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Busta Rhymes, MC Lyte, Chloe x Halle & More Honored at 7th Annual Culture Creators Innovators & Leaders Awards Brunch

Busta Rhymes, MC Lyte, Chloe x Halle and more were honored at the seventh annual Culture Creators Innovators & Leaders Awards Brunch on Saturday (June 24) at the Beverly Hilton Hotel in Beverly Hills, Calif.

Hosted by journalist Gia Peppers, the Culture Creators Brunch not only celebrated the achievements of Black leaders in the entertainment industry but also commemorated the 50th anniversary of hip-hop. And there was no better way to kick off the event than by honoring MC Lyte as the first icon award recipient. Kash Doll and Lady London gave the veteran MC her flowers, commending her for how she “paved the way, broke barriers and shattered glass ceilings” for women in hip-hop in a “male-dominant music industry,” Doll said, and explaining the the metaphor “light as a rock.”

“It’s explaining how heavy your impact has been in my life and in my career,” London said. But when Lyte got up on stage and accepted her award, she caused the audience to roar with laughter when she commented on how “heavy” it was and passed it back to London.

“Thank you for the sisterhood and the friendship, it really means a lot to me,” she told the ladies who introduced her. “Thank you to this wonderful community of hip-hop for me, made up of artists, producers, videographers, dancers, DJs who break records, who have pushed the limits to get the genre where it stands today. Someone asked me, ‘Did I think hip-hop would make it this far?’ No, but here we are.”

Ryan Press, president of North America at Warner Chappell Music, presented the technology award to Troy Carter, whom he hailed as a “visionary, connector, entrepreneur, father, husband and friend” who “has made it his mission to push the boundaries of what’s possible in the music business and amplify the voices of creators and indie artists.” Before becoming co-founder and CEO of music and tech company Q&A, Carter was CEO/chairman of Atom Factory, the multi-dimensional branding, entertainment and artist management company. He also previously managed Eve, Lady Gaga, John Legend and more and was Spotify’s global head of creator services.

“It’s very, very special just being in this room of people who have really moved the needle, people who actually bended and shaped culture in so many crazy ways,” Carter said in his acceptance speech. He went on to specifically thank “my big brother Will Smith who taught me to always show up and to never let anyone box you into what they think you are,” “to the great Clarence Avant who taught me about fighting for the next generation and being gracious with my time and generous with my knowledge,” “to Russell Simmons who showed us that hip-hop could transcend television, fashion and finance,” “to the late Chris Lighty who encouraged me to stay in the game,” “to Eve who taught me about betting on potential,” “to the incredible Lady Gaga who taught me about endless possibilities” and “to Daniel Ek who always pushed me to think bigger when I thought I was thinking big.”

Culture Creators founder Joi Brown had the honor of awarding Chloe x Halle with the innovators of the year trophy, applauding them for “capturing our hearts and our minds with their fearless, fierce artistry” and becoming “symbols of strength and role models for young women, knocking down barriers and proving that dreams can be realized.” Chloe accepted on behalf of the duo because Halle’s flight from Paris was canceled.

“For us as little girls singing covers on YouTube and performing around our hometown of Atlanta, we were just doing what we loved. And that turned into Chloe x Halle, which over the past years has evolved into this whole thing. I remember we would discuss, ‘OK, are we going to go as Chloe x Halle, or are we going to come up with some group name or The Bailey Sisters?’ We couldn’t decide, but now, we’re Chloe x Halle,” she explained, later delving into how they’ve expanded the boundaries of their artistry “with me releasing my solo album, touring the country as a solo artist, and my sister inspiring young girls everywhere as Ariel in Disney’s The Little Mermaid. But we know that whenever we’re together as Chloe x Halle, it’s special. One of our favorite quotes is ‘Individually we are a drop, but together we are an ocean.’ Whether we’re doing our solo music or acting projects on our own, we are forever Chloe x Halle because our sisterhood is a forever thing.”

But Busta touched the entire ballroom when it was finally time for him to receive the second icon award, just 24 hours before he would receive the lifetime achievement award at the 2023 BET Awards on Sunday. After Big Daddy Kane and Mona Scott-Young praised him for having “the greatest flow in hip-hop” and being “the man, they myth, the dragon,” they said respectively, the lighting-fast rhymer was at a loss for words.

“I get a lot of love because I’m a giver of love…. But I don’t get awards … not in this form. So it’s a little overwhelming for me because, Mona would know, a lot of times I would ask, ‘How much longer I gotta wait?’” he said while growing emotional and finding the words to describe the indelible impact of Black people across every industry. “We are the founders of civilization, the makers and the owners of the planet, the gods of the universe. Our culture is the greatest. And with that being said, even when they gave us nothing, we created every culture.”

Busta also revealed he was releasing a new album “in the next eight weeks,” which would mark his first album in three years since 2020’s Extinction Level Event 2: The Wrath of God. He also shouted out his new Hitmaka-produced single “Beach Ball,” featuring Bia, but rather than continuing to “plug and promote” his own music, he preached about the modern-day music industry’s dependence on social media algorithms, follower counts and other numbers dictating the art.

“Don’t get me wrong, I get it and I understand ’cause we all gotta be swift and changeable in order be remainable. But don’t allow that to dictate the soul,” he said while being met with a round of applause. “What I want is for the execs to come back to being a human first. Yea, we gon’ capitalize off the algorithm. But how many Biggies, Tupacs, Nas and Busta Rhymes is y’all gon’ miss if their algorithm ain’t jumping? The people dictated what the culture did, not the computer. Let’s get back to that y’all. ‘Cause I’m always going to be there to give you the friendly reminder that the computer can’t dictate sh– Busta Rhymes got goin’ on. I’mma bust its a– regardless!”

Other honorees included Karl Kani, Candace Rodney, Flau’jae Johnson, Stephen Hill, Laurieann Gibson and Chris Robinson.

Morgan Wallen’s ‘One Thing at a Time’ Hits 14 Weeks Atop Billboard 200, Most Since Adele’s ’21’

Morgan Wallen’s One Thing at a Time clocks a 14th nonconsecutive and total week atop the Billboard 200 albums chart (dated July 1), marking the most weeks at No. 1 for any album since Adele’s 21 logged 24 nonconsecutive weeks in charge in 2011-12.

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One Thing at a Time earned 110,000 equivalent album units in the U.S. in the week ending June 22 (down 1%), according to Luminate. One Thing at a Time is now Republic Records’ album with the most weeks at No. 1 ever on the Billboard 200, surpassing the 13 weeks of Drake’s Views in 2016. One Thing at a Time was released via Big Loud/Mercury/Republic, while Views was issued via Young Money/Cash Money/Republic.

One Thing at a Time debuted at No. 1 on the Billboard 200 chart dated March 18 and spent it first 12 weeks at No. 1. It then stepped aside for two weeks, and then returned to the top for the last two consecutive frames (June 24 and July 1-dated charts).

Also in the top 10 of the new Billboard 200 albums chart, ATEEZ scores its highest-charting set yet as The World EP.2: Outlaw bows at No. 2, Gunna lands his fifth top 10-charting effort as A Gift & A Curse debuts at No. 3 and Queens of the Stone Age log their fourth top 10 as In Times New Roman… launches at No. 9.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 1, 2023-dated chart will be posted in full on Billboard‘s website on June 27. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of One Thing at a Time’s 110,000 equivalent album units earned in the week ending June 22, SEA units comprise 103,500 (down 1%, equaling 139.04 million on-demand official streams of the set’s 36 songs), album sales comprise 4,500 (down less than 1%) and TEA units comprise 2,000 (down 2%).

One Thing at a Time has earned in excess of 100,000 equivalent album units in all 16 of its chart weeks. Since the Billboard 200 began ranking titles by equivalent album units in December of 2014. The set ties Bad Bunny’s Un Verano Sin Ti in 2022 for the most weeks north of 100,000 (since Dec. 2014).

ATEEZ scores its highest-charting album on the Billboard 200 as The World EP.2: Outlaw bows at No. 2 with 105,500 equivalent album units earned — the Korean pop act’s best week by units. Album sales comprise nearly all of that sum — 101,000, which marks the group’s biggest sales week (and the top-selling album of the week). SEA units comprise 4,5000 — equaling 6.32 million on-demand official streams of the set’s six songs, while TEA units comprise a minimal sum.

The World EP.2: Outlaw is the third top 10-charting effort for the eight-member group, which previously hit the top 10 with Spin Off: From the Witness (No. 7 in January) and The World EP.1: Movement (No. 3 in 2022).

Like many K-pop releases, the CD edition of The World EP.2: Outlaw was issued in collectible CD packages (21 total, including exclusive editions for Barnes & Noble, Target and Walmart, as well as some signed editions), each containing a standard set of branded merchandise items and randomized branded elements (action cards, partner cards, photo cards). Of the album’s sales, 97.5% were on the CD format, with the remainder generated by digital download album purchases. The set was not released on any other retail format (cassette, vinyl, etc.).

The World EP.2: Outlaw is the 10th album to sell at least 100,000 copies in a single week in 2023. Of those 10, seven of them are K-pop titles, with sales largely driven by collectible CD variants.

Gunna earns his fifth top 10-charting set on the Billboard 200 as A Gift & A Curse debuts at No. 3. The title launches with 85,000 equivalent album units earned. Of that sum, SEA units comprise 84,000 (equaling 112.65 million on-demand official streams of the set’s 15 songs) while album sales comprise 1,000 and TEA units comprise a negligible sum.

A trio of former No. 1s is next on the Billboard 200 as Taylor Swift’s Midnights is a non-mover at No. 4 (60,000; down 13%); SZA’s SOS rises 8-5 (48,000; down 3%); and Morgan Wallen’s Dangerous: The Double Album climbs 9-6 (46,000; up 1%). Metro Boomin’s Spider-Man: Across the Spider-Verse soundtrack dips 5-7 (42,000; down 22%) and Lil Durk’s Almost Healed falls 7-8 (41,000; down 17%).

Queens of the Stone Age land their fourth top 10-charting effort on the Billboard 200 as In Times New Roman… debuts at No. 9 with 40,000 equivalent album units earned. Of that sum, album sales comprise 36,000, SEA units comprise 4,000 (equaling 5.68 million on-demand official streams of the set’s 10 songs) and TEA units comprise a negligible sum. Sales of the album were bolstered by its availability across seven vinyl variants, and combined, the set sold nearly 21,000 vinyl copies.

Rounding out the new Billboard 200’s top 10 is Swift’s chart-topping Lover, which is steady at No. 10 with 40,000 (up 6%).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Lana Del Rey Apologizes to Glastonbury Fans After Showing Up Late: ‘My Hair Takes So Long’

Lana Del Rey‘s headlining set at the 2023 Glastonbury Festival on Saturday (June 24) was cut short after the singer showed up late to the performance.

The “Summertime Sadness” songstress, who was slated to perform at 10:30 p.m., according to the festival’s website, arrived about 30 minutes behind schedule, the Guardian reports. Del Rey blamed the tardiness on issues with her hair.

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“I was so f—ing late that I am about to rush this set to death,” she told the crowd. “If they cut power, I’m super f—ing sorry, my hair takes so long to do. Let’s keep on running the set as it’s supposed to go.”

Del Rey’s microphone was cut off at midnight while she was performing her 2012 track “Video Games,” forcing her to sing it a cappella alongside festival-goers. She then walked around the stage for a brief time before being gently escorted away by what appeared to be security and stagehands.

The singer returned to the live stage for the first time in more than three years at Rio De Janeiro’s MITA Festival on May 27. She performed 20 songs in Brazil, while her Glastonbury set only made it to 15 songs before its abrupt midnight ending.

Del Rey’s ninth album, Did You Know That There’s a Tunnel Under Ocean Blvd, debuted at No. 3 on the Billboard 200 albums chart in March 2023. The 16-song release includes guest appearances by Jon Batiste, Bleachers, Father John Misty, Judah Smith, Tommy Genesis, and SYML.

She is scheduled to perform at numerous other music festivals this year, including Lollapalooza, Outside Lands and the All Things Go festivals.

Watch Del Rey’s apology to Glastonbury fans below.

Kourtney Kardashian & Travis Barker Reveal Their Baby’s Sex in True Rock Star Fashion

Drumroll, please! It’s a boy for Kourtney Kardashian and Travis Barker!

The celebrity couple revealed the sex of their first baby together in a sweet video shared through Instagram on Saturday (June 24). In the clip, which was captioned with blue and pink heart emojis, the Poosh founder is seen sitting on the Blink-182 drummer’s lap as he rapidly taps away at his drums before the big reveal.

“Is our pyro guy ready?” Barker, 47, asks his wife. “I don’t know what’s happening, whatever you guys had planned,” Kardashian, 44, replies.

After a brief drumroll and a passionate kiss, a stream of blue confetti and streamers shot into the air, confirming that the pair is having a baby boy.

In mid-June, Kardashian held up a poster during Blink-182’s concert at BMO Stadium in Los Angeles to announce that she’s pregnant. In big black letters, the sign read, “Travis I’m Pregnant.”

This marks the first baby for Kardashian and Barker, who confirmed they were married on May 16, 2022, before hosting a lavish wedding in Italy on May 22, 2022.

Both stars have children from previous relationships. Kardashian has son Mason, 13, daughter Penelope, 10, and son Reign, 8, with ex-boyfriend Scott Disick. Barker has son Landon, 19, daughter Alabama, 17, and stepdaughter Atiana, 24, with ex-wife Shanna Moakler.

Watch Kardashian and Barker reveal their baby’s sex on Instagram below.

Taylor Swift Asks Fans Not to ‘Defend Me’ During Rare ‘Dear John’ Performance in Minneapolis

Taylor Swift is urging Swifties to show “kindness and gentleness” on the internet ahead of her Speak Now (Taylor’s Version) album release.

The onstage request arrived during the surprise songs portion of Swift’s Eras Tour set at Minneapolis’ U.S. Bank Stadium on Saturday (June 24), when the 33-year-old pop superstar introduced “Dear John,” her 2010 ballad about a toxic relationship with an older man, widely assumed to be the singer’s ex-boyfriend John Mayer.

“I get to stand on this stage every single night of this tour and watch some of the most beautiful things happen,” Swift told the roaring audience. “I watch you guys make friends with each other. I watch you bond. I watch you give each other friendship bracelets.”

She continued, “I see so many beautiful interactions happen, and I hear so many stories about friends that were made at these shows. I watch it happen, and it’s the most unbelievable thing to watch.”

The “Anti-Hero” songstress then asked her fans to show “that kindness and that gentleness” on the internet when she drops Speak Now (Taylor’s Version) on July 7.

“I’m 33 years old. I don’t care about anything that happened to me when I was 19,” Swift said. “I’m not putting this album out so that you can go and should feel the need to defend me on the internet against someone you think I might have written a song about 14 billion years ago.”

“Dear John” appears on Swift’s third album, Speak Now, in 2010. The track peaked at No. 54 on the Billboard Hot 100 chart. Swift and Mayer dated briefly in 2009 when she was 19 years old and he was 32.

The Minneapolis concert marked Swift’s first time performing “Dear John” since a 2012 concert in New Zealand, according to Rolling Stone. Watch the performance here.

Varnell Harris Johnson, Veteran Music Executive & Living Legends Foundation President, Dies at 76

Varnell Harris Johnson, who held senior executive roles at Capitol-EMI, Blue Note, Jive, Island, Elektra Records and more throughout his career in music and who was president of the Living Legends Foundation, has died. He was 76.

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Johnson — or “VJ,” as his peers knew him — passed away on Wednesday (June 21) at 6 p.m. ET of congestive heart failure, Billboard has learned.

Johnson has been credited for recruiting several Black executives, including many women, into key music industry positions. He had an ear for talent and had a hand in bringing Tina Turner over to Capitol Records as a solo artist, and brought the Isley Brothers with him from Elektra to Island. With his knowledge of how influential gospel music was to the community, he helped establish the gospel-focused Verity Records.

“This is a major loss,” says David C. Linton, friend of Johnson and chairman of the Living Legends Foundation. “At the time he broke into the industry, he was able to work in every aspect of the business. Varnell was one of the first Black executives to have total autonomy within the label system. He not only signed some great artists, but he also hired other Black executives and molded so many of our careers. He had a lot of ‘firsts’ in his career. He was always caring, he promoted women, and you could always call him for advice – he was that great link.”

Living Legends Foundation vice president Jacqueline Rhinehart, a marketing professional, remembers him as “the quintessential record man. He was a straight shooter and someone who was great at maintaining relationships at all levels of the industry … He never lost his role as an influencer — it wasn’t reliant on what job he held at what label.”

“He was a people person, a good person to know,” Ray Harris, a veteran record promotion executive and a founding member of the Living Legends Foundation, says. “And I have such a deep appreciation for him because he got on board with the Living Legends Foundation right from the beginning. The organization grew substantially thanks to his participation and leadership. He was always a voice of common sense, wisdom, and calm, and we’re going to miss that voice.”

Johnson was born in Philadelphia. He played football and basketball at Simon Gratz High School and graduated at 16. He then enlisted in the Army at 17, serving as a combat medic in the Vietnam War. Following an honorable discharge, he went to Temple University and graduated with a marketing and advertising degree. Harold Childs, a Philadelphia neighbor, influenced Johnson to get into the music business.

His career in music started as a gofer at A&L Record Distributors before becoming general manager for Philly Groove Records. His was then hired as a marketing/promotion director at GMC, which led to him landing at EMI/United Artists’ newly formed R&B division in Los Angeles in 1979.

Johnson moved to parent company Capitol Records as vice president of A&R, working with artists including René & Angela, A Taste of Honey, Maze featuring Frankie Beverly, George Clinton, Freddie Jackson, Natalie Cole, Peabo Bryson, Roberta Flack, Tina Turner and Ashford & Simpson. His next gig, as vice president of promotion and marketing at Capitol’s Manhattan/Blue Note Records division, brought him back to the East Coast. There, he worked with Dianne Reeves, Bobby McFerrin, Phyllis Hyman, The O’Jays and Shirley Jones.

Johnson was hired as vice president of marketing and promotion at Jive Records in 1992. He worked with R. Kelly, A Tribe Called Quest, KRS One and Aaliyah at Jive. Next, he made his mark at Elektra Records, where he served as vice president and worked with Keith Sweat, Kut Klose and Ron Isley, and then was offered the position of senior vice president and general manager for Island Records’ Black music division; the Isley Brothers followed him, joining a roster with Dru Hill, Karen Clark Sheard and Kelly Price.

Johnson went on to run Junes Entertainment Inc., his own consulting firm, and most recently resided in New Jersey. He is survived by his wife Darlene, son Varnell, (nicknamed “June”) and daughter Tracey.

Funeral arrangements will be announced at a later date.

Taylor Swift’s ‘Speak Now (Taylor’s Version)’ Countdown Is On: ’13 Days,’ She Says in New Teaser

Taylor Swift, all glammed up in her bejeweled Lover bodysuit from The Eras Tour, teased the release of her Speak Now (Taylor’s Version) album in a new video on Saturday (June 24).

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“13 days til we return Speak Now to its mother,” Swift wrote on social media, where she posted a sneak peek of her upcoming release.

An audio clip of the re-recorded album’s opening track, “Mine,” plays as Swift casually takes a look at a new Speak Now release on vinyl, holds it up, and peeps at the camera from behind the purple record.

A “Mine” lyric fit for this very moment is heard: “You are the best thing that’s ever been mine.”

The Speak Now (Taylor’s Version) vinyl Swift shows off appears to be the orchid marbled variation, available to order from her webstore for $38.99. There is also a violet marbled version on her webstore, plus a lilac marbled design that’s exclusive to Target.

Swift first announced that Speak Now (Taylor’s Version) will be arriving on July 7 during a concert at Nashville’s Nissan Stadium on May 5. Speak Now (Taylor’s Version) is the third re-recorded album she’s releasing, following Fearless (Taylor’s Version) and Red (Taylor’s Version) in 2021. She’s still on her Eras Tour trek, with stops in Minneapolis this weekend, and just announced international tour dates.

On her May 5 social media reveal of Speak Now (Taylor’s Version) she wrote, “It fills me with such pride and joy to announce that my version of Speak Now will be out July 7 (just in time for July 9th, iykyk. I first made Speak Now, completely self-written, between the ages of 18 and 20. The songs that came from this time in my life were marked by their brutal honesty, unfiltered diaristic confessions and wild wistfulness. I love this album because it tells a tale of growing up, flailing, flying and crashing … and living to speak about it. With six extra songs I’ve sprung loose from the vault, I absolutely cannot wait to celebrate Speak Now (Taylor’s Version) with you on July 7th.”

At the time Swift added, “I always looked at this album as my album, and the lump in my throat expands to a quivering voice as I say this. Thanks to you, dear reader, it finally will be. I consider this music to be, along with your faith in me, the best thing that’s ever been mine.”

The Speak Now (Taylor’s Version) tracklist features six (Taylor’s Version) (From the Vault) songs that were not on 2010’s Speak Now album: “Electric Touch” feat. Fall Out Boy, “When Emma Falls in Love,” “I Can See You,” “Castles Crumbling” feat. Hayley Williams, “Foolish One” and “Timeless.”

See Swift’s new video below.

Drake Reveals New Album Following Release of His First Poetry Book: ‘For All the Dogs’

Drake has revealed that a brand new album is on the way. Hours after announcing his first poetry book on Saturday (June 24), the Toronto MC also teased his next musical project.

Drizzy took out a full-page advertisement in major outlets like the New York Post, Los Angeles Times and Houston Chronicle to promote his new poetry collection Titles Ruin Everything: A Stream of Consciousness, by Aubrey Drake Graham and Kenza Samir. The ad contained a QR code leading to the website titlesruineverything.com, where rap superstar teased his next album.

“I made an album to go with the book,” Drake wrote on the site. “They say they miss the old Drake girl don’t tempt me. FOR ALL THE DOGS.”

A release date for the upcoming album has not yet been revealed. The new set follows 2022’s Billboard 200 chart-topping Her Loss, Drake’s collaboration with 21 Savage, and the 6 God’s own Honestly, Nevermind (2022) and Certified Lover Boy (2021).

Drake took to Instagram on Friday (June 23) to announce Titles Ruin Everything, a new book of lyrics, poems and one-liners written with his friend and songwriting collaborator Samir. The collection is currently available for purchase through drakerelated.com and other select retailers, including publisher Phaidon.

“I don’t know if I have ever wanted people to buy or support something more in my life…our first book is available tmrw on @drakerelated and other select retailers,” the rapper captioned a photo of the all-blue poetry book.

Drake teased the project last summer during the debut episode of his radio show, Table for One. “Me and Kenza have a book coming out this year — we have a book coming out this year, a poetry book,” he said.

Adele Asks Las Vegas Crowd About Boarding Titanic Submersible & Flying to Space

Adele is asking her Las Vegas audience to weigh in on the tragic Titanic submersible story.

The British songstress paused her residency show at the Colosseum at Caesars Palace on Friday (June 23) to ask concert-goers whether they’d visit the Titanic at the bottom of the ocean if given the opportunity.

In a fan-captured TikTok video, the “Easy on Me” singer began the question by noting that the deadly implosion of OceanGate’s Titan vessel was “so sad and so tragic.”

“But I have been debating with my friends on our group chats. Everyone’s like, ‘I would never do that.’ But that’s a lie, ’cause a lot of people would do that,” Adele told the crowd. “I want do a vote — not in mind of what happened, ’cause that was so sad and so tragic — but before this week, how many people would, if they could, would go down to the very, very bottom of the ocean to see the Titanic? Raise your hands.”

Not surprisingly, many attendees cheered loudly in favor of not seeing the Titanic wreckage under water. The 35-year-old then upped the ante by asking whether they’d be interested in flying to outer space.

“I wouldn’t do it either but only because I’m a bit of a p—-. I’m a scaredy cat of everything,” Adele said. “I wouldn’t even go on roller coasters. But also, I just genuinely don’t have an interest in the deep sea or space, so that’s why.”

Earlier in the week, news broke that the five passengers aboard the 21-foot submersible Titan were presumed dead following a “catastrophic implosion,” according to Coast Guard Rear Admiral John Mauger.

In 2018, Adele celebrated her 30th birthday in blockbuster style with a Titanic-themed bash. Photos from the celebration showed the diva standing at the top of an elaborate Titanic-style staircase and donning glittering gown with her hair curled into tight ringlets à la Kate Winslet’s character Rose in the epic 1997 romance-disaster film.

“Thank you to everyone for coming along for the ride the last 11 years with me. My family and friends for entertaining my super fandom of the Titanic movie. Last night was the best night of my life,” Adele captioned her Instagram post.

Sheldon Harnick, ‘Fiddler on the Roof’ Lyricist, Dies at 99

Tony- and Grammy Award-winning lyricist Sheldon Harnick, who with composer Jerry Bock made up the premier musical-theater songwriting duos of the 1950s and 1960s with shows such as Fiddler on the Roof, Fiorello! and The Apple Tree, has died. He was 99.

Known for his wry, subtle humor and deft wordplay, Harnick died in his sleep Friday (June 23) in New York City of natural causes, said Sean Katz, Harnick’s publicist.

Broadway artists paid their respects on social media, with Schmigadoon! writer Cinco Paul calling him “one of the all-time great musical theater lyricists” and actor Jackie Hoffman lovingly writing: “Like all brilliant persnickety lyricists he was a pain in the tuchus.”

Bock and Harnick first hit success for the music and lyrics to Fiorello!, which earned them each Tonys and a rare Pulitzer Prize in 1960. In addition, Harnick was nominated for Tonys in 1967 for The Apple Tree, in 1971 for The Rothschilds and in 1994 for Cyrano — The Musical. But their masterpiece was Fiddler on the Roof.

Bock and Harnick were first introduced at a restaurant by actor Jack Cassidy after the opening-night performance of Shangri-La, a musical in which Harnick had helped with the lyrics. The first Harnick-Bock musical was The Body Beautiful in 1958.

“I think in all of the years that we worked together, I only remember one or two arguments — and those were at the beginning of the collaboration when we were still feeling each other out,” Harnick, who collaborated with Bock for 13 years, recalled in an interview with The Associated Press in 2010. “Once we got past that, he was wonderful to work with.”

They would form one of the most influential partnerships in Broadway history. Producers Robert E. Griffith and Hal Prince had liked the songs from The Body Beautiful, and they contracted Bock and Harnick to write the score for their next production, Fiorello!, a musical about the reformist mayor of New York City.

Bock and Harnick then collaborated on Tenderloin in 1960 and She Loves Me three years later. Neither was a hit — although She Loves Me won a Grammy for best score from a cast album — but their next one was a monster that continues to be performed worldwide: Fiddler on the Roof. It earned two Tony Awards in 1965.

Based on stories by Sholom Aleichem that were adapted into a libretto by Stein, Fiddler dealt with the experience of Eastern European Orthodox Jews in the Russian village of Anatevka in the year 1905. It starred Zero Mostel as Teyve, had an almost eight year run and offered the world such stunning songs as “Sunrise, Sunset,” “If I Were a Rich Man” and “Matchmaker, Matchmaker.” The most recent Broadway revival starred Danny Burstein as Tevye and earned a best revival Tony nomination.

In a masterpiece of laughter and tenderness, Harnick’s lyrics were poignant and honest, as when the hero Tevye sings, “Lord who made the lion and the lamb/ You decreed I should be what I am/ Would it spoil some vast eternal plan/If I were a wealthy man?”

Harvey Fierstein, who played Tevye in a Broadway revival starting in 2004 said in a statement that Harnick’s “lyrics were clear and purposeful and never lapsed into cliche. You’d never catch him relying on easy rhymes or ‘lists’ to fill a musical phrase. He always sought and told the truth for the character and so made acting his songs a joy.”

Bock and Harnick next wrote the book as well as the score for The Apple Tree, in 1966, and the score for The Rothschilds, with a book by Sherman Yellen, in 1970. It was the last collaboration between the two: Bock decided that the time had come for him to be his own lyricist and he put out two experimental albums in the early 1970s.

Harnick went on to collaborate with Michel Legrand on The Umbrellas of Cherbourg in 1979 and a musical of A Christmas Carol in 1981; Mary Rodgers on a version of Pinocchio in 1973; Arnold Black on a musical of The Phantom Tollbooth; and Richard Rodgers on the score to Rex in 1976, a Broadway musical about Henry VIII.

He also wrote lyrics for the song “William Wants a Doll” for Marlo Thomas’ TV special Free to Be… You and Me and several original opera librettos, including Captain Jinks of the Horse Marines and Love in Two Countries. He won a Grammy for writing the libretto for The Merry Widow featuring Beverly Sills.

His work for television and film ranged from songs for the HBO animated film The Tale of Peter Rabbit in 1991 with music by Stephen Lawrence, to lyrics for the opening number of the 1988 Academy Awards telecast. He wrote the theme songs for two films, both with music by Cy Coleman: The Heartbreak Kid in 1972 and Blame it On Rio in 1984.

In 2014, off-Broadway’s The York Theatre Company revived some of Harnick’s early works, including Malpractice Makes Perfect, Dragons and Tenderloin. She Loves Me was last revived on Broadway in 2016 in a Tony-nominated show starring Zachary Levi.

Harnick was born and raised in Chicago and earned a bachelor’s degree in music from the Northwestern University School of Music after serving in the army during World War II. Trained in the violin, he decided to try his luck as a songwriter in New York.

His early songs included “The Ballad of the Shape of Things,” later recorded by the Kingston Trio, and the Cole Porter spoof, “Boston Beguine,” from the revue New Faces of 1952.

He and his wife, artist Margery Gray Harnick, had two children, Beth and Matthew, and four grandchildren. Harnick had an earlier marriage to actress Elaine May. He was a longtime member of the Dramatists Guild and Songwriters Guild.

Kristin Chenoweth, who starred in a 2006 revival of The Apple Tree, on Twitter called it “one of my favorite professional experiences of my career,” adding about Harnick: “I loved his musings. His writings. His soul.”