powered managers, from U2 (who are managed by Guy Oseary and earned $118 million last year) to Katy Perry (Martin Kirkup, Bradford Cobb and Steve Jensen, $83 million) to Calvin Harris (Mark Gillespie, $48 million). Given those numbers, some argue that a well-connected guide can prove to be a bargain.
“It depends on whether you see it as giving up 10-20% or whether you see it as somebody that you’re going to bring into your organization that’ll add more than 20% worth of value to your business,” says Gillespie. “If you’re running a large business, you want people to be motivated to grow and build that business, and to be aligned with you. I think the reason why it has worked for us for a long time historically is because it brings that alignment.”
Yet other musicians on the Celebrity 100 have eschewed managers, for various reasons. For Beyoncé, it was partly a way to break free from a controlling father; for Taylor Swift, the reasoning may have had to do with a preference for her existing support network; for Jay-Z, Diddy and Dr. Dre—the top three musicians in America in terms of net worth—helming their own careers appears to be part of their identities as self-made moguls.
“Managers have existed, but really only for Puff Daddy the artist and really not in the traditional sense of … a manager being somebody who kind of tells an artist what to do,” said Diddy’s lawyer Kenny Meiselas in an interview for my book, 3 Kings. “More of kind of like a right-hand man, who would help him execute on the artist side.”
For Bruno Mars, who has never tried to present himself as a businessman, it was something quite different, all part of a fascinating tale that’s a bit of an open secret in Hollywood circles—indeed, many of the people I interviewed for this story asked not to be mentioned by name—but fully reported for the first time here.
In 2011, when I met Brandon Creed, the manager who oversaw Mars’ rise to superstardom, he told me how he and Mars were planning to take their time building a following, playing smaller venues on a joint tour with singer Janelle Monáe rather than take the plunge on a bigger solo excursion or open for a better-known name playing arenas. In the meantime, Mars made songs like “Billionaire,” in which he dreamed of how his future wealth would land him on the cover of Forbes.
“I wouldn’t have to worry about, you know, ‘I can’t afford to get breakfast, so I’ll wait until lunchtime to eat,’” Mars explained of his aspirations.“If I was a billionaire, none of that would matter. I’d be eating diamond cereal.”
Bruno Mars and his then manager Brandon Creed share a laugh on the red carpet at the State Department Dinner for the Kennedy Center Honors in 2014. Bruno Mars and his then manager Brandon Creed share a laugh on the red carpet at the State Department Dinner for the Kennedy Center Honors in 2014.
Creed helped Mars get closer to that goal, and their long-view strategy paid off: The singer’s Moonshine Jungle Tour, which started in 2013, grossed more than $150 million. After earning an estimated $8 million in 2011, Mars made the Celebrity 100 list for the first time in 2014 with income of $60 million, then again in 2015 at $40 million.
Mars’ ascent occurred in the midst of a fundamental shift in how music gets monetized. Decades ago, acts often lost money while touring to promote their albums, with managers and artists alike filling their coffers with the proceeds of hefty sales of recorded music. But as piracy and then streaming cut into that income—and as new territories like Australia, South America and Eastern Europe built modern, U.S.-style 15,000-to-20,000-seat arenas —the equation changed. Suddenly, top stars were willing to break even on music in order to sell out huge venues and make millions.
For managers, this was a quite a shift as well. In the past, albums had been an annuity of sorts: They would still get their cut of steady sales even if an artist subsequently fired them. That’s not the case with tours—once they’re over, they’re over, along with the cash they generate. There are more distribution channels now too: a bevy of streaming services and video outlets in addition to radio and physical.
“It means that there are more places to be able to showcase the artists’ music,” says Gillespie. “It also means that you’re managing a lot more relationships. … The title ‘manager’ has always remained the same, but the role has changed a lot.”
In recent years, some decided to give themselves a bit more security. Many joined a major rollup like Live Nation’s Artist Nation, which boasts more than 60 managers, including Oseary and his Maverick group. Others went a different route. In 2013, Scooter Braun—the man behind acts from Justin Bieber to Ariana Grande—raised roughly $100 million, much of it from Kansas financial services outfit Waddell & Reed, to purchase large stakes in various companies, including the firms operated by the managers of Drake, Lady Gaga, Jason Aldean and others.
One A-list act that wasn’t known to be part of that deal at the time: Mars. According to multiple sources, Creed sold half his company to the Waddell-backed fund for a low-eight-figure sum—but didn’t tell his biggest client.
“There was some unhappiness there,” says Robb McDaniels, a longtime music executive. “If the manager does sell their company … effectively what they’re doing is they’re monetizing their artists’ contracts and artist relationships and not sharing that with the artists.”
Around the time Mars finally found out about the nature of the deal in 2016, sources say, he split with Creed and took his management operations in-house, though only Mars can say how much of his decision was influenced by this discovery as opposed to the allure of keeping a larger chunk of his income. He continues to remain silent on the topic—a spokesperson for Mars declined to comment, as did Creed himself.
“While some people may speculate about why Bruno and Brandon agreed to go their separate ways, the facts are only known by them,” says a source close to Creed. “Brandon is proud of their long partnership and always wishes Bruno ongoing successes.”
Mars’ day-to-day affairs now appear to be headed up by Aaron Elharar, a relative unknown whose LinkedIn profile lists his profession as artist management and previous experience in enterprise business development, with no mention of Mars. He did not reply to a request for comment.
Still, Mars’ management situation seems clear enough. His official website points to “email@example.com”; Gorilla Management’s website consists simply of the outfit’s name, the words “FULL FUEGO” and the same email address. Gorilla lists no other clients and didn’t reply to a request for comment. A search of public records reveals the company was registered in both California and Delaware, formed in 2002—right around the time Mars moved from his native Hawaii to Los Angeles to pursue his musical dreams. Gorilla’s website wasn’t registered until 2016, the year Mars split with Creed; Elharar’s email address is listed in the filing. And then there’s this: The first song written for Mars’ Unorthodox Jukebox—his last album with Creed—is called “Gorilla.”
Despite the split from Mars two years ago, Creed is still thriving. Not long after selling half his firm to Braun, he teamed up with a different management powerhouse, merging his company with that of rising star Jeffrey Azoff to create Full Stop Management. Their combined roster now includes Harry Styles, Sara Bareilles, Bon Jovi and the Eagles.
Neither Waddell & Reed nor Braun would agree to be interviewed for this story, so it’s hard to say definitively how the deal worked out for the financial giant; a quick scan of Waddell’s recent annual reports reveals nothing related to music management. At the end of the day, the outlay is barely noticeable for a company with some $80 billion in assets under management.
Braun, meanwhile, has become one of Hollywood’s most important power brokers. In addition to his management roster, which he runs with help from an army of young surrogates, he’s also active in a range of other ventures including Silent Labs, through which he’s invested in startups including Uber, Spotify, Casper and Pinterest.
The music management space continues to change. Two years ago McDaniels cofounded a company called Faction to give acts the tools needed to self-manage with the help of an app that connects social accounts, streaming platforms and other relevant business information in one place. If an artist takes off, Faction can offer up staffers with actual management experience for a flat fee or a 5-10% cut; that arrangement has also attracted established musicians including electronic star Paul Oakenfold.“We’re trying to experiment with this new management model,” says McDaniels, who now serves as chief of Beatport while chairing Faction. “And it’s showing some kind of a success.”
As streaming continues to soar and acts like Mars disrupt the music industry, traditional management is becoming a less enticing career path.
“A lot of young managers who have made a lot of money in management are shifting their minds towards starting record labels, and a lot of them are partnering up with majors,” says Justin Lubliner, 28, who manages acts including teenage sensation Billie Eilish and boasts his own label, Darkroom Records, with Interscope. “There’s a big perceptional shift from management being sexy to the record labels being sexy, because people want to own. People don’t want to get fired anymore.”
As for Mars, don’t look for him to slow down anytime soon. His 24K Magic Tour will continue through mid-November. If the past year is any indication, he should be able to easily afford a box of those diamond cornflakes—and he certainly won’t have to fork over a big bite to anyone else.
Janet Jackson and Bruno Mars are set to ‘collaborate’ for a single and ‘and have pencilled dates in to record tracks for Janet’s next album.’ This is the collaboration that many of us didn’t even know we needed – but it makes all the sense seeing as Bruno is a huge fan of Janet’s and has been influenced by her work for years. Janet – who recently delivered her first live TV performance in over nine years at the Billboards Music Award – is in the studio recording her next album and is enlisting the help of the 24k Magic hitmaker, our source tells us. Bruno is set to ‘collaborate’ with Janet Jackson
The insider exclusively told Metro.co.uk that Bruno was over the moon when he found out his icon was a fan of his work. The source said: ‘The pair have been friends for a while but decided now is the perfect time for them to collaborate after catching up at the Billboard Music Awards. ‘Bruno was raised on Janet’s music and was floored when he found out that she was a fan. Janet is working on a new album ‘They speak on the phone often and have pencilled dates in to record tracks for Janet’s next album.’ Janet, who recently revealed Bruno’s music is the first her one-year-old son Eissa connected with, currently lives in London and is expected to record the single with the singer in the city with Grammy Award-winning producing duo Jimmy Jam and Terry Lewis.
‘Jimmy Jam and Terry Lewis are to produce and it’s set to be a single,’ the source added. ‘Janet lives in London so some of the recording sessions will take place here.’ Janet made her a triumphant return to the public eye with her appearance at the Billboards on 20 May, where she picked up the Icon Award – becoming the first black female artist to do so. After making a speech which called out domestic abuse and solidified her support for the #MeToo movement, the 52-year-old returned to the main stage to perform after Bruno’s introduction.
Performing a mash-up of some of her biggest hits, Janet kicked things off with a rendition of her 1986 song Nasty – with her family members, including mother Katherine and nephew Prince Michael, shown on screen at various points during the performance proudly beaming up at the singer. She then performed If and Throb – both of which featured on her self-titled fifth studio album – to round off a stellar return to from the younger sister of the late singer Michael Jackson.
The Poetic Justice actor’s swagger and confidence on stage made for a welcome return to the stage after a lengthy period away – and hopefully, a collab from Bruno will add to the sparkle.
Kendrick Lamar, Ed Sheeran, Luis Fonsi, and Bruno Mars were the big winners at the 2018 Billboard Music Awards in Las Vegas on Sunday night (20May18).
The quartet picked up the bulk of the honours at the ceremony, which was a mix of emotional tributes and activism, blasts from the past and show-stopping performances.
Kendrick was a six-award winner, clearing up most of the rap trophies, while Bruno took home the R&B honours, and Sheeran picked up the Top Artist of the Year and Top Male Artist awards among his six-award haul, and Fonsi collected a handful of trophies for his crossover hit Despacito.
There were also multiple wins for Imagine Dragons, The Chainsmokers, Chris Stapleton, Luis Fonsi, U2, and Taylor Swift, who was named Top Female Artist. The ceremony began on a sombre note with host Kelly Clarkson ignoring calls to lead a moment of silence for the victims of Friday’s (18May18) Santa Fe High School massacre in Texas and urging viewers to leap into action to change gun laws.
The show kicked off with Ariana Grande performing an emotional version of No Tears Left to Cry two days before the first anniversary of the bomb attack outside her Manchester Arena, England concert, and other performance highlights included Christina Aguilera and Demi Lovato debuting their women’s anthem Fall in Line, and Shawn Mendes and Khalid, who teamed up with the choir from Florida’s Marjory Stoneman Douglas High School for a rendition of Youth.
The schoolmates were involved in the last major high school shooting in February.
Other show-stopping moments came from boy band BTS, Macklemore and Kesha, Icon Award winner Janet Jackson, who belted out her 1986 classic Nasty, and Salt-N-Pepa, who closed the show with a rousing hits medley, including Push It and Whatta Man with En Vogue.
The full list of 2018 Billboard Music Awards winners is:
“The name ‘Jackson’ represents artistic genius and iconic performance,” Bruno said while presenting the award. “The Jacksons are music royalty and the first family of entertainment…She is an activist… She’s a humanitarian. She’s a powerful woman. And she is the first black woman to receive the Billboard Icon Award.”
During her acceptance speech, Janetreferenced the Me Too movement.
“I believe that for all the challenges, for all our challenges, we live at a glorious moment in history,” she said. “It’s a moment where at long last, women have made it clear that we will no longer be controlled, manipulated or abused. I stand with those women and with those men equally outraged by discrimination who support us in heart and mind.”
Bruno Mars holds a special place in her heart, because “Bruno was really the first music my son responded to.”
“During and after his birth, I comforted myself with Brazilian jazz, music that always relaxes me,” Jackson explained. “Then when the baby began crawling, Bruno was breaking out big and on the radio all the time. That delighted both of us. Bruno is a throwback to the days when the greatest artists could do it all: write, sing, dance, produce.”
Janet Jackson speaking about Bruno in new article, click link to read more.
HONOLULU (HawaiiNewsNow) – Grammy Award-winning musician Bruno Mars is coming back to Hawaii – and this time, he’s performing at Aloha Stadium.
Hawaii News Now has learned that the Hawaii native and Roosevelt High School graduate is adding Hawaii to his list of states for his current 24K Magic World Tour.
No dates have been announced by Mars or his management team, but multiple sources say it will likely take place in November.
Mars’ latest album, 24K Magic, swept the Grammy Awards in January, winning both the Record and Album of the Year awards. The album’s hit single, ‘That’s What I Like,’ won the Song of the Year award.
He last performed in Hawaii at the Blaisdell Arena in April of 2014, at the start of his ‘Moonshine Jungle’ World Tour. Tickets for his three shows were snatched up in record-setting time, within just a few hours.
People also stood in long lines waiting to buy tickets only to find out that they were sold out within hours. It’s believed that many of these tickets were sold to scalpers on the mainland.
The incident changed the landscape of big concerts in Hawaii, prompting lawmakers to push legislation preventing people from scalping tickets.
Copyright 2018 Hawaii News Now. All rights reserved.
To mark the start of Asian American Pacific Islander Heritage Month as well as the 50th anniversary of the first recognized usage of the term “Asian American,” nonprofit collective Gold House has launched the A100, a to-be-annual list of the most influential Asian Americans and Pacific Islanders from the past year.
The inaugural list features plenty of increasingly recognizable faces, including artists Bruno Mars and Kehlani, Crazy Rich Asians’ Constance Wu and Awkwafina, as well as comedians Hasan Minhaj and Ali Wong. Jon M. Chu, director of Warner Bros.’ highly-anticipated Crazy Rich Asians (the first Hollywood studio film with a predominantly Asian-American cast in a quarter-century), is also on the list, as are Master of None co-creator Alan Yang and Forest Whitaker’s producing partner Nina Yang Bongiovi (Fruitvale Station, Dope, upcoming Sorry to Bother You).
Also making the shortlist is CAA Music agent Caroline Yim; and Robert Lopez, the American songwriter of musicals, best-known for co-creating The Book of Mormon and Avenue Q and for composing the songs featured in the Disney-animated films Frozen and Coco.
Asian Americans currently represent about 6 percent of the U.S. population but are the country’s fastest-growing segment, according to a 2017 Nielsen report, and as AAPIs expand their presence in culture, making a list like the A100 has become more than a mere headcount of semi-famous Asians. An emphasis was placed on those who “significantly impacted or disrupted society and culture over the past year,” which resulted in a forward-looking final selection. Thus, recently promoted executives like DC Entertainment president Walter Hamada and Amazon Studios co-head of television Albert Cheng made the cut, alongside Lisa Nishimura, vp of Netflix’s burgeoning original comedy and documentary division.
The selection process began with open nominations from 36 major AAPI community leaders as well as Gold House’s hundreds of Asian-American creative and business leader members. Ultimately the honorees were winnowed down by a multicultural committee that included Whitaker, Pharrell Williams, Michelle Kwan and Janice Min, media consultant at NBCUniversal Cable Entertainment and THR parent company Valence Media.
The A100 also features individuals who are proudly claimed by the community but who others may be surprised to discover are of Asian descent, including double EGOT winner Robert Lopez (part-Filipino), Comcast chief diversity officer Craig Robinson (part-Chinese) and model/Twitter master Chrissy Teigen (part-Thai).
“All too often, the impact of Asians in the worlds of media, fashion, the arts, activism and sometimes even technology is unseen or understated,” selection committee member Khai Meng Tham, co-chair and chief creative officer at Ogilvy & Mather, said in a statement. “The A100 uniquely cuts across genders, pan-Asian ethnicities, beliefs, industries and generations. I’m so proud of them and of Gold House for this incredible initiative.”
The full inaugural A100 list can be found at Gold House’s website. The 2018 class will be feted at an event this summer in Los Angeles.