Daily Archives: April 5, 2017

All Year Cooling Announces Their March Cool Cash Rewards Club Prize Winner

http://rockbands.net/wp-content/blogs.dir/3/files/2017/04/All_Year_Cooling_March_Prize.jpg?p=captionFORT LAUDERDALE, Fla., April 6, 2017 /PRNewswire/ — South Florida HVAC company, All Year Cooling, announces its March Cool Cash Rewards Club prize winner. Each month, All Year Cooling offers an exclusive monthly raffle open to its members only. This March, the company offered a prize of t…


TLC Unveil Album Release Date, Request Fans' Title Ideas

TLC have set a release date for their “last and final album,” but it’s without a title and they’re looking for assistance with naming it, as Billboard points out. The Kickstarter-funded LP will be their first since 2002’s 3D.

In a recent post on TLC’s Kickstarter page, manager Bill Diggins revealed the album will be released on June 30th. “Tionne and Chilli have been working night and day to hit this date,” he wrote, adding that they will be shooting a video and doing photo shoots later this month.

“One more thing,” he continued. “We need your help… let’s hear your suggestions for the album title! Tionne and Chilli are still undecided so looking to you for inspiration.” Those who want to contribute suggestions may do so in the comment section of the post.

Since launching their Kickstarter in January 2015, TLC have received more than $430,000 to fund the album. It will be the group’s first LP solely featuring T-Boz and Chilli. Member Lisa “Left Eye” Lopes died in 2002, seven months before 3D was released.

“Our final album will stay true to the TLC sound, always confronting the real issues and life experiences that we all must face every single day, everywhere,” the duo wrote of their forthcoming album. “We write music that people relate to … timeless music. No matter the trends, we feel like our music is always relevant.”

TLC will embark on the I Love the ’90s – The Party Continues Tour with Naughty by Nature, Biz Markie and others beginning July 7th in Everett, WA. Last December, TLC’s T-Boz and Chilli appeared on Taraji P. Henson’s Taraji White Hot Holidays with Missy Elliott to perform their remix of “Sleigh Ride.” Elliott covered Lopes’ verse from the song.

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Shutterstock To Report First Quarter 2017 Earnings Results on May 3, 2017

https://mma.prnewswire.com/media/324455/shutterstock_logo.jpg?p=captionNEW YORK, April 5, 2017 /PRNewswire/ — Shutterstock, Inc. (NYSE:SSTK) a leading global provider of imagery and music, will report its first quarter business and financial results on Wednesday May 3, 2017 before the market opens.
The company will host a conference call at 8:30 a.m….


Watch John Mayer Dance Through Colorful 'Still Feel Like Your Man' Video

John Mayer grooves his way though a vividly colored scene he previously described as a “disco dojo” in his bold video for “Still Feel Like Your Man.” Director Mister Whitmore fills the eye-popping clip with butterflies, kimonos, giant panda bear costumes and group choreography from Lisa Eaton.

The singer, who recently told The New York Times that his sleek soul-pop single reminded him of the non-existent musical style “ancient Japanese R&B,” anticipated a backlash for the video. “Do I think that someone is going to tweet that this is cultural appropriation? Yes,” he told the publication, while preemptively defending himself against the charge.

“Part of cultural appropriation is blindness,” he continued. “I’m on the right side of the line because it’s an idea for the video that has a very multiethnic casting, and nobody who is white or non-Asian is playing an Asian person … I think we were as sensitive as we could possibly be. We discussed it at every juncture.”

Mister Whitmore said he and Mayer “thought long and hard about how to approach” the clip’s “fantasy element” without offending anyone. “I hope there’s an understanding that we were sensitive to it,” he added.

In a playful tweet announcing the video release, Mayer focused not on potential criticism but on his long-suppressed dancing: “Fans have asked me for *years*, ‘John Mayer, when are you going to dance in a music video?’ I did this for them.”

“Still Feel Like Your Man” will be included on Mayer’s upcoming seventh LP, The Search for Everything, out April 14th.

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Pepsi's Idiotic Kendall Jenner Ad Highlights Pop Music's Protest Problem

The “Lions” that inspire the recent single released by Skip Marley, grandson of the legendary protest singer and self-described “sufferah” Bob Marley, can be found on what was once the flag of Ethiopia. In Rastafari ideology, the Lion of Judah was Emperor Haile Selassie I, the foretold messiah who would save Africans and the diaspora from the excesses of the colonial powers.

Kendall Jenner — Marley’s partner on a new Pepsi advertisement featuring “Lions” that hit the web yesterday and was swiftly pulled today — has her own connection to Africa: She’s the face of fashion line Mango’s Tribal Spirit collection, a line “inspired by the African savannah with an ethnic air.” According to Forbes, she made $17 million from modeling deals like this in 2016.

This juxtaposition is at the heart of the controversy surrounding the new Pepsi commercial, which features Jenner – a Kardashian – the first family of American entrepreneurial celebrity. In the clip, Jenner leaves behind her modeling shoot and blond wig, breaking ranks on a vague protest march by handing a handsome white police officer a Pepsi and singlehandedly solving racially motivated police brutality, at least for the moment. It’s the kind of milquetoast multiculturalism that only exists in ad-exec boardrooms.

The critiques of the commercial are obvious. It’s gallingly tone-deaf — a disrespect to the real injustices that drive people to the streets to argue that their black lives matter. It co-opts the image of Ieshia Evans, the 35-year-old nurse whose dignity and calm as she was arrested this past summer during a protest crystallized racial conflict in America for many. And it aligns the Number 44 company on the Fortune 500 with protests that took root protesting Wall Street,  and the massive inequities of the global capitalist system.

When political action is subsumed by the mainstream, we lose track of its target and purpose

We are in a moment when protest is being recognized as a collective social activity that fills the void left by sharp declines in things like union membership, church attendance, and bowling league participation. With one out of every 100 Americans to have reportedly participated in Women’s March, per Quartz, protest is part of our contemporary vernacular.

Given that, this Pepsi advertisement is very much in line with how advertising works — what’s in the zeitgeist is where the ad buys go. McDonald’s and Burger King began targeting ads towards African Americans in the post-Civil Rights 1970s; Coca-Cola won accolades for featuring a gay couple three years ago. The Fearless Girl statue inspired plenty of glowing thinkpieces—at least until she was revealed to be a prop installed by a fund, State Street, with more than $2.45 trillion in assets under management.

While it’s somewhat commendable that these types of advertisements acknowledge the existence of the people they portray, they do so with the caveat that they are now consumers. “We see you,” Pepsi is telling protesters enraged by a system that endangers and ignores them. “And have you tried our new zero-calorie Pepsi Max? It’s outstanding!”

That is how capitalism takes protest and blunts its potential. When political action is subsumed by the mainstream, we lose track of its target and purpose. We see this when Republican politicians blindly use Bruce Springsteen’s Vietnam-protest anthem “Born in the USA” in their campaign stops. We see it when Speaker of the House and “young, prickish, over-coiffed, anal-retentive deficit Robespierre” says he’s a fan of Rage Against the Machine. “Paul Ryan’s love of Rage Against the Machine is amusing, because he is the embodiment of the machine that our music has been raging against for two decades,” Tom Morello once wrote. It’s a cognitive dissonance where music’s universal appeal sometimes prompts us to overlook its sometimes-specific political agenda.

And inevitably, music winds up caught in the middle of a battle between capital and protest. While protesters trot out old warhorses like “We Shall Overcome” and “Respect,” the idea of a protest song in 2017 — when the mainstream music business is so wrapped up with large-scale corporate culture — is complicated. Writing a song like “Lions” and then selling it to a multi-billion-dollar company is both a way to tap into the cultural moment and a way to marginalize the critiques people who might’ve inspired you in the first place.

The advertisement was mercifully pulled, but that does not eliminate the blindness that led to its creation in the first place

The Pepsi advertisement tagline — Live bolder. Live louder. Live for Now — is particularly outrageous given the circumstances at play. Philando Castile cannot buy a Pepsi. Sandra Bland cannot buy a Pepsi. Trayvon Martin was carrying a soft drink when he was murdered in cold blood by George Zimmerman. The advertisement was mercifully pulled. “Clearly we missed the mark,” Pepsi said in a public apology after yanking the commercial. But that does not eliminate the blindness that led to its creation in the first place. How are people supposed to “live for now” when they can’t breathe?

Another of Skip Marley’s grandfather’s most significant metaphors was the “Babylon System,” a Rastafari reference to the decadent civilization of the ancient Middle East that was used to critique modern global empires, where capital accumulation was prioritized over the suffering of slaves and the global poor. “Babylon system is the vampire,” he sang. “Sucking the blood of the sufferers.” As the cop sucked down his Pepsi and Kendall smirked, I could only wonder how it tasted.

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Hear Feist's Stormy Collaboration With Jarvis Cocker, 'Century'

Feist released a stormy new song, “Century,” from her upcoming fifth LP, Pleasure. The track opens with the singer crooning over ragged guitars and pounding percussion, but the vibe shifts midway through, with former Pulp frontman Jarvis Cocker reciting an eerie poem about the length of a century.

“How long is that?” Cocker intones. “3,155,973,600 seconds, 876,000,000 hours or 36,500 days – almost as long as one of those endless dark nights of the soul, whose noise never ends.” 

“Century” premiered Wednesday on Zane Lowe’s World Record radio show on Beats 1. Feist also announced a globe-spanning summer tour behind Pleasure. The trek launches April 27th in Toronto and runs through August 19th in Winterthur, Switzerland. The new LP, out April 28th, is Feist’s first album in six years, following 2011’s Metals.

The Canadian singer co-produced the 11-track set with two previous collaborators, Mocky and Renaud Letang. Last month, she released the album’s guitar-driven title track.

“Mocky is the drummer on that track, and it’s only the two of us on that track, and we were saying it’s just a couple of human bodies just moving, bashing things,” she told Lowe of the primal arrangement. “The whole record is pretty much Mocky and I in that face-to-face of – it’s pretty stark instrumentally. It’s the two of us and at the end of the day our motto is kind of ‘how to hit what and how hard’ – that’s the motto.”

In addition to Pleasure, Feist will appear on Broken Social Scene’s upcoming fifth LP, which the indie-rock collective is expected to release this summer. 

Feist 2017 Tour Dates

April 27 – Toronto, ON @ Trinity St. Paul
April 30 – Mexico, DF @ Teatro de la Ciudad
May 1 – Mexico, DF @ Teatro de la Ciudad
May 2 – Mexico, DF @ Teatro de la Ciudad
May 5 – Los Angeles, CA @ Palace Theater
May 6 – Los Angeles, CA @ Palace Theater
May 9 – San Francisco, CA @ Fillmore
May 10 – San Francisco, CA @ Fillmore
June 1 – Boston, MA @ Sanders Theater at Harvard
June 2 – Boston, MA @ Sanders Theater at Harvard
June 4 – Toronto, ON @ Field Trip Music & Arts Festival
June 7 – Washington, DC @ Lincoln Theater
June 10 – New York, NY @ Town Hall
June 11 – New York, NY @ Town Hall
June 14 – Chicago, IL @ The Vic Theatre
June 15 – Chicago, IL @ The Vic Theatre
June 17 – Eau Claire, WI @ Eaux Claires Festival
June 30 – Saskatoon, SK @ Saskatchewan Jazz Festival
July 2 – Ottawa, ON @ Ottawa Jazz Festival
July 9 – Winnipeg, MB @ Winnipeg Folk Festival
July 22 – Wiesen, AT @ Out of the Woods Festival
August 4 – Katowice, PL @ OFF Festival
August 5 – Luhmühlen, GER @ A Summer’s Tale
August 10 – Oslo, NO @ Oya Festival
August 11 – Gothenburg, SE @ Way Out West Festival
August 12 – Copenhagen, DK @ Haven Festival
August 14 – Brussels, BE @ Brussels Summer Festival (Place des Paleis)
August 19 – Winterthur, SWI @ Winterthurer Musicfestwochen

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Olivia Cipolla Releases Room Service Official Music Video

Olivia Cipolla Reveals New Music Video Room Service www.oliviacipolla.comNEW YORK, April 5, 2017 /PRNewswire/ — Indie music artist Olivia Cipolla has unveiled her first video from her new EP – Room Service. The video is out now, serving up some fun for music and dance lovers.
Watch the music video here: www.youtube.com/watch?v=D1gVtQfnlHs


Inside Danger Mouse, Sam Cohen's Haunting 1960s Covers Album

Danger Mouse and Brooklyn singer-producer Sam Cohen didn’t set out to make a political album when Amazon asked them last November to create a pseudo-soundtrack for dystopian political drama The Man in the High Castle.

“It was just a couple of dudes that wanted to make some cool music and that’s what we tried to do,” Danger Mouse, whose real name is Brian Burton, tells Rolling Stone. “But everything turned into that. Every conversation that has to do with anything of the time or artistically winds up going in that direction.”

It’s been nearly five months – 148 days since November 8th, 2016, to be exact – since The Man in the High Castle went, for some, from niche alternative-history show to a prescient totalitarian reality series. Loosely based on Philip K. Dick’s 1962 novel, it envisions a world in which the Allies lose WWII and the United States is divided into the Greater Nazi Reich and Japanese Pacific States, forcing its inhabitants into total government control with a massive curtailment of human rights.

Bob Bowen, Head of Music at Amazon Studios, wanted to create an old-school radio program called Resistance Radio that would live online as a supplement to the show. Envisioning a series of covers of old songs by modern artists, he reached out to Burton to contribute a few tracks. Burton was skeptical.

“A Sixties cover record with a bunch of different artists, you think you were going to hear something you’ve heard before,” he says. “It didn’t sound good on paper. It didn’t sound like something that I’d normally want to do.”

“There’s certain elements of music that always will feel and sound good.” –Danger Mouse

But Burton talked to Cohen, his friend, collaborator and artist on Burton’s 30th Century Records label. And after recording a few test songs and convincing Amazon that the duo should curate and produce the entire project, their minds were changed.

Lucky for us. Resistance Radio: The Man in the High Castle Album is sui generis; a haunting collection featuring Beck, Norah Jones, Karen O, Grandaddy, Kelis and more covering primarily ballads recorded in 1962 or before (the year the show takes place) and an early front-runner for one of the year’s best albums. The temporal restriction is an advantage, with the decade’s Beatles and psychedelic-rock domination not existing in this universe filled with American songbook standards like “The House of the Rising Sun,” “I Only Have Eyes for You” and “Can’t Help Falling in Love.”

Burton and Cohen may downplay the album’s political ramifications – “Recording an album of covers for Amazon is not the most politically radical thing I ever did as a project,” Cohen says – but in an age where a modest, working-class Springsteen cover band becomes an international lightning rod, it’s impossible to separate, say, Sharon Van Etten’s mournful cover of Skeeter Davis’ “The End of the World” on an album called Resistance Radio from the current landscape.

“It’s a musical project and all stems from our love of music and sound and notes,” Cohen says. “But if people view this as a resistance to Trump, I’m fine with that. That’s the side I land on. If you get too preachy about your side of things, you get high fives from the people who agree with you, but you alienate everyone else and the conversation stays stagnant, which is so much of what’s the problem in this country right now. That said, these are songs that everybody likes – it’s on an album called Resistance Radio and points to a show about what it would feel like if the U.S. was under totalitarian control. Everyone should have a problem with totalitarian authority.”

After Burton and Cohen agreed to the project, Bowen sent the duo a preliminary list of 150 songs as a starter guide for the compilation. The pair began obsessively researching multiple versions and covers of many of the songs, but time was not on their side. With the show’s second season premiering in mid-December, the pair had four weeks to select the songs, record the music, recruit 16 different vocalists and mix and master the album.

The duo recorded the music for covers of Bobby Scott and Ric Marlow’s “Taste of Honey,” Harold Arlen’s “Get Happy” and the spiritual “Motherless Child,” using the three unfinished songs to entice potential vocalists. In many instances, they recorded the music not knowing which singer would appear on which track. The Shins’ James Mercer was the first to finish his vocals, so Burton and Cohen sent all subsequent vocal candidates his track. “Everypitch came with an MP3 of a mix of what James had already done,” Burton says. “Like,here’s what it could be.”

With such a tight time frame, Burton and Cohen became skilled multi-taskers. While Burton worked with singers in Los Angeles, for example, Cohen was in a New York studio recording additional strings and horns. “Songs were going out all the time,” says Cohen, the album’s engineer and bandleader. “Every day, I’d get like five texts [from Brian], like, ‘Can you upload so-and-so? I think so-and-so will do it, but they need it right now.'”

Artists were quick to sign on for the unique project. For many of the participants, their covers doubled as love letters to their favorite old songs.

“I was lucky to have been given a master list early on of all of the song options and after scanning the list, I knew immediately I had to do ‘Love Hurts,'” Grandaddy’s Jason Lytle tells Rolling Stone of the Everly Brothers song made famous by Roy Orbison. “It has always been one of my all-time favorites and I just love Roy Orbison and his version of the song so much. I mixed in a little recent real-life experience and tracked it at home alone one night and sent it off to Brian.”

“The first time I tried watching the show was the day after the election. I turned it off after five minutes.” –Sam Cohen

“I grew up hearing so many different amazing versions of it, so I was a little trepidatious about doing it,” Kelis says of her orchestral, funk-heavy version of the Miracles’ “Who’s Loving You.” “It’s such a staple in my mental repertoire and felt like part of my upbringing. But I tried to not think about all the other versions and approach it like a new record.” Added Norah Jones of her take on “Unchained Melody”: “I’ve known that song my whole life so I didn’t even need a lyric sheet.”

One of the most remarkable things about the album is its sonic deference to the time period; listening to it feels like discovering an obscure, dusty LP. Burton and Cohen aren’t strict purists – “We’re recording into Pro Tools,” Cohen says – but used older equipment and pressed the album straight to vinyl, mastering it off the original vinyl record. The result is, to quote Lytle, a “spooky-sounding” collection far removed from overpolished modern techniques.

“It’s a tactile, sensual thing,” Cohen says of the album’s old-school feel. “It hits your ears when it’s of that period and transports you immediately and just has a different texture than new music. … If this were to sound super clean and super hi-fi, that would be everything you would expect from a covers album of today and it would just fall flat. It’s just recognizing that sound. It’s not punchy. It’s gooey. Like completely soft around all the edges the way a photograph is blurry in the corners.”

“It doesn’t need nostalgia to have that feeling,” adds Burton. “I have nothing to do with the 1960s. I love the music, but it doesn’t remind me of any era that I was part of. [But] there’s certain elements of music that always will feel and sound good. If you’re going to do a period piece, you get the costumes and sets and do it accurate because you want people to feel that way that weren’t there.”

Our conversation with the pair naturally veers back to the election and the show’s role as an unintended mirror for Trump detractors’ worst fears. But the duo remain wary of overanalyzing the album’s non-musical implications. It’s only their second interview around the project, but they know what’s coming. “I know [interviewers] don’t want to tell you the questions they’re going to ask, but [I wondered] if we are just going to have to be sitting around talking about Trump,” Burton says.

Burton and Cohen hadn’t seen the series until after the album was completed, but for at least one of them, it felt uncomfortably resonant with current events.

“The first time I tried watching the show was the day after the election,” Cohen says. “I turned it off after five minutes.”

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Jack Antonoff on Mixing Darkness With Pop for Upcoming Bleachers LP

When Jack Antonoff steps into a studio to work with one of his many collaborators – Taylor Swift, Lorde, Grimes – the mission is always the same: “Think of this as being on the radio: How do we make it worthwhile?”

For the Bleachers leader and erstwhile lead guitarist for fun., the solution usually means exploring a darker human experience beneath a bright pop surface. He is finishing co-producing Lorde’s Melodrama, the long-awaited follow-up to her multi-platinum 2013 debut. The album’s first single, the Antonoff-co-written “Green Light,” has an older, wiser and wounded Lorde singing of heartbreak and desperation. And it’s the same on Antonoff’s second album as Bleachers, due early summer. Last week, he released the album’s first single, “Don’t Take the Money,” an Eighties-style synth-pop track created with the help of Lorde and former Depeche Mode keyboardist-songwriter Vince Clarke. It begins: “Somebody broke me once/Love was a currency, a shimmering balance act/Think that I laughed at that, till I saw your face and hands.”

“I wanted to write this song from the perspective of two incredibly complicated people who are dealing with loss and anxiety and depression,” Antonoff explains. “You have these crazy fights, and after you go all the way to the bottom, everything is so clear.”

As a recording artist and producer, he’s working in Los Angeles often enough that he has a house there now, working on “a bunch of other stuff I’m not supposed to talk about.” He hasn’t suffered any of the disorientation of many East Coast expats in L.A., but it isn’t home, and he regularly feels the pull back to New Jersey and the Brooklyn apartment he shares with girlfriend Lena Dunham. As a working musician since age 15, Antonoff has spent a lot of his life in hotels. Today he’s having breakfast poolside at a slender Art Deco tower on the Sunset Strip. It’s a favorite L.A. hotel for the songwriter and bandleader, who has sometimes felt like a grownup Eloise, wandering the lobby, his face adorned with a 1 a.m. shadow.

Antonoff looks up from his blueberries and spots on old friend: “Andrew! Holy shit!”

Standing there in the morning sunlight is Andrew Dost, multi-instrumentalist and Antonoff’s fun. bandmate, just emerged from the hotel gym. Dost happens to be staying at the hotel. “I’m having a birthday,” Antonoff tells him. “Can you save Friday night? My parents are coming. We’re all going to do something.”

The unexpected reunion is a warm moment between friends, who now see each other every month or so. But fun., the platinum-selling act best known for the Number One hit “We Are Young” remains on open-ended hiatus. For Antonoff, the reason is simple: At the moment, he feels most passionate about his Bleachers work.

“You have to do stuff you’re inspired to do. And your body will tell you – unless you’re obsessed with money and metrics,” says Antonoff. “People spend money to see the show, but the emotional investment to see a show is hardcore shit. You’ve got to give them the stuff you’re really in touch with.”

He began recording the second Bleachers album in L.A., but his plans changed after a visit to Atlanta to work with the hip-hop production trio Organized Noize almost two years ago. What he found there was atmosphere unique to the city famous for the Dirty South sound.

“It was a real epiphany where, they’re so Atlanta: Oh, this is it, this is it,” he recalls. “A lot of my favorite work comes from somewhere. There’s a landscape to it. Outkast sounds like Atlanta. Springsteen sounds like New Jersey. U2 sounds like Ireland. Kanye and Chance sound like Chicago.”

At that moment, he realized the Bleachers follow-up had to be recorded back in Brooklyn. Antonoff built a home studio, listening back to his works-in-progress on the same speakers he’d used for years to hear his favorite albums. “I got into this concept where you make records where you hear records,” he says. “I have this push and pull of future and past. So I just wanted to be around my shit. I wanted to sound like me.”

On the still-untitled album, he says, the lyrics again reach back to memories of the 9/11 terrorist attacks and the death of his sister from cancer soon after, a period he calls his “loss of innocence moment.” He was 18.

“That loss is a filter that goes through your whole life,” says Antonoff, now 32. “It’s not about not moving on. It changes you. It changes your relationships, it changes how you see yourself, the way you see your work. I really wanted to be in all that as I made this album.”

He points to the 1970 example of “Our House” by Crosby, Stills and Nash and the line: “Life used to be so hard/Now everything is easy ’cause of you.'”

“It’s a brilliant love song, but it’s about how it’s all so fucking hard,” Antonoff says. “All of my writing, especially on this album, is about: ‘Why is it so hard for me living?’ And how can I stay in touch with that in all the seasons of my life and talk about it?”

Accompanying the new album’s 12 songs, he says, is a recurring “reprise of me saying goodbye to everything in my life that keeps popping up throughout the album.” The upcoming video for “Don’t Take the Money,” he says, will likely be the first in a series from the album where he will die on camera. “I’m starting to imagine myself dying more and more.”

His concerns aren’t morbid, but are instead focused on how best to spend the time left. “There’s all these things I want to do. I’m happy at home. Let’s make a plan here,” Antonoff says. “I want to make these records. There’s a number of things I feel I need to say, and a number of things I need to do. So let’s not fuck around. Let’s not take drugs. Let’s not stay up too late. Let’s do them.”

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Barry Manilow Talks Fan Reaction After Coming Out as Gay

Barry Manilow spoke publicly for the first time about being gay in a new interview released Wednesday. The 73-year-old “Mandy” singer – who has been in a relationship with his manager, Garry Kief, for nearly four decades – told People he feared coming out would upset his largely female fan base.

“I thought I would be disappointing them if they knew I was gay,” he said. “So I never did anything. When they found out that Garry and I were together, they were so happy. The reaction was so beautiful – strangers commenting, ‘Great for you!’ I’m just so grateful for it.”

Manilow and Kief began their relationship in 1978. “I was one of the lucky ones,” he told People. “I was pretty lonely before that.” The couple kept their relationship secret and married quietly in 2014; one year later, actress Suzanne Somers revealed the marriage on Bravo talk show What What Happens Live.

The singer never publicly confirmed the news, which nonetheless made headlines in 2015. He told People that the inadvertent reveal was both a “blessing and a curse.”

“We’ve been together all these years. Everybody knows that we’re a team,” he explained to Entertainment Tonight. “Everybody that I know knows. So it never really dawned on me to say anything about it. I mean, I’m a very private guy.”

The pop icon added that it still feels “strange” to be discussing his sexuality in public, but he’s ultimately “proud.”

In February, Manilow released “This Is My Town,” the first single from his upcoming album, My Town: Songs of New York.

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