Daily Archives: June 1, 2017

Watch Gucci Mane's Independent Short Film 'The Spot'

Gucci Mane‘s long-delayed independent movie The Spot has officially been released. As Rap-Up points out, filming took place as early as 2012, with clips of the movie surfacing online at that time. In 2015, Mane teased the release of the movie, tweeting that it would be available via iTunes and other digital retailers. However, that was not the case, though the film’s soundtrack of the same name was released that year.

Instead, The Spot is now available for free via WorldStarHipHop. Directed by Mr. Boomtown and written by Tedrick Huff, the film was executive produced by Gucci Mane, who also stars in the film alongside his fiancée Keyshia Ka’oir and rapper Rocko.

The just under 47-minute movie opens with a robbery and centers on Gucci Mane’s character and Lego (portrayed by Rocko) who co-own The Spot, which deals in cars, diamonds and other items of questionable origin. Serving also as narrators, the pair introduces the seedy characters that scheme in the crime-oriented comedy.

Gucci Mane has steadily been releasing new material following his two-year prison stint. Earlier this week, the rapper appeared in Mike Will Made-It’s “Perfect Pint” video, which also features Kendrick Lamar and Rae Sremmurd. In May, the rapper teamed with Migos for their “Slippery” clip and he released “Coachella” in April. His mixtape with Metro Boomin, DropTopWop, was released on May 26th.

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The T.J. Martell Foundation Announces L.A. Family Day Presented by CITI

Pictured Left to Right: Dr. Alan Wayne, Helen Wayne, Ken Bunt, Rebecca Diamond and Joel DiamondLOS ANGELES, June 1, 2017 /PRNewswire-USNewswire/ — Tuesday, May 23, 2017, the T.J. Martell Foundation announced plans for L.A. Family Day presented by CITI at the Grove on Saturday, October 7, 2017. L.A. Family Day Co-Chairmen Ken Bunt, President of Disney Music Group and David…


Notorious B.I.G. To Be Honored Posthumously With Esteemed ASCAP Founders Award At 30th Annual ASCAP Rhythm & Soul Music Awards On June 22nd In Los Angeles

ASCAP Logo (PRNewsfoto/ASCAP)NEW YORK, June 1, 2017 /PRNewswire/ — The American Society of Composers, Authors and Publishers (ASCAP) will host its 30th annual Rhythm & Soul Music Awards on Thursday, June 22, 2017 at The Beverly Wilshire Hotel in Los Angeles. The exclusive event will honor hip-hop legend, Christop…


Chance the Rapper: I Want My Daughter to Be a Chicago Public Schools Kid

Chance the Rapper donated $1 million to the Chicago Public Schools Foundation in March and detailed the enormous progress his initiative has since made on The View Thursday. The Grammy-winning rapper’s new organization, the New Chance Arts and Literature Fund, has currently raised over $2.2 million for his hometown’s public schools.

“That’s the biggest topic in the city,” said the 24-year-old rapper. “I’m a new parent and I want my daughter to be a CPS [Chicago Public Schools] kid, and if there’s no more CPS then how’s that gonna happen? I’m trying to play my part.”

Chance explained that he comes from a family of activists. His father worked for several Chicago mayors, as well as then-Senator Barack Obama. “My grandmother volunteered herself and all her kids to work for [former mayor] Harold Washington’s campaign when they had no money. There’s a lot of women and men in my family, especially my dad, who are just leaders … There’s just always been a calling to, if there’s something wrong in the world to try and put some type of dent in it.”

Despite his family’s history of activism and public service, Chance dismissed running for office himself. “Politics is the reason why a lot of stuff doesn’t get done, there’s a lot of limitations,” he said. “There’s a lot of people who become a little silenced and a little bit stagnant when they get in office.”

Chance detailed some of the issues that inspire him to make change, such as the troubling racist graffiti painted on LeBron James’ home and gun violence, segregated neighborhoods and poor police-community relations in Chicago. When asked how he felt about President Donald Trump’s past comments about the city, Chance shrugged and said, “I dunno, I haven’t seen him in Chicago before. I don’t know if he knows what he’s talking about.” 

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Arcade Fire To Bring "Infinite Content" Tour Across North America

http://rockbands.net/wp-content/blogs.dir/3/files/2017/06/Live_Nation_Arcade_Fire.jpg?p=captionLOS ANGELES, June 1, 2017 /PRNewswire/ — Arcade Fire has announced their “Infinite Content” tour today, which will make its way through North America starting September 5 in Quebec City. The tour produced by Live Nation will also feature a series of special guests including Wolf Para…


Arcade Fire Preview New Album, Tour With Euphoric 'Everything Now'

Arcade Fire unveiled a radiant new song, “Everything Now,” the title track from their upcoming fifth album, out July 28th via Columbia. The band will also embark on a massive North American tour this fall.

“Everything Now” is a steady-stepping disco rocker packed with plenty of Arcade Fire tricks, from bubbling bass and stadium-sized guitars, to background vocal chants, sweeping strings, a sprightly flute and a delightfully ABBA-esque piano melody. “Turn the speakers up till they break,” Win Butler sings. “Cause every time you smile it’s a fake/ Stop pretending you’ve got everything now.”

Arcade Fire also shared a music video for “Everything Now,” which opens with a snippet of another new song. The Sacred Egg-directed clip finds the band performing the track in a sparsely populated desert town where all the storefronts say “Everything Now” and children are left to roam the gorgeous but eerily barren landscape. 

Everything Now is available to pre-order via a new Arcade Fire e-store that also bears the album’s title. The record will be available digitally, as well as on CD, cassette and vinyl. Physical copies will come with one of 20 artwork variations with the record’s title in a different language. A limited edition “Night” package will also be available with CD and colored vinyl.

Everything Now follows Arcade Fire’s 2013 album Reflektor. The band recorded the new LP at Boombox Studios in New Orleans, Sonovox Studios in Montreal and Gang Recording Studio in Paris. Arcade Fire produced Everything Now with Daft Punk’s Thomas Bangalter and former Pulp bassist Steve Mackey, while previous collaborator Markus Dravs (The Suburbs) is listed as a co-producer

Arcade Fire will embark on the first leg of their Infinite Content tour in support of Everything Now beginning September 5th at the Centre Videotron in Quebec City, Quebec. The tour wraps November 3rd at the Air Canada Centre in Toronto. Tickets will go on sale June 9th at 10 a.m. local time. Additional dates will be announced with more information available on the group’s website.

Arcade Fire North American Tour

September 5 – Quebec City, QC @ Centre Videotron
September 6 – Montreal, QC @ Bell Centre
September 9 – Ottawa, ON @ Canadian Tire Centre
September 12 – New York, NY @ Madison Square Garden
September 15 – Boston, MA @ TD Garden
September 16 – Washington, DC @ Verizon Center
September 17 – Philadelphia, PA @ Wells Fargo Center
September 21 – Atlanta, GA @ Infinite Energy Arena
September 22 – Tampa, FL @ USF Sun Dome
September 23 – Miami, FL @ Watsco Center at the University of Miami
September 26 – New Orleans, LA @ UNO Lakefront Arena
September 27 – Austin, TX @ Frank Erwin Center
September 28 – Dallas, TX @ American Airlines Center
October 11 – Edmonton, AB @ Rogers Place
October 12 – Calgary, AB @ Scotiabank Saddledome
October 14 – Vancouver, BC @ Pacific Coliseum
October 15 – Seattle, WA @ Key Arena
October 17 – Oakland, CA @ Oracle Arena
October 18 – San Diego, CA @ Viejas Arena
October 20 – Los Angeles, CA @ The Forum
October 22 – Las Vegas, NV @ Mandalay Bay Events Center
October 25 – Denver, CO @ Pepsi Center
October 27 – Kansas City, MO @ Silverstein Eye Centers Arena
October 29 – St. Paul, MN @ Xcel Energy Center
November 1 – Windsor, ON @ Windsor Credit Family Union Centre
November 3 – Toronto, ON @ Air Canada Centre

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Radiohead: Watch the Story of 'OK Computer'

Radiohead‘s OK Computer turns 20 this June and in a new Rolling Stone cover story, the band looks back at the forces that inspired the record, its surprise success and lasting impact on rock music. Author Andy Greene has also narrated an essential primer on OK Computer, which explores how life on the road, a haunted mansion and rapid changes in technology influenced Radiohead’s seminal 1997 record. 

Thom Yorke began writing the lyrics for several OK Computer songs as Radiohead toured relentlessly in support of their 1995 album, The Bends. These songs were rooted in the exhaustion and isolation that comes with constant travel, but also reflected Yorke’s growing detachment from the rest of the world as it embraced new technology like the internet.

When The Bends tour finally ended, Radiohead holed up in St. Catherine’s Court, a massive estate in Bath, England and set about recording and experimenting. “They wanted to push the boundaries of rock and roll,” Greene says. “They felt very restrained by just drum, guitar, bass.”

Upon its release, OK Computer was met with a staggering amount of acclaim and a slew of imitators quickly followed. Radiohead, however, continued moving in their own direction. “They decided that they made the perfect rock album,” Greene says. “And part of their genius is sort of this Bob Dylan, or David Bowie-like ability to create something perfect and then never do it again.”

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Review: Roger Waters Flays Modern Dystopia on First Rock LP in 24 Years

“Picture a shithouse with no fucking drains/Picture a leader with no fucking brains,” snarls Roger Waters near the start of his first proper rock LP in nearly 25 years, unsubtle as a hammer between the eyes. But the grim charm of this set, a 12-track dystopian concept LP that makes The Wall read like Rebecca of Sunnybrook Farm, is precisely his emeritus off-the-leash ranting, a fitting response to the stench and stupidity of our present moment.

IsThis The Life We Really Want? isnot without humor. It opens with the old rock star imaging his first act asGod: undoing the longterm effects of alcohol on his face (priorities, people!)Elsewhere, classic song allusions flicker sardonically (“Wish you werehere in Guantanamo Bay!”) But from the redacted-text package designforward, it’s a relentlessly dark image-feed: drone warfare (“Déjà Vu”),forced parent-child separations (“The Last Refugee”), the gluttony ofthe American dream (“Broken Bones”), the psychosis of terrorism (“SmellThe Roses”) – pretty much the nightly news. The music is quintessentialpost-Dark Side Of The Moon Floyd, but channeled by offspring:Producer Nigel Godrich brings prog-rock grandeur, multi-instrumentalistJonathan Wilson microdose psychedelia, Lucius alt-R&B backing vocals. Agreater sense of these collaborators’ styles would be welcome. Otherwise, it’sprecisely what a Trump-era Roger Waters LP should be. 

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Review: Bleachers' Jack Antonoff Is an Emo Elton John on 'Gone Now'

Jack Antonoff is a grown-up emo kid and a fullyrealized tune machine – an Elton John whose yellow-brick road always leads backto his sad bedroom. Bleachers’ second LP exudes a kind of afflicted bliss,anthemic Eighties pop and R&B impressions built from the harried, diaristic isolation that era’s Top 40 only allowed in at the margins. Lordeco-writes and sings on the synth-pop gusher “Don’t Take the Money,”and Carly Rae Jepsen shows up on “Hate That You Know Me,” part snappyelectro-pop tune, part industrial angst spiral. 

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Review: Halsey Showcases Wild Ambitions on 'Hopeless Fountain Kingdom'

It makes sense that Halsey proclaims herself a “Marvel nerd,” because she definitely nailed the origin story. Born in 1994, just a couple of weeks after Biggie dropped his debut Ready to Die, she blew up into an out-of-nowhere pop icon with her breakout hymn “New Americana,” speaking for a new generation of electro-angst youth: “High on legal marijuana/Raised on Biggie and Nirvana.” Halsey keeps leveling up her pop-rebel game, being her own loud and messy self in public, with the sass of a confessed “fucked-up stoner kid” who grew up as a suburban Jersey girl named Ashley Nicolette Frangipane and renamed herself after a Bed-Stuy L train station. Bisexual, biracial, bipolar, but definitely not buying your next drink, she comes on like God’s gift to hashtags, almost daring the straight world to keep underestimating her.

Halsey shows off all her wild musical ambitions on Hopeless Fountain Kingdom, a bold second album that consolidates all the strengths of her 2015 debut Badlands. It’s her sprawling science-fiction breakup tale, indulging her taste for wide-screen melodrama – she begins the album by reciting the prologue from Romeo and Juliet, introducing a tale of star-crossed lovers trying to break free from the fatal loins of their families. (Halsey even has a line from Romeo and Juliet inked on her arm: “These violent delights have violent ends.”) But of course, in her hands, it turns into the story of a restless young pop star who jets around the world, leaving shattered hearts in her wake, yet still can’t find true love, admitting, “I have spent too many nights on dirty bathroom floors.”

Halsey keeps Hopeless Fountain Kingdom moving, going for adult dystopian synth-pop realness. She’s out to make damn sure nobody mistakes her for some harmless starlet who served as sultry hook girl on that Chainsmokers hit; she shakes off that image like she’s dumping a mattress she stole from her roommate back in Boulder. Hopeless Fountain Kingdom sounds more like Trent Reznor’s “Closer” than the Chainsmokers’ – with flourishes of industrial clank and guitar grind in “100 Letters” (“I find myself alone at night unless I’m having sex”), “Heaven In Hiding” or “Alone.” Her Shakespeare-as-Depeche Mode concept holds up even as the tracks jump from one usual mega-producer suspect to the next – Gregg Kurstin to Benny Bianco to Lido.

Sheduets with Migos’ Quavo in “Lies,” which presents both sides of a strangerelationship gone off the rails, as she sneers, “Are you misled?/I gaveyou the messiest head.” “Good Mourning” is an odd one-minuteinterlude with a little kid saying, “All I know is a hopeless place thatflows with the blood of my kin.” “Bad at Love” is a Kiss-worthytour of beds she’s wrecked around the world, from “I got a boy back homein Michigan/And he tastes like Jack when I’m kissing him” to “Got agirl with California eyes.” Most daringly of all, Halsey strips downmusically to lean on her voice in the vulnerable piano ballad “Sorry,”where she worries whether she’ll ever like herself enough to let anyone getclose to her. She’s hardly the first twenty-something pop upstart to face thisdilemma. But judging from Hopeless Fountain Kingdom, Halsey couldgo anywhere from here.

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