NYU launches course in Lana Del Rey studies

Lana Del Rey‘s extensive back catalog is full of collaborations.

Taylor Swift has revealed that Lana Del Rey features on her upcoming new song ‘Snow On The Beach’.Swift confirmed the collaboration during the final instalment of ‘Midnights Mayhem With Me’, the video series through which she’s been drip-feeding the track titles from her forthcoming album ‘Midnights’ (out October 21).“Our LAST EPISODE! The season finale of ‘Midnights Mayhem With Me’, with QUITE the twist of an ending…,” Swift captioned the clip.In the video, she told viewers: “Track four is called ‘Snow On The Beach’. Featuring… Lana Del Rey.”The star has now revealed all 13 song names from ‘Midnights’, including ‘Vigilante Shit’, ‘Midnight Rain’, ‘Anti-Hero’, ‘Bejeweled’ and ‘Mastermind’.

Chris Willman Senior Music Writer and Chief Music Critic Taylor Swift kept the “Midnights” oil burning later than usual late Thursday night and early Friday morning, revealing not just the name of one song at midnight, as has been her custom in the buildup to the Oct. 21 album release, but all five of the remaining mystery track titles, one per hour, until she finally reached a grand finale at 4 a.m. ET. And that final track reveal had — as she promised — “QUITE the twist of an ending,” with Lana Del Rey being revealed as making the only featured appearance by a guest on the album. Del Rey will make her cameo on a song titled “Snow on the Beach,” which will be track 4 on “Midnights.” The other four tracks whose titles were revealed over the course of the wee hours were “Lavender Haze,” set to be the first track on the album; “You’re on Your Own,” track 5; “Labyrinth,” track 10; and “Sweet Nothing,” track 12.

Taylor Swift took to social media on Friday with a major revelation about her boyfriend of six years, Joe Alwyn.MORE: Inside Taylor Swift's incredible $81m property portfolio: from New York to NashvilleIn a candid video, posted to her Instagram feed, the singer, 32, discussed the song Lavender Haze which will feature on her upcoming album Midnights, set to be released later this month.WATCH: Taylor Swift opens up about relationship with boyfriend Joe AlwynChatting about the track, the star revealed her relationship with Joe served as major inspiration as she has had to "dodge weird rumors" and "protect the real stuff," when it comes to her long-term beau.READ: Conversations With Friends star reveals Taylor Swift's reaction to intimate scenes with boyfriend Joe AlwynSEE: Taylor Swift talks incredible 'gift' during career high momentAddressing the camera, Taylor said: "I guess theoretically when you're in the lavender haze, you'll do anything to stay there and not let people bring you down off of that cloud and I think a lot of people have to deal with this now, not just "public figures" but because we live in the era of social media and if the world finds out you're in love with somebody they're going to weigh in on it. The pair have been together for six years"Like my relationship for six years we've had to dodge weird rumors, tabloid stuff, and we just ignore it and so this song is about the act of ignoring that stuff, to protect the real stuff.

Nancy Russell Nancy Russell worked in the music industry in Nashville for decades and was the manager to stars including Alan Jackson, Trisha Yearwood and — at the time of her Grammy-winning early 2000s comeback with “Van Lear Rose” — the late, great Loretta Lynn. Russell now lives in Southern California, consulting on independent music projects while focusing on screenwriting. She shared her memories of Lynn with Variety. The first time I saw Loretta Lynn in person was at the Del Mar Fairgrounds in 1986, about a year before I moved to Nashville. Dressed in bright turquoise spandex and a white blouse, she sang her hits with warmth and spirit, committing to every single member of that audience. Never could I imagine that 15 years later I’d have the privilege to be her manager.

Joe Alwyn‘s star continues to be on the rise and now he has the public endorsement of Ryan Reynolds!

Ella Kemp Guest Contributor Baz Luhrmann has lifted the curtain on his musical process, recalling one key artist who could have changed his 2013 adaptation of “The Great Gatsby” entirely. The filmmaker, who recently wrote, produced and directed the glittering musical biopic “Elvis,” starring Austin Butler, opened up about his long-standing love affair with pop music at BAFTA’s Life In Pictures event in London on Friday. The evening welcomed Luhrmann back to London following his worldwide box office success with “Elvis”, which both honors the rock’n’roll musician’s back catalogue and offers contemporary reworking of songs of the era, such as Doja Cat’s new track “Vegas,” which samples and reworks the 1953 blues song “Hound Dog” by Big Mama Thornton.

Scooter Braun learned a big lesson after he acquired Big Machine Records in 2019, resulting in a controversial dispute with Taylor Swift.

problematic uncle in the industry family, certain to entertain and disturb in equal measure, depending on what one is willing to overlook when the sausage is being made (or even, considering some reports, when he’s away from the factory).That the Oscar-nominated writer-director is in the mix again with the period comedy-adventure “Amsterdam” after seven years away (since 2015’s lumpy “Joy”) indicates a willingness in Hollywood to endure the reminders of his behavioral issues and to bet on the recipe of star power, emotional smarts and provocative farce that forged “Flirting with Disaster,” “Silver Linings Playbook” and “American Hustle.”Only the first ingredient is in evidence with “Amsterdam,” however, and no amount of wattage from Christian Bale, Margot Robbie, John David Washington, Zoe Saldana, Anya Taylor-Joy, Rami Malek or Robert De Niro — or even an A-list B-team of Taylor Swift, Chris Rock, Andrea Riseborough, Matthias Schoenaerts, Alessandro Nivola, Mike Myers and Michael Shannon — can lift this flat, unfunny genre-fluid whatsit from its performative stumbling toward contemporary relevance.At first, when it’s 1933 New York, we sense an eccentric buddy-picture in the making, centered on themes of integration and the treatment of veterans. Bale’s character (and semi-narrator) is Burt Berendsen, a scraggly, half-Catholic/half-Jewish doctor focused on new medicines for wounded Great War soldiers like himself (he lost an eye) and estranged from his status-conscious Park Avenue wife (Riseborough).

Uh oh! Travis Barker announced that he would be expanding his Barker Wellness Co. brand with a skincare line — but that doesn’t mean it’s being well received by fans.

Bad Bunny.New York University’s Clive David institute will launch a new class next month, focused on the study of Lana’s songwriting, in relation to social justice, musical influence and unique sound, that “has changed the parameters of baroque pop.”“Del Rey provided a new platform for artists of all genders to create ‘anti-pop’ works of substance that could live in a mainstream once categorized as bubblegum,” says author Kathy Iandoli. “The six-time Grammy nominated artist has reinvented the sound (and mood) of mainstream music beyond the 2010s.”San Diego State University will explore Bad Bunny’s impact on Latin culture, as he has been able to show a different side of reggaetón.

Encouraging her fans and fellow Broadway-goers to spread the hashtag “The Majestic Is Fit For A Prince,” TV and stage icon Carol Burnett has launched a social media campaign to get Broadway’s Majestic Theatre renamed for legendary producer and director Harold Prince.

Lana Del Rey on a new course that’s launching next month.The Grammy-winning artist is the subject of a new course titled ‘Topics in Recorded Music: Lana Del Rey’ at the University, which is set to run from October 20 to December 8 at the Clive Davis Institute and be taught by journalist and author Kathy Iandoli.A course description (via Variety) reads: “Over the course of eight critically-acclaimed albums, the six-time Grammy nominated artist has introduced a sad core, melancholic, and baroque version of dream pop that in turn helped shift and reinvent the sound (and mood) of mainstream music beyond the 2010s.“Through her arresting visuals and her thematic attention to mental health and tales of toxic, damaged love, Del Rey provided a new platform for artists of all genders to create ‘anti-pop’ works of substance that could live in a mainstream once categorised as bubblegum.”Earlier this year, the Clive Davis Institute also launched a new course on Taylor Swift.The course began at the Davis Institute, which is part of New York University’s Tisch School of the Arts, on January 26 and ran through to March 9.Taught by Rolling Stone’s Brittany Spanos, the course covered “Swift’s evolution as a creative music entrepreneur, the legacy of pop and country songwriters, discourses of youth and girlhood, and the politics of race in contemporary popular music” (via Variety).“This course proposes to deconstruct both the appeal and aversions to Taylor Swift through close readings of her music and public discourse as it relates to her own growth as an artist and a celebrity,” a description adds.“Through readings, lectures and more, the class delves into analyses of the culture and politics of teen girlhood in pop music, fandom, media

Jem Aswad Senior Music Editor As it did with Taylor Swift earlier this year, New York University’s Clive Davis Institute has introduced a course on Lana Del Rey for this fall. Taught by journalist and author Kathy Iandoli, the two-credit course, “Topics in Recorded Music: Lana Del Rey” runs Oct. 20-Dec. 8. According to an NYU rep, the course will examine Del Rey’s contributions to 21st Century pop stardom, her relationship to feminism, her musical influences and artists she has influenced, and her connection to social justice movements such as  #BlackLlivesMatter, #MeToo and #TimesUp. Del Rey was honored with the Decade Award at Variety‘s Hitmakers event in December.

EXCLUSIVE: Jeremy Steckler is exiting his post as President of Film Production at Imperative Entertainment to focus on producing under his newly launched shingle Enhanced Hammer. In addition to leading his production company, he will act as a consultant to Imperative Entertainment on select projects. Steckler arrived at Imperative in July 2019.

Madonna and her daughter Lourdes Leon were spotted partying at New York Fashion Week. The pair were seen having fun at the after parties, looking stunning and enjoying their time with their friends.The 25-year-old model, who recently made her music debut, wore an all-black ensemble, including a shredded crop top with a matching mini skirt and tall black leather boots, while the 64-year-old iconic singer wore a yellow Balenciaga parka, paired with a black zip-up corset and big jewelry.Madonna also showed her new look, looking chic and edgy with bleached eyebrows and pink hair, following the steps of Kim Kardashian on her latest ‘American Dream’ themed cover.The Queen of Pop was also spotted partying and attending some of the fashion shows with her rumored girlfriend Tokischa, as the pair get ready to release a remix of Madonna’s popular song ‘Hung Up.’A post shared by Madonna (@madonna)The rapper and the singer were recently shooting the music video for the upcoming remix, and things got a little out of hand.