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Drake Ends His Cannabis Company’s Partnership With Canopy Growth Corp.

In 2019, Drake announced the launch of his cannabis company, More Life Growth Company. Today, a little over 18 months since, Bloomberg reports that More Life’s partnership with Canadian cannabis producer Canopy Growth Corp. to distribute in global markets has ended. Canopy filed to terminate the partnership in March this year. The company reportedly “derecognized” almost C$33.7 million in remaining minimum royalty obligations to More Life. Although both parties expressed excitement at the partnership in 2019, somewhere in the past year, it would appear those feelings cooled.

BlogTO, a free afternoon newspaper in Toronto, reported that Canopy’s CEO David Klein expressed discontent with the lack of attention to the brand from Drake, who was splitting his time between recording his new album Certified Lover Boy and running a pro-am basketball tournament out of his house (which may have resulted in him reinjuring his knee, causing the CLB release to be pushed back). “[More Life] has not been progressing as originally intended and we’re still working on details to determine where it goes… [and] it may be something that can’t get to where we all want it to go,” Klein was quoted in BNN Bloomberg.

Klein also wasn’t impressed with More Life’s business plan, noting that, “In many regards, at its essence, it’s almost a real estate play where More Life is going to do a lot of activity on cannabis destinations. I don’t know if that still fits anybody’s way of thinking, at least in the COVID world.” He would know: Canopy is also the business partner for both Seth Rogen and Snoop Dogg‘s weed brands. Meanwhile, the market gets more and more crowded by the day, with Jay-Z, G-Eazy, Ice Cube, and Russ all jumping in the marijuana game in the past few months. Drake’s property was apparently a low enough priority without planning to compete in destination spots, which would have looked cool, but likely struggled to sell. This leaves Drake on the outside looking in for now, as many of his peers and contemporaries look to cash in on the lucrative cash crop.

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Square Enix Teased An E3 Showcase Featuring ‘Marvel’s Avengers,’ But No ‘Final Fantasy’

With E3 quickly approaching we’re starting to see more dates for upcoming press conferences. Despite the all-digital format this year, a lot of developers are treating this as business as usual. Just because there isn’t a stage hall full of people doesn’t mean that we can’t have exciting announcements to anticipate.

The latest conference date we’ve been given is Square Enix. Their conference will be held on June 13, but their teaser for what they plan on showing is missing arguably Square’s biggest title. Final Fantasy. Instead, the show seems to be focused on developer Eidos-Montreal and what they have to offer. Eidos-Montreal are the developers of Square Enix titles like Deus Ex, Tomb Raider, and Marvel’s Avengers.

It’s surprising that, as far as we know, there are no plans to show off anything related to Final Fantasy at this year’s E3 press conference. This may be because Square already showed everything they could with Final Fantasy during February’s State of Play event. What we’re being teased instead is more information on Marvel’s Avengers as well alongside the latest Life is Strange game.

Marvel’s Avengers is a curious choice because that game didn’t exactly take the world by storm. It was admittedly kind of a dud despite being such a well-known franchise. However, it sounds like Square Enix is sticking with it and support for a game is never a bad thing. To go with the Avengers game, this is maybe time to announce the Guardians of the Galaxy title that has reportedly been in the works for quite some time now. We’ll just have to see what Square Enix has up its sleeve.

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Nathalie Emmanuel Opened Up About How Appearing Nude On ‘Game Of Thrones’ Impacted Her Career

Nathalie Emmanuel is a key member of the Fast & Furious family (even if she can’t drive), but she’s best known for playing Missandei on HBO’s Game of Thrones. Missandei was freed from slavery by Daenerys Targaryen and became one of her most trusted advisors until, well, let’s pretend the final season never happened, deal? She was also part of one of the show’s endearing romantic relationships with Grey Worm, who she had a memorable nude scene with. In an interview with the Make It Reign podcast, Emmanuel discussed how stripping down on Thrones impacted her career.

“When I did Game of Thrones, I agreed towards certain nude scenes or nudity within the show,” she said (via Winter is Coming). “And the perception from other projects, when the role required nudity, that I was open to do anything because I did it on that one show. But what people didn’t realize is I agreed terms and specific things for that one particular project, and that doesn’t necessarily apply to all projects.” Emmanuel continued:

“Frankly, if someone was like, ‘Well we need this nudity,’ I would be like, ‘Well, thank you very much, I appreciate your interest but that’s just not what I feel is necessary for this part and it’s a difference of opinion and creative difference and that’s fine.’”

Emmanuel will next appear in F9 and the Army of the Dead prequel, Army of Thieves, as well as a new season of Netflix’s wonderful The Dark Crystal: Age of Resistance. OK, you got me. That one’s not actually happening, but a guy (or Gelfling) can dream, right?

(Via Winter is Coming)

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‘Mad Men’ Star Christina Hendricks Says ‘Everyone Just Wanted To Ask Me About My Bra’ Despite Being One Of The Show’s Most Powerful Characters

Even as a woman who rarely notices things like other women’s breast size, it’s hard not to notice Christina Hendricks’ breast size. And while it’s one thing to simply be aware that she has ginormous boobs, it’s an entirely different thing to actually ask her about them. But in a recent interview with The Guardian, Hendricks recounted how during her Mad Men days, her cleavage was all anyone ever wanted to talk to her about.

As Zoe Williams so elegantly writes, the initial focus of Mad Men was on the eponymous men: Men wanted to look, act, and dress like Jon Hamm’s Don Draper (who was really an a**hole, by the way). It wasn’t until later that the show’s women became more of a focal point for the press. And when they did, much of the focus was on their bodies:

Hendricks, along with January Jones, who played Betty Draper, came to represent so much. There was a great deal of rumination on their physicality, Jones as elegant as an afghan hound, Hendricks like the pin-up painted on the side of a bomber. What did it mean, people asked, that in the middle of the 20th century there were multiple ideals of the female form, whereas in the 21st century there was only one? How did that complicate the perception of gender equality as a steady march towards the light? Thousands of column inches went on that question—but, from the actor’s perspective, it was an annoying distraction. “There certainly was a time when we were very critically acclaimed, and getting a lot of attention for our very good work and our very hard work, and everyone just wanted to ask me about my bra again. There are only two sentences to say about a bra,” she says.

It would be one thing if Hendricks’ role on the show, which is regularly cited as one of television’s greatest series, was merely window dressing. But Hendricks—who earned six Outstanding Supporting Actress Emmy nominations for her role as badass office manager-turned-agency partner Joan Harris, née Holloway—was one of the show’s main stars. Even if her ample bosom sometimes seemed to be their own characters (remember the Japanese businessmen?)

Still, Hendricks has absolutely no regrets about her time on Mad Men, noting that: “It may eclipse anything I ever did. And, if it does, it was a good one and I’m proud of it. I got to bring who I was as a woman. I think I learned some of how to be a woman from Joan. No one would give a sh*t about me if it wasn’t for that show. I’d still be doing good work, but no one would have found me. If that’s the best thing I ever do, it was pretty good.”

(Via The Guardian)

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Rachel Weisz Got Cagey When Kimmel Mentioned Her ‘Black Widow’ Character’s ‘Second Name’ But Spilled Odd Pig-Farming Details

Rachel Weisz stopped by Jimmy Kimmel Live! on Wednesday night where things got off to an awkward start as Kimmel seemingly dropped a Marvel spoiler before the interview even began. While introducing Weisz, the late night host said the full name of the actress’s Black Widow character, which she may have been given specific instructions not to reveal. Knowing how secretive Marvel can be, she quickly flagged Kimmel so he wouldn’t say the last name again.

“I think we’re not allowed to say Melina’s second name though, right?” Weisz told Kimmel. “I think we’re prohibited from saying Melina’s second name. I think it’s a Marvel Cinematic Universe secret.”

“Is it a secret that I just ruined?” Kimmel asked. “I believe… so,” Weisz responded while looking nervous about the Tom Holland-esque moment.

Later in the interview, Kimmel asked Weisz what it’s like doing press for Marvel and if they give you a “list” of things you’re not allowed to say. Weisz revealed that, yes, there is a list, but she also admitted that she lost it. However, she did remember that one thing she’s not allowed to say is Melina’s last name, and obviously, any huge spoilers. One thing she could talk about, though, is Melina’s penchant for… pig experiments?

“She’s a Black Widow. She’s been trained as a Black Widow spy. She’s highly skilled spy and scientist. She runs a, kind of, well, a pig farm. And that’s in fact where the [Black Widow] family met me at my scientific lab where I also keep kips, which I experiment on.

“You’re a pig farming spy-entist and that’s all you can say?” Kimmel joked before moving on to David Harbour‘s unfulfilled request to have his character speak full Russian in the film.

(Spoilers for Black Widow below.)

As for Melina’s last name, which has been bouncing around the internet for a while, it’s Vostokoff. While that name will mean very little to regular moviegoers, Marvel junkies will know that Melina Vostokoff has a prominent place in Black Widow’s past as the villainous Iron Maiden. Of course, the MCU films and TV series have played fast loose with its characters’ comic origins, so it’s anyone’s guess as to whether Weisz’s character will be friend or foe.

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Airbnb Is Celebrating 25 Years Of ‘Macarena’ With A Spanish Getaway Featuring Los Del Río

The original version of Los Del Río’s hit “Macarena” was released in 1993, but it was the 1995 “Bayside Boys Mix” of the song that launched the track to international acclaim in 1996. It’s been 25 years since the song topped the US pop charts, and to celebrate, the duo is teaming up with Airbnb for a Spanish getaway they are hosting.

Starting June 28 at 10 a.m. ET, bookings will be available on a first-come-first-serve basis for a villa in Andalusia, Spain. As part of the two-night stay (which begins on August 3), guests will get tips from Los Del Rio on how to dance the “Macarena,” gain access to special memorabilia owned by the group, and otherwise enjoy the area.

Los Del Río said in a statement, “We can’t believe 25 years have gone by since ‘Macarena’ became one of the most listened to songs of summer. Without a doubt the best way to celebrate this milestone with our fans is to open the doors of our favorite rural refuge and list it on Airbnb.”

Even though the 1995 hit was the band’s first single, they actually formed way back in 1962. The story goes (according to a Spanish article translated via Google) that for about 30 years, the group performed at parties for the rich and powerful. The, at a party hosted by Gustavo Cisneros (a businessman who is now a billionaire) and Carlos Andrés Pérez (who was then the president of Venezuela), the band noticed a young girl dancing and cheered her on through music, which eventually became “Macarena.”

Learn more about the Los Del Río getaway here.

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‘Cruella’ Is A Crassly Commercial, Unnecessary Origin Story That Doubles As A Salient Class Critique

Before discussing Cruella, the new origin story in theaters and available for $28.88 on Disney+, it seems necessary to acknowledge the swirling winds of corporate fashion that carved it from the firmament. It has become conventional wisdom (whether true or not) among the mega-corporations that own the biggest movie studios to believe that “mining existing IP” (which is to say, remaking and remixing old stories and characters) offers better returns than taking chances on new, original stories. So it is we got live-action(ish) remakes of Aladdin, The Lion King, the spinoff Maleficent and others.

The goal of Cruella is to throw hip creators at old content, and in the process hopefully cash in both on the classic Disney audience and tap into the savvier adult audience who tune in for prestige cable. And to do it by applying the live-action formula to Cruella De Vil, a character originally created in 1956 as such a pure villain that One Hundred and One Dalmations author Dodie Smith (born 1896) simply added two letters to “cruel devil” when conceiving the character’s name. Ah, but what if there was more to her? Enough to justify an entire origin story, say?

So it is Disney execs hired I, Tonya director Craig Gillespie and Emma Stone to turn a character previously known only as an abominable dog murderer into some kind of girlboss anti-hero. A story that no one could possibly have a personal stake in becomes, almost of its own accord, a fascinating pastiche reflecting the zeitgeist’s most contradictory impulses. No human person actually wanted to see a Cruella De Vil origin story; it was mandated by the market. What sacrifices, then, do humans make in an attempt to appease this fickle God?

In I, Tonya, Gillespie and screenwriter Steven Rogers forced America to put aside what we thought we knew about Nancy Kerrigan’s tacky foil, which became both an exercise in empathy and an exploration of class. On the face of it, Tonya Harding, an unfairly maligned if not entirely heroic human, probably warranted that treatment a lot more than Cruel De Vil, the fictional two-toned dog murderer. Gillespie and screenwriters Dana Fox and Tony McNamara nonetheless attempt to apply roughly the same formula in Cruella, complete with ever-present classic rock needle drops. (Seriously, Cruella‘s music budget, featuring everything from The Rolling Stones to Queen to T-Rex, must’ve been bigger than the actor budget, assuming Disney didn’t already own it all).

In some ways, Cruella responds to the market forces that birthed it in the most obvious yet absurd ways. How do you create an origin story about a woman who grows up to want to skin Dalmatian puppies? You show Dalmatians killing her mother, obviously. This was a scene in Cruella‘s opening frame, set in the 1950s, in which little Estella’s mischievous alter ego, Cruella, gets her kicked out of boarding school. Estella watches as her mother goes to a fancy fashion soiree to beg for alms, and is instead cruelly pushed off a sea cliff by three snarling Dalmatian guard dogs (you know, Dalmatians, that famous guard dog breed).

This framing device is essentially Batman’s origin story remixed with “record scratch, freeze frame: yup, that’s me. You might be wondering how I got into this situation…” How the adorable Dalmatians got transmuted into the Joker in this analogy is worth pondering, though not for too long. The market wants what it wants.

Expanding on this “Dalmatians killed mum” origin story required more, however, and Cruella‘s solution to how to make its title character worthy of exploration was, strangely, to turn her into Vivienne Westwood. Because Vivienne Westwood was the Tonya Harding of fashion or something like that? Sure, why not.

Thus, the Oreo-haired little girl (apparently Cruella’s black-and-white hair was natural in the 101 Dalmatians canon and this could NOT BE ALTERED) becomes a London orphan who gets adopted by two fellow chimney sweep-esque urchins, Jasper and Horace (played by Joel Fry and Paul Walter Hauser). Bonded by their difficult upbringings, they grow up to be three striving, grifting squatters in ’70s London’s burgeoning punk scene.

Just like Westwood, an art school dropout, who, along with her then-boyfriend Malcolm McLaren, is largely credited with inventing the “punk” aesthetic in the 70s at their store, SEX (McLaren went on to manage the Sex Pistols), Estella is a working-class hoodlum who aspires to one day shake up the fashion world. She makes her name tearing apart a dress and covering a window display in punk graffiti and at one point even crashes the reigning queen of fashion’s Spring show with a barge and Jasper chugging away on power chords (an on-the-nose nod to the Sex Pistols crashing the Queen’s Jubilee in 1977).

Corporations have been co-opting punk since punk’s inception, so it seems a little redundant to point it out in a review of a Disney movie 45 years on. Not that “Disney movie about the Sex Pistols” isn’t still pretty weird. Cruella even has its own Malcolm McLaren character, in the functionally useless Artie, played by John McCrea, a thrift store proprietor with a Ziggy Stardust lightning bolt drawn on his face. “Cruella the punk” is a mildly interesting mash-up, compelling in an “I recognize that” sort of way (gold star for me!), though it doesn’t really go anywhere. And how could it, really, constrained as it is by corporate-mandated adherence to an ancient Dalmatians canon.

Far more interesting is the way Cruella/Estella’s split personality seems to mirror the fractured psyche of the upwardly mobile 2020s liberal. If we reimagine the dog murderer as an iconoclast, does she automatically become a heroine? Is the girlboss protagonist a hero because she’s a girl or a villain because she’s a boss? Can we celebrate her pulling herself up by her bootstraps if it just means she becomes the new representative of predatory power? Cruella isn’t exactly successful in this exploration but it’s interesting to watch it try. Especially in the context of a product of the market that it’s forced to criticize, almost through sheer cultural inertia.

The first step in Estella’s journey is her Devil Wears Prada-esque apprenticeship under “The Baroness,” played by Emma Thompson, a callous, imperious, fabulously-dressed fashion designer who treats everyone like dirt, yet seems to be the only person in the world to recognize Estella’s talent. The Baroness is Estella’s mortal enemy, yet her praise is to Estella like drops of water to a flower in the desert. As Leonardo DiCaprio’s character in Gangs of New York says of befriending Bill The Butcher: “It’s a funny feeling being taken under the wing of a dragon; it’s warmer than you’d think.”

The question for Estella/Cruella then becomes: does she befriend The Baroness, destroy her, become her, or all three? It’s a relevant dilemma, both for Cruella‘s creators and its intended audience. In 1977, Barbara and John Ehrenreich coined the term “Professional Managerial Class” (PMC) to describe college-educated, technocratic middle-class overachievers, “salaried mental workers who do not own the means of production,” who often scorn the less educated, manual labor-performing members of their ostensible political coalition. The PMC is, essentially, the face of the meritocracy, such that it exists.

It’s interesting the degree to which Cruella/Estella’s split personality, right down to the black and white hair and dual names, seems to be a perfect reflection of the PMC’s fractured psyche. Our generation has been trained, virtually from birth, to become part of this class — to strive, to study, to succeed, etc. Become the boss!

A critique of power and predatory capitalism — as represented by the cruel, sociopathic Baroness, who literally kills anyone who gets in her way — has become so widespread in the collective consciousness that it’s now appearing in a Disney movie. That’s progress, of a sort. We’ve gotten to a critique of the elite, yet we’re still doing our damndest to make sure that our own children become part of it. And why shouldn’t we? The presumptive alternative is poverty, obscurity, irrelevance, death. Yet it naturally creates a kind of cognitive dissonance to strive to become your enemy, as perfectly reflected in the Estella/Cruella schism.

How much should Estella become like The Baroness in order to defeat her? And what does that “defeat” even look like? And once Estella/Cruella becomes the new champion, then what?

That the PMC hasn’t been able to square this circle is illustrated by the way Cruella can’t even seem to decide whether it wants us to root for Estella to become Cruella, to sacrifice the kind and humane parts of her personality in exchange for success. There’s the vague sense that Estella should be nice and “win” the right way but a near-total inability to imagine what that looks like.

After an extended flirtation with these interesting ideas, Cruella retreats into what it was intended to be all along, a crassly commercial, not-to-deep origin story for a character who probably never warranted it in the first place. It ends up falling back on, laughably, one of the oldest, most tried-and-true Disney tropes: the notion of secret royal blood. Cinderella isn’t some mistreated worker, she was a princess all along.

Estella/Cruella never has to ponder what it means to “win” in the meritocracy; she’s special by default, thanks to her true pedigree. If all Americans are temporarily embarrassed millionaires, all Disney protagonists are temporarily denobled aristocrats.

Thus Cruella is banal on one level, a deep-pocketed attempt to justify unnecessary content by coopting relevant actors and filmmakers and fusing them into an easy jukebox musical. On another, it’s an accidentally salient critique of our current notions of what it means to be the boss.

‘Cruella’ is available now in theaters and on Disney+. Vince Mancini is on Twitter. You can access his archive of reviews here.

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Robert Englund Repeated A Story About Mark Hamill That The ‘Star Wars’ Actor Denies

A few weeks ago, the legendary actor Robert Englund — best known for playing Freddy Krueger in the Nightmare on Elm Street film series — appeared on the Inside of You podcast with Michael Rosenbaum to reflect on his lengthy career both as the horror icon and in other roles. Before landing the role of Freddy Krueger, in fact, the classically trained actor was usually typecast as a redneck or a nerd.

Englund’s Wikipedia page also suggests that he was up for a role in Star Wars back in 1977, which is only sort-of true, according to Englund. He was never in serious consideration for the role; however, he says he helped Mark Hamill land the role of Luke Skywalker. As Englund tells it on the podcast, he was actually auditioning for a role in Francis Ford Coppola’s Apocalypse Now. He didn’t land the role, but after the audition, they did “walk him across the hall” to the Star Wars audition and told him, “You might be right for something here.”

Englund says that they had briefly considered him for the Han Solo role, although at the time, it was configured differently than after Harrison Ford was cast. “Originally, they were thinking of an older uncle, the kind of guy that brings a joint to Thanksgiving and gets all the kids high,” Englund said. “And I think they even offered it to Tom Selleck.”

Needless to say, Englund did not get offered the role of Han Solo. However, while he was at the audition, he “noticed the sides for Luke Skywalker because of the name. It was such a great name. I looked at the sides, and I can’t remember if I stole them or not.” Afterward, he went and had a couple of drinks and returned to his home, where his then-close friend, Mark Hamill, was sleeping on his couch.

“Mark was on my couch watching The Bob Newhart Show,” Englund continued. “And I walked in the door and I said, ‘Hey Mark, George Lucas is doing another movie. And you might be right for this.”

“And so my ‘Once Upon a Time in Hollywood Story’ is that Freddy Krueger told Luke Skywalker to call his agent and he got in there and got the part. Now, his agent hates me telling this story because she swears that she already submitted him,” Englund added.

Hamill’s agent is not the only person who hates that Englund tells that story, which he has been repeating for years. Englund continues to tell the story even though Mark Hamill himself has gone on the record to deny it.

It’s a good story, but at least according to Hamill, it is not entirely true. On the podcast, Englund says that he and Hamill remained friends for several years after Star Wars before they began to drift apart. One wonders if they drifted apart because Englund continues to repeat a story that Hamill has denied?

Source: Inside of You with Michael Rosenbaum

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Yo Gotti Celebrates His Label’s New Deal With ‘Drop’ Featuring DaBaby

Memphis rapper Yo Gotti is a year removed from his most recent album, Untrapped, which also saw the end of his previous record deal with Epic. Today, he’s returned with a new single, “Drop” featuring DaBaby, just a day after announcing his Collective Music Group’s new deal with Interscope Geffen A&M. The deal will see support for CMG’s roster of burgeoning stars which includes 42 Dugg, EST Gee, and Moneybagg Yo, who recently scored his first No. 1 album.

Meanwhile, Gotti’s new single finds him teaming up with one of the biggest artists of the moment, DaBaby, for a strip club-friendly anthem featuring a digitized loop and a head-bopping, skeletal kick-snare combo perfect for inspiring hip-shaking and booty dropping. The two rappers deliver boastful verses about their appeal to the opposite sex littered with punchlines like “Her ass make a whole lot of noise when I f*ck from the back / And it clap, it’s annoying.”

While Yo Gotti has spent much of the past year laying low musically, he has been busy in other areas, like pursuing prison reform alongside Jay-Z. Filing a lawsuit against the state of Mississippi last February, they saw a big breakthrough in August as Mississippi’s Department of Corrections ended its contract with healthcare provider Centurion over insufficient and neglectful practices.

Listen to Yo Gotti’s new single “Drop” featuring DaBaby above.

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Billie Eilish, Kid Cudi, And HER Are Celebrating Prime Day With Exclusive Amazon Music Performances

Today, Amazon revealed the dates for their annual Prime Day, which this year will take place on June 21 and 22. The day features significant Black Friday-like sales on items from across the website, but the Amazon Music wing of the site is getting in on the fun, too: Starting on June 17, a “Prime Day Show” will be streaming on Prime Video, and the three-part special will feature performances from Billie Eilish, Kid Cudi, and HER.

Amazon describes Eilish’s performance, “Billie brings a timeless, Parisian neighborhood to life with a series of cinematic performances. Set in the city known as the birthplace of cinema, it was directed by Billie Eilish and Sam Wrench, and features new music from Billie’s upcoming album, Happier Than Ever. This breathtaking musical tribute was inspired by Billie’s long-time admiration of a long gone era.”

Of Cudi’s show, they note, “As he embarks on his biggest mission to date, Kid Cudi departs Earth to establish a new community on the moon in this intercosmic performance. Featuring music from his album Man On The Moon III, Cudi collaborates with the International Space Orchestra, the world’s first orchestra composed of space scientists from NASA Ames Research Center, the SETI Institute, and the International Space University as his backing band, in a musical collision defying sight, sound, and space.”

They also say of HER’s performance, “Once known as the hub of Los Angeles Black culture in the 1930’s and ’40s, the iconic Dunbar Hotel hosted some of the most prominent figures of its time, including musicians Duke Ellington, Lena Horne, Billie Holiday, and many more. In a modern day musical tribute to this legendary and important piece of history and culture, HER imagines what The Dunbar Hotel would be like if it existed in 2021 featuring new music from her album, Back Of My Mind.”

All performances will run for about 25 minutes.

Ryan Redington, VP of Music Industry at Amazon Music, says of the shows, “Working with Billie Eilish, HER, and Kid Cudi to bring their music to life through these imaginative experiences has been incredible. Watching these globally renowned artists create three shows from the depths of their imagination has been unlike anything we’ve ever done before. We’re thrilled to bring fans along with us to celebrate these three remarkable artists and Prime Day.”

Jennifer Salke, Head of Amazon Studios, added, “These iconic artists have not only broken new ground in music but are inspired storytellers, culture creators, and visionaries. We’re thrilled to partner with Billie, HER, and Cudi to bring these authentic and deeply personal specials to fans around the world as we celebrate Prime Day.”