20 Most Streamed Women in Apple Music History, From Ariana Grande to Lady Gaga (Photos)

Read on: TheWrapTheWrap.

Apple Music revealed its top 20 most streamed female artists in its history on Friday, in honor of International Women’s Day. Check out where some of the biggest names in music rank, including Ariana Grande, Lady Gaga, and Rihanna.
1) Ariana Gran…

Ariana Grande Tops List of Most Streamed Female Artists on Apple Music (Exclusive)

Read on: TheWrapTheWrap.

Ariana Grande is the most-streamed female artist in the four-year history of Apple Music, the service announced on Friday — just in time for International Women’s Day.

The 25-year-old “Thank U, Next” singer edges out Taylor Swift, Rihanna and Beyoncé on Apple Music’s “Top Women in Streaming” list, announced as the service is set to showcase several visionary female artists during March on its radio shows and curated playlists.

Grande is the first and only female artist to cross the 3 billion total streams threshold since Apple Music launched in mid-2015, according to an individual familiar with its streaming figures. She’s joined by Swift and Rihanna as the only three women in the 2 Billion or More Streams Club.

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Of course, Grande’s streaming numbers have been goosed by the success of her latest album, the Scooter Braun-produced “Thank U, Next,” which set an Apple Music record in its own right when it debuted in February with 185.4 million worldwide streams in its first week — the most by any male or female pop artist ever. That easily tops Ed Sheeran’s 107.5 million global streams — the most for a male pop artist — in the first week after “Divide” came out in 2017.

Nicki Minaj, meanwhile, edged out her rival Cardi B to close out the top 5. Cardi B still has some bragging rights, though: Her 2018 album “Invasion of Privacy” set an Apple Music record as the most streamed female R&B/hip-hop album in its first week of release, pulling in more than 100 million global streams.

Other noteworthy results include Lady Gaga coming in at number nine, Selena Gomez at number 14, and 17-year-old singer-songwriter Billie Eilish cracking the top 20. And for anyone wondering who is Apple Music’s most streamed artist, male or female, of all time, it’s Drake.

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As March continues, Apple Music will also release more than 100 Apple Music playlists, spanning upwards of 3,000 song, dedicated to female artists.

Below you can check out the full top 20 list of Apple Music’s “Top Women in Streaming”:

1)         Ariana Grande

2)          Taylor Swift

3)          Rihanna

4)          Beyonce

5)          Nicki Minaj

6)          Cardi B

7)          Adele

8)          Sia

9)          Lady Gaga

10)        Halsey

11)       Lana Del Rey

12)        SZA

13)        Demi Lovato

14)        Selena Gomez

15)        Katy Perry

16)        P!nk

17)        Camila Cabello

18)        Mariah Carey

19)        Ella Mai

20)        Billie Eilish

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Slick Woods, Rihanna’s Muse, on Appearing in ‘Goldie,’ Her Debut as a Movie Actress (EXCLUSIVE)

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Rihanna Sues Her Father Over Fenty Entertainment Company

Read on: TheWrapTheWrap.

Well, this should make Father’s Day a bit awkward for the Fenty family this year.

“Umbrella” singer Rihanna — full name: Robyn Rihanna Fenty — filed a lawsuit against her father, Ronald Fenty, accused him of invasion of privacy — false light publicity, false advertising and other counts.

According to the suit, the elder Fenty and his business partner, Moses Joktan Perkins, have fraudulently misrepresented that their company, Fenty Entertainment, is affiliated with the singer in order to solicit millions of dollars from third parties.

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“Seeking to trade on her hard-earned success and the recognition and goodwill associated with her last name and her Fenty brand of products, her father, Ronald Fenty (‘Mr. Fenty’), and his business partner, Moses Joktan Perkins (‘Mr. Perkins’), have egregiously and fraudulently misrepresented to third parties and the public that their company, Fenty Entertainment, LLC (the ‘Company’), is affiliated with Rihanna, and has the authority to act on her behalf. Mr. Fenty and Mr. Perkins have used these lies in a fraudulent effort to solicit millions of dollars from unsuspecting third parties in exchange for the false promise that they were authorized to act on Rihanna’s behalf, and/or that Rihanna would perform at various locations throughout the world,” the lawsuit, filed in federal court in California, reads.

“Although Mr. Fenty is Rihanna’s father, he does not have, and never has had, authority to act on Rihanna’s behalf, nor has he ever been authorized to use her name, intellectual property or publicity rights. Similarly, neither Mr. Perkins nor the Company has any affiliation whatsoever with Rihanna, and absolutely no authority to act on Rihanna’s behalf or to use her name, intellectual property or publicity rights,” the complaint continues.

According to the suit, Fenty and Perkins formed the company in 2017, and Fenty Entertainment presents itself as a “full-fledged production and talent development company that utilizes today’s most cutting-edge digital technologies to create customized user experiences between talent and the fans.” The suit adds that a press release previously stated, falsely, that “Ronald Fenty, father of superstar recording artist Rihanna, today announced the launch of Fenty Entertainment with his daughter Robyn ‘Rihanna’ Fenty.”

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The suit says that the defendants have repeatedly been told “to stop making these misrepresentations, and to cease and desist all activity and efforts to exploit Rihanna’s name and the goodwill associated with the Fenty brand.”

According to the suit, in one instance, SBS Entertainment, relying on the alleged misrepresentation, offered the defendants an exclusive deal for Rihanna to perform a string of shows in Latin America for $15 million, plus two 15-minute sets elsewhere for $400,000.

“In order to further this fraudulent business transaction, Defendants falsely represented to SBS Entertainment that Rihanna had discussed the deal with Mr. Perkins and Mr. Fenty, ‘loved the idea,’ and ‘approved’ further discussions between the Company and SBS Entertainment to get the deal signed off,” the suit reads.

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TheWrap has reached out to Fenty Entertainment for comment on the suit, which is asking that the defendants “be permanently enjoined from continuing the wrongful conduct alleged herein,” and is seeking unspecified damages.

Pamela Chelin contributed to this report.

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‘Slave Play’ Theater Review: A Twisty Play That’s One Giant Trigger Warning

Read on: TheWrapTheWrap.

Jeremy O. Harris’ “Slave Play,” which opened Sunday at Off Broadway’s New York Theatre Workshop, is a giant trigger warning in three acts. This is an ambitious, at times uneven satire about race and sex and power and politics that seems designed to provoke.

It begins with the surprisingly graphic onstage couplings of three interracial couples on an antebellum Virginia plantation. A white overseer named Jim (Paul Alexander Nolan) hooks up with a broom-wielding slave named Kaneisha (Teyonah Parris, “If Beale Street Could Talk”) — though not before forcing her to eat cantaloupe off the floor. A white mistress (Annie McNamara) orders an educated mixed-race slave, Phillip (Sullivan Jones), to play the violin before penetrating him with a dildo. And a black overseer (Ato Blankson-Wood) brings himself to orgasm when he makes a white indentured servant (James Cusati-Moyer) lick his boots.

But since we first meet Keneisha twerking to Rihanna’s “Work” and Phillip picks out an R. Kelly tune on his fiddle, things are not quite what they seem. Indeed, Harris — a student at Yale Drama School who has two shows opening Off Broadway this season — has a very big twist up his sleeve. (No spoilers here.)

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Harris’ intentions become clearer in the middle section of his three-act, intermissionless play, with the introduction of two modern-day academics-cum-therapists (Chalia La Tour and Irene Sofia Lucio) who use terms like “heteropatriarchal” and “positionality” in an attempt to help people to “process” their feelings.

That processing does not seem to go well for anyone, including the well-intentioned therapists themselves who seek to impose in-vogue theory on the messy reality of American race relations. Nor does it bolster the white (or paler) people, who seem surprised to get no credit for good intentions.

“You’re the virus,” one character tells them at one point, recalling the decimation of indigenous peoples by the arrival of Europeans to the American continent. “Your mere presence was biological warfare.”

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“Slave Play” can be saggy; each of the three acts would benefit from some trimming. And the third act, which reunites one of the couples in an encounter that is both intimate and humiliatingly raw, seems more designed to shock than illuminate.

At no point do we believe that these are flesh-and-blood humans who might have chosen to be together in a relationship; they seem more like props — or in this case, agitprops — for Harris’ provocative message about the dreadful state of race relations, which seems to have hobbled everyone, white and black.

In Harris’ view, patterns of oppression have become so ingrained that even African Americans fail to recognize its footprints — even when they are clearly marked on their backs. “Slave Play”  recalls the work of Thomas Bradley and Robert O’Hara (who directs this production, sometimes too broadly) and it announces the arrival of a bold and challenging new voice in theater.

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Donald Glover and Rihanna’s mysterious movie project has a mysterious leaked trailer

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12 Music Stars Who Slammed Trump for Using Their Songs at Campaign Rallies (Photos)

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