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Did she violate some exclusivity clause in her
contract by appearing with the Stones ?

(hope she gets Hyde Park 1 as consolation --
but of course also hope Sasha is okay)

pic: Chanel's insta stories via PaintMonkeyManBlack via IORRorg

Insta post here:
https://www.instagram.com/p/CfIsE3Qsgew/?hl=en

FFS, she only had THREE more shows to do...THREE!!

Well, maybe its not so much about an exclusivity contract, after all, she didn't sing any Turner songs the other night.
I feel it may be more of a safety violation for covid reasons.
traveling to Italy, singing with Covid Mick...

I am just speculating, but that is really too bad for her and lucky for the understudy. Hope she does get to do Hyde Park#1 and/or #2.
I thought she was great and TBH, better than Sasha.
She looked terrific with Mick...obviously due to her similar looks and body language to Ms Turner.

If doing GS is off the table because of Sasha,
maybe Chanel can take a duet on HTW for old times sake via 1981!!

I love this post of hers:

https://www.instagram.com/p/CfHyCr7DdwL/?hl=en

The cynic in me thinks that with just three shows left, the publicity might just have been a pretty good career move.

Paranoid Android wrote on Jun 23^rd, 2022 at 10:12am:

I love this post of hers:

https://www.instagram.com/p/CfHyCr7DdwL/?hl=en

WOW... what a moment, good for Bernard

Anyone know a good lawyer?

Will this bring Lisa back ?

Paranoid Android wrote on Jun 23^rd, 2022 at 10:12am:

I love this post of hers:

https://www.instagram.com/p/CfHyCr7DdwL/?hl=en

On the video of the show, there's a sweet little moment where Bernard gives her an encouraging little nudge as she goes centre stage for her solo vocal. Its a bit like watching a dad watching his daughter as she dips her toe into the sea for the first time.

Chanel in Milan best GS since Lisa.

She won't say why the are investigating her. She isn't banned from the theater because she was with the Stones. Something happened. Sasha's not saying anything about her issues, either.

All in all, very strange!

Yeah, very strange for sure

Only the Stones could have a who-dunnit mystery in the middle of a tour

or, more accurately, a who-dun-what ?

Its a legit news story i think, but nothing in the media, and essentially
nothing on social media either.

I love to make guesses in situations like this. but I got nothing

this is what i want to believe: that Chanel got screwed by the Tina
producers (even prior to her suspension) and so Sasha (who also has
ties to the London theatre world) asked the Stones to help her out...

what can i say, i'm a sap for a happy ending

Steel Wheels wrote on Jun 25^th, 2022 at 6:18am:

Exposed to Covid-y old Mick?

andrews27 wrote on Jun 25^th, 2022 at 11:04am:

Steel Wheels wrote on Jun 25^th, 2022 at 6:18am:

Exposed to Covid-y old Mick?

I don't know but that doesn't sound right. It seems like if she caught Covid, she'd be talking about it. If she doesn't have it, a simple test would clear up the issue right away.

I admit, I'm curious too.

We still have no idea what happened to Sasha that night, but now
we know (almost) everything about what happened to Chanel

She Sang ‘Gimme Shelter’ With the Rolling Stones.
Then ‘Tina’ Producers Fired Her for It

https://www.rollingstone.com/music/music-features/rolling-stones-chanel-haynes-tina-turner-1375761/

Yeah, except the major question: Why?

Rev 20 Redlights wrote on Jun 29^th, 2022 at 11:27am:

Anyway to print out the article?
its asking me to subscribe, which I do not want to do...but facinated with this story.

When Chanel Haynes showed up at Milan’s San Siro Stadium to sing “Gimme Shelter” with the Rolling Stones on June 21, she had a lot on her mind: She had spent the past few months in London portraying Tina Turner in the West End production of Tina, and there was a show that night. But this was a once-in-a-lifetime opportunity — alongside a good chance to cede the stage to her understudy — even though it would eventually cost her her day job. On the last-minute flight to Italy, she played several different renditions of “Gimme Shelter,” trying to figure out the best way to deliver Merry Clayton’s visceral vocals from the 1969 original.

“I was perplexed,” Haynes tells Rolling Stone via Zoom from London. “I was thinking, ‘Do I do it the way Merry recorded it? Do I do it the way people are used to hearing it live? Do I do it my way?’ I knew that I just had one shot to execute.”

All of these questions were swirling through her mind when drummer Steve Jordan greeted her and handed her a cellphone. Clayton herself was on the other end. “I can almost cry talking about this,” says Haynes. “It was a divine moment. She said to me in essence, ‘Nobody can sing this song like me. When people try, they get hoarse. What I want you to do is sing it like Chanel would sing it. I’m giving you that authority. The church is in you. I know you’re a church girl. Trust it. Go with it, but do it your way.'”

Haynes’ road to that divine moment on the phone with Clayton began in 1997 when her teenage gospel group Trinitee 5:7 signed to GospoCentric Records and cut their debut LP with revered singers like Kirk Franklin. “I went from being a girl to learning the real world,” she says. “Not just seeing the world through my father’s eyes — a preacher’s daughter — but seeing the world as it is. I found my own voice, and I knew I didn’t sound like anyone else.”

Trinitee 5:7 were at the center of her life over the next two decades, but she envisioned another path for herself, at 19, when she first saw the Tina Turner biopic What’s Love Got to Do With It. “Being a preacher’s daughter, I wasn’t allowed to listen to anything but gospel music,” she says. “And so when I heard Tina’s voice and saw her presence, power, and force, I knew I wanted to learn about this woman. I said, ‘If they did a film on her life, one day they’re going to do a show, a musical. When they do, I’ll be ready and I’ll play Tina Turner.'”

To prepare for that moment, Haynes teamed up with the Zach Theater in Austin, Texas, for a series of musicals, including one where she portrayed Billie Holiday. When she learned her dream of a Tina musical was finally coming true in 2019, she sent the producers of the West End production an email where the subject line simply said “I Am Your Next Tina Turner.” It took a few months and several auditions, but they ultimately agreed. “They told me I had the part around Christmas, and it was the best Christmas gift I ever received,” she says. “Tina is the executive producer and she ultimately decides who plays Tina. Her blessing was such a gift to me. Every performance I did, it was gratitude to her. It was honoring her since she chose me.”

A few months later, the Rolling Stones had to make a choice of their own. They were slated to resume their 60th-anniversary tour in Milan after Mick Jagger’s Covid diagnosis forced them to call off two shows, but backup singer Sasha Allen was unable to make the gig. Opening act the Ghost Hounds lent them backup singers Kamilah Marshall, Kenna Ramsey, and Amy Keys to fill the void, but “Gimme Shelter” is essentially a duet between Jagger and Allen. They needed a powerhouse singer to parachute in on almost no notice or they’d be unable to play the song, which has been a highlight of nearly every Stones show for decades.

Haynes is slightly vague on how her name came into the conversation, but she says one of her friends is close with someone in the Stones’ camp and they’d recently sent over a video of her in Tina. “Next thing he knows, he gets a call from his friend,” Haynes says. “They go, ‘Hey, man, that girl that you showed me in that music video? Do you think she could come to Milan and perform “Gimme Shelter” with Mick?’ When I got that call, I was like, ‘What? Now?!'”

There was almost no time to make it happen. “I can’t say exactly when I got the call because I don’t want to give timelines,” she says. “But I’ll tell you that there was very little notice. Very little. Everybody was biting their nails. ‘How are we going to pull this off?’ But I tell you the machine the Stones have is like Buckingham Palace or the White House. They have the same level of personnel. Next thing I knew, I was on a plane to Milan.”

She spent the whole ride watching live videos of “Gimme Shelter” where Jagger duetted with Lisa Fischer, Allen, and one-time guests Lady Gaga, Florence Welch, and Mary J. Blige. “I wanted to study the similarities,” she says. “I wanted to study the differences. It was just really fascinating to me. There were certain things I found that triggered Mick, and some things that did not. I just wanted to see everything.”

Once Clayton gave Haynes the courage to try it her own way, she was hoping to soundcheck it on the main stage so she could rehearse her movements down the catwalk with Jagger. But it was raining, and they were forced to set up an impromptu rehearsal in a small backstage room. “I walked into the room and right there in a pink baseball camp is Mick Jagger and these really cool pants I’d never seen before,” she says. “We only ran it through it one time.”

“I knew, since this is how I was raised, your rehearsal is your performance,” she continues. “I never had sung the song full-out until that moment. We’re just in each other’s face going ‘just a shot away!’ in that little room. He had this little smirk on his face the whole time. When we were done, makeup, catering, and everyone else there started clapping like, ‘This is going to work!'”

Shortly before showtime, Haynes found herself face-to-face with Keith Richards. “I said to him, ‘You wrote the song,'” she says. “‘What can you share with me, deposit in me, that I can use so when I go up there, I can feast on that and share it?’ He said, ‘Chanel, I want you to tell me what your interpretation of this song is to you after you sing this song.’ My heart exploded in that moment. I was so glad he did that since I was forced to sing from my perspective, not his.”

The big moment came 18 songs into the night, shortly after they wrapped up “Jumpin’ Jack Flash” and briefly left the stage. The feel of walking onto a stage in front of 60,000 Stones fans, Haynes says, was unlike anything she’d ever experienced. “The sound they made was like trees in a jungle in a storm,” she says. “It’s primal, like a war. When that hit my body, all of those voices, all of those eyes, were shooting into my body. I had to hold and possess all of that. It was a very surreal experience.”

Her first cry of “Rape, murder, you’re just a shot away!” had the crowd roaring even louder, and she delivered the climax face-to-face with Jagger at the end of the catwalk, radiating with confidence and fire. “We did not rehearse any of that,” she says. “Everything you saw was raw and in the moment. We were relying on each other to tap into the source. It was like shockwaves came down from the heavens, into us, and out into the 60,000 people that were there.” She didn’t get a chance to talk to Jagger or Richards after the show, but they sent her flowers and gushing thank-you notes.

ust about the only people not thrilled with Haynes’ big moment were the producers of Tina. When she came back to London, she received an e-mail from general manager Mark Rubinstein saying she was suspended from the play and would be unable to take part in her final three performances. “The theatre will be informed that you are not permitted to enter,” he wrote in a note she posted on her Instagram.

Haynes declined to get into the details of her suspension, but she says it was directly related to her Stones performance on a Tina show night. “I will say that if you’re on the West End, there’s no one person that can stop a show,” she says. “It’s not designed that way. Ultimately, everything was fine. There was a show and a show happened, as did the [Stones] show in Milan. All the shows happened, and I was happy about that.”

The situation was heartbreaking because several friends and family were flying into London to see her final performance, including a domestic-abuse survivor who helped Haynes get into character after she got the role. “That was my biggest heartbreak,” says Haynes. “She was my muse. She was the person that helped me properly tell that story from her perspective.… I also wasn’t able to say goodbye to the children in the cast. That was hard.” (When reached for comment by Rolling Stone, a rep for the musical said, “This concerns an employee-related matter, and as a company policy, we do not comment on personnel-related individual cases.”)

In a caption alongside the posting of her firing, Haynes wrote, “Everyone won’t rejoice with you when your dreams come true … If they didn’t create it for you then they will try to crush it. But stay STRONG and always follow your heart.”

Despite the bitter end of Tina, Haynes is trying to focus on the positive. “I love what I do,” she says. “I love the people that I work with. Sometimes we get hurt in the process. You want to know who took a chance and it cost them a lot? Gandhi, Martin Luther King Jr., Rosa Parks, Mother Teresa, Tina Turner, Nelson Mandela. It comes with the territory. I’m a big girl. I don’t want anyone to feel sorry for me. It’s disappointing, but it’s not defining.”

Her future plans are unclear, but she hopes the Stones performance opens up the door to more musical opportunities. “Right now, I am having conversations with some beautiful souls that are directing me and helping me,” she says, “holding my hand in this process.”

Stones vocalist Sasha Allen was back onstage with the Stones when the tour went to London after Hyde Park, meaning Haynes’ “Gimme Shelter” experience was likely a one-time deal. “It was a magnificent gift,” she says. “I recognize that. It’s very precious. I’m still savoring it.”

https://www.rollingstone.com/music/music-features/rolling-stones-chanel-haynes-tina-turner-1375761/

Freya Gin wrote on Jun 29^th, 2022 at 12:14pm:

Yeah, except the major question: Why?

Reading between the lines of the Rolling Stone story, it is likely that:

1) Chanel asked permission from the producers

2) The producers said "no" because they had marketed these
particular performances as the last chance to see Chanel, who
had stolen the show somewhat.

3) Chanel responded "sorry, you've already decided to replace me,
so i need to take this chance. Use the understudy" and then she
took off on the Stones-provided jet.

4) So the producers fired her. And the Rolling Stone story makes
clear that the number one producer, when it comes to who plays
Tina, is Tina Turner herself.

5) So nobody seems completely in the wrong here.

6) To make some kinda final moral judgement, i think one would need
to know exactly why Chanel's tenure was ending in London (without her
being given the role in any of the other touring Tina casts). Was it
because she was becoming too much the star, taking some of the
shine from the show itself, and from the other half-dozen or so Tinas ?
Or was it for some other reason ?

7) Interestingly, this line of thinking leaves open my speculation that
Sasha/the Stones might have had a role in engineering this drama.
Sasha/the Stones could have gotten wind of the fact that the
Tina musical was sabotaging Chanel's career because she was
"too good, too much of a star" and so they decided to help Chanel
stay in the limelight a bit longer

Her publicist is milking the firing for all it's worth...

https://www.msn.com/en-us/music/news/singer-chanel-haynes-was-fired-from-tina-turner-musical-after-performing-with-the-rolling-stones/ar-AAZ12pn?ocid=&cvid=c2a1534174ca4e63a8a6da5750fa864c

In comparison, Sasha Allen's publicist doesn't care if desperate Stones fans read about her Covid.

If they were that controlling, I'd have been out of there before they got the chance to fire me. And I think Tina would've done the same.

8) Since a Stones musical has been under consideration since forever, it is
certainly possible if not likely that incognito Mick slipped in caught a
performance of this very successful Tina thing. Research. Part of his
job. And perhaps that was when he first became aware of Chanel.

Thank you Gazza for posting the article.

Again, I am weirdly fascinated about this whole situation.
Following a point 20RL made...My question/comment...As an Executive Producer (for simply being Tina), What role, if any did the real Tina Turner have in the sacking?

Likely, she didn't have a say in this day-to-day decision? If not, what are her thoughts? Knowing the thrill of sharing the stage with the Stones, would she have released this guillotine blade?

I am sure she is already getting offers from other bands for back-up opportunities...the bigger stuff takes time to come together. Getting fired from this will turn out to be the best thing for her career, I am confident of that.

I've tried to be subtle about it, but I guess I'll make it a little clearer,
since there is such huge resistance to the idea that Tina Turner is
almost certain to have concurred with both the initial replacing and
the final firing of Chanel.

A huge blind spot, y'all, and its understandable, since Tina Turner is
highly and rightly revered for her music

But, to repeat, the article strongly implies that Tina Turner makes every
decision about who plays Tina. You dont have to accept that as a certainty,
but you do have to accept that as a possibility, since it makes perfect
business sense to get rid of someone who is beginning to outshine the
musical itself, which is a PROPERTY. Tina Turner's property, which she
seems to have protected by getting rid of Chanel.

The last thing you want if you own the property is for people to start
saying "only go see the show when Chanel is performing, she's way better
than everybody else in the role." Especially when you want to tour this
thing all over the globe, and so you need multiple somewhat generic
Tinas, not just one outstanding one.

This is Introductory Showbiz. Broadway 101.

But you say: It shouldn't be this way !

I agree. And apparently so does Mick. or at least he felt moved
enough by Chanel's talent and plight to give her career a little boost

Chanel:

Nutbush City Limits / Proud Mary

https://www.youtube.com/watch?v=M4qfOu6Fzd4

Respect:

https://www.youtube.com/watch?v=f4vgf0OL-1g

And here's the woman that the producers chose to replace Chanel

https://www.youtube.com/watch?v=taAqKCenB6U

Great videos, thank you Rev! Loved this part /link without the "screen" to go directly to Proud Mary

https://youtu.be/M4qfOu6Fzd4?t=368

https://youtu.be/inMIyQiSaLI

via IORR/ByeByeJohnny

Chanel's instagram yesterday

and now, just to keep the fun going...

sasha allen has insta-posted a pic of herself with attached
sound clip: tina turner singing "simply the best" !

I think there was some sort of issue, behind the scenes, that is so severe that they had to tell her in the email that the theater is to not allow her in the building.

We also assume that email screen grab is legit. It could be bogus.

Tina, Inc. isn't saying anything.

She's being vague about things.

She evades questions on social media.

Who knows what's going on.

Steel Wheels wrote on Jul 11^th, 2022 at 10:18am:

Legal is as Legal does.
Those posts with the letter were on her Insta account.

I know the letter is on her Instagram page. That why I said,"We also assume that email screen grab is legit. It could be bogus."

Since nobody is talking, my money is on that she caused some issues behind the scenes that was enough for them to can her and have building security not allow her in to the theater. The Tina, Inc. people are taking the high road and not throwing her under the bus.

ROCKS OFF - The Rolling Stones Message Board
http://rocksoff.org/cgi-bin/messageboard/YaBB.pl GENERAL >> MAIN BOARD >> Chanel Haynes suspended from Tina musical http://rocksoff.org/cgi-bin/messageboard/YaBB.pl?num=1655993409 Message started by Rev 20 Redlights on Jun 23^rd, 2022 at 9:10am