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Will Smith channels his post-slap introspection into music on ‘Based on a True Story’

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Will Smith channels his post-slap introspection into music on ‘Based on a True Story’


Will Smith could have let his infamous Oscar slap be his cinematic fade out with a career bruised, marriage dissected and reputation in a free fall. But instead of retreating, he turned inward for self-reflection.

In the process, Smith rediscovered a long-neglected creative outlet in music, using the mic as a vessel to voice his thoughts after years of prioritizing his Hollywood dominance.

“I’ve taken the last couple of years to really do a deep dive on the parts of me that may or may not been in that level of certainty and asking those deep scary internal questions,” said Smith, an Oscar and Grammy winner, who will release his fifth studio album “Based on a True Story” on Friday. It’s his first music project in two decades since “Lost and Found.”

“It really is the result of my initial self-examination,” he said. “Every song is about some part of myself that I discovered or wanted to explore, something I wanted to share. It’s the most full musical offering that I’ve ever created.”

Smith’s new offering features guest appearances from Big Sean, Teyana Taylor, DJ Jazzy Jeff, his son Jaden Smith, Jac Ross and Kanye West’s Sunday Service Choir. His album weaves in gospel melodies and messages, but he doesn’t call it a full-blown gospel project, despite the success of “You Can Make It,” which soared to No. 1 on the Billboard Gospel Airplay chart.

Still, Smith let his renewed faith take the lead, steering his creative direction. He plans to release three albums this year, shaping each project into what he calls seasons.

The first season, Rave in the Wasteland, plays out across the 14 tracks of “Based on True Story” and represents his willingness to learn from life’s lessons.

“I’ve come to some really beautiful answers for myself,” Smith said. “My perception of God and reality.”

Though Smith, 56, is still a bankable global star, rebuilding trust and momentum has been an uphill battle. He’s grappled with harsh realities while trying to move past the backlash from slapping Chris Rock at the Oscars in 2022 and his 10-year ban from the ceremony.

Several entertainers — including Zoë Kravitz, Wanda Sykes and Rob Reiner — criticized Smith’s actions. Jim Carrey was particularly vocal, stating that Smith had been “living beyond the bandwidth” and cracked under the pressure.

When asked about Carrey’s “bandwidth” remark, Smith agreed but reiterated that he needed to step back to gain a deeper understanding of himself and move beyond his own limitations.

“There’s a small self that — the small concept of myself — can get to the end of his bandwidth,” he said. “And then, if I back up, there’s like an infinite space, where my bandwidth is the bandwidth of life itself. It’s like trying to not get stuck in having to be only a narrow band of things, to give myself permission to be wider in the truth of who and what I actually am.”

Smith’s road to redemption grew tougher when Rock’s comedy special reignited the controversy and his wife Jada Pinkett Smith’s memoir “Worthy” put their marriage under fresh scrutiny, sparking headlines and endless social media memes.

Will Smith Performs prior to a CONCACAF Nations League final match between the Mexico and Panama at SoFi Stadium on March 23, 2025 in Inglewood, California.

Will Smith Performs prior to a CONCACAF Nations League final match between the Mexico and Panama at SoFi Stadium on March 23, 2025 in Inglewood, California.
| Photo Credit:
MICHAEL OWENS

Smith said the adversity not only tested him but fueled his creativity.

“There’s a certain psychological and emotional fortitude that you cultivate from, leaning into the difficulty, not trying to run away,” said Smith, who added he sought to build “spiritual confidence” inspired by the resilience of his late grandmother and Nelson Mandela. Along the way, he found Tibetan Buddhist Pema Chödrön’s teachings, embracing her mantra of “leaning into the sharp points.”

These influences became pillars as Smith explored himself more deeply. The way his grandmother, Mandela and Chödrön approached life pushed him to channel his journey back into music.

“It is essentially learning how to accept and celebrate my challenges, recognizing that my challenges and my obstacles and my difficulties are actually divine curriculum,” said Smith, a four-time Grammy winner, who is known for rap classics such as “Summertime,” “Men in Black,” “Gettin’ Jiggy Wit It” and “Parents Just Don’t Understand.”

Those tracks had a laid-back feel, but his new album strikes a more serious tone.

“It’s what I’ve been given to learn the truth,” he continued. “There’s a way that I’m learning to be with hard times when things arise. It’s like ‘Good, yes, thank you.’ I’m willing to learn these lessons.”

Believe it or not, Smith is set to embark on his first-ever headline tour this summer.

He is structuring the shows around different phases of his life and career: One featuring Smith and DJ Jazzy Jeff, another highlighting his film and TV journey and third act he calls the “new phase, new energy,” where Jeff and others will return to the stage.

Smith will kick off his tour including festivals starting June 25 at the Mawazine festival in Morocco and is expected to wrap up in early September in Paris. He’ll perform his past hits from “Miami” to “Summertime” along with songs from the new album across England, France and Germany.

As Smith gears up for his tour, he also has several films in pre-production, including “Fast and Loose,” “Hancock 2,” “I Am Legend 2” and “Planes, Trains and Automobiles,” according to IMDb. He’s embracing this next phase of his career with renewed energy.

“This is about to be the greatest creative run of my entire career,” he said. “The things that I’m about to do in music and cinema, and just artistic expression and exploration. It’s like, I can’t sleep at night. I’m so ready to go.”



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Sunny’s Jaat beats Gadar to become his second biggest hit, Netizens SLAM Amitabh Bachchan for ‘silence’ on Pahalgam attack: Top 5 news | – The Times of India

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Sunny’s Jaat beats Gadar to become his second biggest hit, Netizens SLAM Amitabh Bachchan for ‘silence’ on Pahalgam attack: Top 5 news | – The Times of India


Whether it’s a sizzling new project announcement or a behind-the-scenes look at the lives of your favorite stars, we’ve got you covered. From Sunny’s Jaat beating Gadar to become his second biggest hit, Pahalgam attack sparking calls for BOYCOTT on ‘Abir Gulaal’ to Netizens Slamming Amitabh Bachchan for ‘silence’ on Pahalgam attack; here’s a quick roundup of the top five stories making waves in the entertainment world today!
Sunny’s Jaat beats Gadar to become his second biggest hit
Sunny Deol’s latest film, Jaat, has surpassed Gadar Ek Prem Katha to become his second-biggest hit after Gadar 2. The movie’s success at the box office has made it a significant milestone in his career, further cementing Deol’s position in Bollywood’s highest-grossing films.Samay says he is unable to sleep after Pahalgam attack
Samay Raina has revealed that he is struggling to sleep after witnessing the recent terror attack in Pahalgam. The comedian, who was in the area during the incident, shared how the traumatic experience has affected his mental health, leaving him unable to rest or find peace.

Pahalgam attack sparks calls for BOYCOTT on ‘Abir Gulaal’
Following the recent Pahalgam terror attack, Twitter users have called for a boycott of the upcoming Fawad Khan and Vaani Kapoor starrer Abir Gulaal. Many netizens have recalled the controversy surrounding Ae Dil Hai Mushkil’s release after the Uri attack, urging similar action against the new film due to Fawad’s involvement.

Emergency in legal trouble over ‘historical inaccuracies’
The makers of Emergency, the upcoming film starring Kangana Ranaut, have been sued by author R. N. S. Ayyar over historical inaccuracies. Ayyar claims that the film misrepresents historical events and portrays facts incorrectly, leading to legal trouble for the film’s production team.

Netizens SLAM Bachchan for ‘silence’ on Pahalgam attack
Amitabh Bachchan’s recent cryptic tweet, posted without context, sparked confusion and criticism. While other celebrities condemned the deadly Pahalgam terror attack, Bachchan’s silence on the tragedy drew backlash. Fans questioned his responsibility to address national issues, with one remarking, “Silence speaks volumes, Amit Ji.”





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NATYA VRIKSHA’s World Dance Day festival features an impressive line-up of artistes

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NATYA VRIKSHA’s World Dance Day festival features an impressive line-up of artistes


Curated by senior dancer Geeta Chandran, the 18th edition of NATYA VRIKSHA features dance performances, workshop and lecture.
| Photo Credit: Special Arrangement

NATYA VRIKSHA is all set to present the 18th edition of its special event, organised each year to mark World Dance Day. It is conceived and curated by senior Bharatanatyam dancer Geeta Chandran.

“World Dance Day is a moment to pause and celebrate what dance brings into our lives, not just technique or tradition, but emotion, truth and transformation. This festival is our offering to the art, and to the young dancers who will carry it forward,” says Geeta Chandran.

What sets this festival apart is its inclusive embrace of classical, contemporary and experimental dance forms. This year’s line-up includes performances by Bharatanatyam, Kathak, Kuchipudi and Odissi artistes.

Abhinaya Nagajothy will perform Kuchipudi.

Abhinaya Nagajothy will perform Kuchipudi.
| Photo Credit:
Special Arrangement

Each day, the festival opens with a workshop ‘Movement and Dance Aesthetics’, to be conducted by dancer and choreographer, Tanusree Shankar. Over the course of two days, there will be a witty theatrical retelling of an ancient story, scripted and performed by Ramaa Bharadvaj as well as a lecture by Ashok Vajpeyi on how dance, while rooted in the present, opens portals to imagination, memory and transcendence. There will also be performances by Madhura Bhrushundi (Bharatanatyam), Dheerendra Tiwari (Kathak), Abhinaya Nagajothy (Kuchipudi) and Shashwati Garai Ghosh (Odissi).

Shashwati Garai Ghosh will perform on April 27, 7.45 p.m.

Shashwati Garai Ghosh will perform on April 27, 7.45 p.m.
| Photo Credit:
Special Arrangement

Another key highlight is the conferment of the sixth NATYA VRIKSHA Lifetime Achievement Award to SPIC MACAY and its founder Kiran Seth, in recognition of their tireless efforts in preserving and promoting India’s cultural heritage amongst youth. “This honour is not mine alone — it belongs to every student who has sat in awe before an artiste, to every volunteer who has given their time to SPIC MACAY, and to every institution that believes in the power of the arts to shape minds and lives,” said Kiran Seth.

The World Dance Day Festival 2025 will take place on 26th and 27th April at India International Centre, New Delhi.

The festival line-up

April 26, 9.30 a.m.: ‘Movement and Dance Aesthetics’ workshop by Tanusree Shankar. 4.15 p.m.: Lecture: “Dancing Away” by Ashok Vajpeyi; 6:30 p.m: Young Dancers Festival – Madhura Bhrushundi (Bharatanatyam) and 7.45 p.m.: Dheerendra Tiwari (Kathak). 

April 27, 9.30 a.m.: ‘Movement and Dance Aesthetics’ workshop by Tanusree Shankar. 4.15 p.m.: ‘Avatarana – The Story of  Natya’, scripted and performed by Ramaa Bharadvaj; 6:30 p.m.: Young Dancers Festival featuring Abhinaya  Nagajothy (Kuchipudi) and 7.45 p.m.: Shashwati Garai Ghosh (Odissi).



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Prasanna Venkatraman curated an interesting list of songs dedicated to Rama

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Prasanna Venkatraman curated an interesting list of songs dedicated to Rama


Prasanna Venkatraman.
| Photo Credit: RAVINDRAN R

Prasanna Venkatraman’s concert for Rasika Ranjani Sabha and Gaanapriya Foundation featured the Purandaradasa composition ‘Rama Nama Payasake’ with a pallavi that reads like a divine recipe: “To the payasam of Rama’s name, add the sugar called Krishna, and mix the ghee of Vittala’s name — and savour it”.

Taking forward this blend of devotion and music, Prasanna, along with M. Vijay (violin) and Poongulam Subramanian (mridangam), embraced the concert’s theme — ‘Kritis on Rama by Vaggeyakaras upto Tiruvarur Trinity’ — to present a melange of delectable music at R.R. Sabha’s Kamakoti Hall.

Not surprisingly, it was Anjaneya who ushered in Rama as Prasanna began with Dikshitar’s ‘Pavanatmaja’ (Nattai-Khanda Chapu), with the kalpanaswaras providing a vibrant start. ‘Maakelara vicharamu’ in Ravichandrika served as an ideal gateway to Rama’s world, with Tyagaraja’s sentiment — “What is there for me to worry about with you around?” — rendered in a serene flow. The swara exchanges at the pallavi opening saw the accompanists respond in perfect synchrony.

Evocative rendition

Prasanna’s delineation of Anandabhairavi was evocative and replete with the signature vakra phrases. ‘Rama nama payasake’ in Rupakam, with its lyrical instruction on how to prepare, serve and partake of devotional nectar, was sung in a manner that reflected its profound joy.

Dikshitar’s ‘Sriramam ravikulabdhi somam’ in Narayanagowla was an apt pick. This kriti encapsulates the Ramayana in a nutshell. Prasanna negotiated the challenging swarakalpana for the delicate raga — bearing the hues of Kedaragowla, Surutti and Kapinarayani — with elan, and Vijay proved equal to the task in his response.

“Emani pogadudhura’ in Veeravasantham, in which Tyagaraja wonders aloud, “How shall I extol you, Srirama?”, was rendered with verve, followed by snappy kalpanaswaras. Bhadrachala Ramadasa’s ‘Emayya rama’ in Kamboji-Khanda Chapu brings out the attributes of Rama, and Prasanna’s rendition was imbued with the raga’s characteristic gamakas and grandeur.

The regal aura of Atana came to the fore in Prasanna’s precursor to ‘Ela nee dayaraadhu’. The classy composition, which sees Tyagaraja at his descriptive best, was another fitting choice. The cascade of vocatives extolling Rama, the distinctive melodic appeal of the raga, and the exquisite rendition combined to provide an elevating experience.

Prasanna Venkatraman with Poongulam Subramaniam (mridangam), and M. Vijay (violin). 

Prasanna Venkatraman with Poongulam Subramaniam (mridangam), and M. Vijay (violin). 
| Photo Credit:
Ravindran_R

Good teamwork

The main raga of the evening was Saveri and the composition Tyagaraja’s ‘Rama Baana’, which celebrates the prowess of the divine archery that felled Ravana. Prasanna’s alapana unfurled with the raga’s natural ebb and flow, offering hints of the kriti in store. Vijay’s version mirrored that of the vocalist. After a polished presentation of the kriti, Prasanna took up the sole niraval of the recital at the anupallavi opening ‘Bhamakasapadu’. It was extensive and absorbing, and well supported by the team. The tani avartanam by Subramanian was succinct and spirited.

A couple of observations need mention. Niraval is the acme of manodharma, and a concert of this nature has scope for and merits at least two explorations. Moreover, compositions by Annamacharya and Arunachala Kavi would have enriched the canvas further. The latter’s ‘Rama Nataka Keerthanas’ offer a near-complete musical Ramayana. Oothukadu Venkata Kavi, too, has several kritis on Rama to his credit.

The concluding section comprised ‘Rama mantrava japiso’ in Jonpuri by Purandara Dasar, ‘Vaidehi sahitam’ a Dhyana sloka for the Ramayana, sung in Sahana, Shanmukhapriya and Manirangu, followed by Dikshitar’s coronation kriti ‘Mamava pattabhirama’, and Tyagaraja’s ‘Ramachandra nee daya’ in Surutti.



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