Daily Archives: July 7, 2017

PonyChat: New Kid-Focused ‘After Show’ from Hasbro & My Little Pony

For fans of the popular My Little Pony: Friendship is Magic TV series, Hasbro is introducing PonyChat, the official, kid-hosted My Little Pony: Friendship is Magic aftershow. As one of the newest kid-focused after shows …Read More


Tilles Center at LIU Post Announces 2017-18 Season, Presenting Sponsor and New Tagline!

Long Island UniversityBROOKVILLE, N.Y., July 7, 2017 /PRNewswire-USNewswire/ — Tilles Center for the Performing Arts at LIU Post today announced its 2017-18 season. The entire season will be presented by Capital One. “Capital One is proud to support the Tilles Center for the Performing Arts at LIU Post for…


Kesha: Recording New Album Was 'Way to Cope' With Depression

In a revealing new interview with SiriusXM radio, Kesha credited a strict recording routine with helping her cope with depression. “I would roll out of bed, get in my car and show up to the studio,” the pop singer said. “And I would just keep making songs. That was my way to cope.” The end result, her forthcoming album Rainbow, is due out August 11th. 

Kesha never directly referenced her ongoing legal battle with Sony and producer Dr. Luke, whom she has accused of sexual assault and battery. However, she admitted that her dream of making a new album is what kept her going through the past four years. “It makes me want to cry because it feels really surreal,” she said of announcing the LP.

The singer also confronted her depression in the music video for her new single, “Praying.” In a sobering monologue, she asked, “Am I dead, or is this one of those dreams, those horrible dreams that seem like they last forever?” She admitted to SiriusXM that while while she’s contemplated suicide, it shouldn’t be “taboo” to address those dark human emotions in song.

“I wrote a song about it, so let’s talk about it,” she said. “I think it’s healthy to talk about feeling really down sometimes because life can be a fucking bitch sometimes. And I think the beautiful part is that you hold onto hope … and you keep showing up for yourself.”

Kesha acknowledged that while her fans are rooting a comeback hit with Rainbow – her first album 2012’s Warrior – she’s risen above commercial pressure.

“I felt the pressure writing the music,” she said. “I knew in my brain what I wanted it to sound like and look like and everything … Now we’ve done the art and the photo shoot and all the songs and the masters and mixes, and I played on this and wrote a bunch of songs all by myself. The whole thing was this brainchild of mine that I worked on for however many years, and now that it’s done I can’t care.”

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MARC O'POLO celebra su 50 aniversario con un elenco internacional de estrellas en Múnich y Stephanskirchen

MÚNICH, 7 de julio de 2017 /PRNewswire/ — Robbie y Ayda Williams estuvieron esta mañana en la tienda MARC O’POLO de Múnich para presentar su ‘Iconic Capsule Collection’. La colección está disponible exclusivamente en las tiendas MARC O’POLO y en el sitio http://www.marc-o-polo.com. La…


Hear Hans Zimmer's Pulse-Racing 'Supermarine' From 'Dunkirk' Score

Hans Zimmer unveiled the suspenseful eight-minute instrumental called “Supermarine,” from his new Dunkirk score.

“Supermarine” immediately conjures the menace of war with frantic, militarized beats, nose-diving synths and guitars that ring like air raid siren. Throughout the lengthy piece, instruments emerge and disappear, but the frantic pace of “Supermarine” never relents.

Dunkirk marks the sixth collaboration between Zimmer and director Christopher Nolan, with the duo previously teaming on the Dark Knight Trilogy as well as Inception and Interstellar. In the past year, the prolific electronic music giant also scored projects like Planet Earth II, Hidden Figures (with Pharrell Williams) and Batman v Superman: Dawn of Justice.

The World War II epic Dunkirk arrives in theaters July 21st. On July 13th, Zimmer will embark on the second leg of his first North American tour, which kicked off in April at Coachella.

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MARC O'POLO comemora seu 50o. aniversário: elenco internacional de astros e estrelas em Munique e Stephanskirchen

MUNIQUE, 7 de julho de 2017 /PRNewswire/ — Durante a manhã, Robbie e Ayda Williams apareceram na MARC O’POLO de Munique para revelar a sua icônica coleção cápsula. Ela está disponível exclusivamente nas lojas MARC O’POLO e em http://www.marc-o-polo.com. A respectiva campanha foi…


Craig Foster Joins LiveXLive Board of Directors

LiveXLive (PRNewsFoto/Loton, Corp.)BEVERLY HILLS, Calif., July 7, 2017 /PRNewswire/ — The Board of Directors at LiveXLive (OTC: LIVX), a subsidiary of Loton, Corp, today announced the appointment of Craig Foster as a director and head of the board’s Audit Committee. Foster, a Silicon Valley financial veteran, was form…


Prince's Paisley Park Estate Plots 'Musicology' Battle of the Bands

Prince‘s Paisley Park estate has planned its first-ever battle of the bands competition. The event, dubbed “Musicology” after the musician’s 2004 LP, will take place August 31st through September 3rd at the late musician’s complex in Chanhassen, Minnesota.

The estate will select nine artists through video submissions via Facebook. Three different finalists will perform each night in front of a live audience at Soundstage, the site of numerous Prince shows, from August 31st to September 2nd. The three winners will advance to the final showdown on September 3rd.

The winner will receive an Artist Development Award, including studio time at Paisley Park, a “mentorship session” with members of Prince’s backing band New Power Generation and additional “career development opportunities.”

The Musicology event, subtitled “Real Music By Real Musicians,” will also launch new tour exhibits highlighting Prince’s early years and experiences with his first band, Grand Central, which included André Cymone, Chazz Smith, Morris Day, Terry Jackson, Linda Anderson and William “Hollywood” Doughty.

Many of Prince’s friends and former bandmates detailed the inspiration for Musicology in a statement announcing the competition. “Back in the day, we would often practice at The Way preparing for the Battle of the Band events,” said bassist Sonny Thompson, who played in New Power Generation between 1991 and 1996. “I remember other bands would always try to sneak into our space to see what we were doing, but we were always the funkiest! The Family was the name of our band.”

Cymone added, “Music has taken me and my best friend and first bandmate Prince from virtual obscurity to world-wide fame, and it all started with the inspiration of competition. The Minneapolis Sound was born from the Battle of the Bands contests – we took the step and jumped into the game, who’s next?”

The deadline for video submission is July 30th. Tickets to attend the event are also available; single-day passes – which also include a tour of the Paisley Park museum and a post-battle dance party – start at $100.

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10 New Albums to Stream Now: Rolling Stone Editors' Picks

Haim, Something to Tell You
The long-awaited second album by SoCal’s Haim “[doesn’t] always explode with the sunny ebullience of the first LP, but the melodies, beats and ideas are layered and piled high, like a couch-pillow fort,” writes Jon Dolan. “The best moments are strung between soft rock and soul, as if Jimmy Jam or Quincy Jones helmed a late-Eighties Fleetwood Mac record.”
Read Our Review: Haim Deepen Ties to Soul Music and Eighties Soft-Rock on Long-Awaited Second LP
Read Our Feature: Sister Act 2: How Haim Found Their Way Back With Something to Tell You
Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

Broken Social Scene, Hug of Thunder
In the mid-’00s, this Toronto band helped make indie rock a more epic place, with a rotating cast of members large enough to field a soccer team and a sound that could rival fellow Canadian big-hearts Arcade Fire in its gathering, spacious gravitas. The band was also a jumping-off point of sorts for Leslie Feist and Metric’s Emily Haines, who are both on hand for BSS’s first LP in seven years, a record full of grand (if atmospheric) melodic whoosh and heavy (if opaque) emotional discharge. “Halfway Home” is where Bruce Springsteen meets My Bloody Valentine in the space between anxiety and uplift where this band does most of its best work. Haines sings “Protest Song,” advising “take it like you’re strong” over sharp guitar flares and a gingerly charging beat, while Feist takes over on the lushly forlorn, Kate Bush-esque title track. Broken Social Scene’s wandering epiphanies can sometimes come a little slowly, but when they slap on big guitars or grabby beats, these sweeping, sculptural anthems flash like distant signals of community and hope amidst personal and political darkness. It’s the sound of shaky hands slowly balling into raised fists. Jon Dolan
Hear: Amazon Music Unlimited | Apple Music | Spotify | Tidal

21 Savage, Issa Album
On the official major-label debut from Atlanta’s 21 Savage, the moody rapper seemingly breezes through a deep, anguished take on modern trap. His sound is a mix of highly melodic rhyming with deep and rumbling bass (eight of the 14 tracks feature producer Metro Boomin, who helped him make it to the Billboard Hot 100 with last year’s “X” and “No Heart”). But Savage’s greatest skill is an ability to paint with hues of sadness and dread (one chorus: “I see dead bodies when I close my eyes”). His neighborhood is no trapper’s delight, but a place where he “slept with rats and roaches.” In “Nothin’ New,” a life of a high school dropout with a heroin-addicted mom is treated with penetrating numbness (“it ain’t nothin new”), and in the second verse, Savage paints a bigger picture: “I used to sell dope, nigga, now I can’t vote.” Christopher R. Weingarten
Hear: Amazon Music Unlimited | Apple MusicSoundCloud Go | Spotify | Tidal

Chronixx, Chronology
The debut full-length from long-running reggae star Chronixx is at once retro and contemporary, a beaming, conscious album that cycles through elements of roots reggae, dancehall and a little bit of dub before giving way to the gentle EDM of “I Can.” Holding it all together is his sweet, syrupy voice, which has made him a long-standing artist to watch. He gives big-ups to Beenie Man and Buju Banton on “Likes,” but his clear and bright voice feels more like the smoothed-out R&B singers of the Eighties and Nineties. Christopher R. Weingarten
Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

Sevyn Streeter, Girl Disrupted
For years, Sevyn Streeter has been popping up all over the R&B world, co-writing for the likes of Ariana Grande and supplying hooks for artists like Chris Brown and B.o.B. Her long-awaited debut album allows her to take center stage, and she seizes the opportunity, proffering street-smart soul that nods to present trends while also bringing in classic R&B motifs. The spaced-out “Fallen” counterweighs its 21st-Century vibe with a nod to New Edition’s “If It Isn’t Love”; “Soon As I Get Home” is a high-energy chronicle of an after-afterparty, the rip-off-our-clothes mood of “Drunk in Love” filtered through the bounce of “My Boo.” Maura Johnston
Read Our Feature: After Four Years, Sevyn Streeter, R&B and Pop Hitmaker, Finally Gets Her Chance
Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

Toro y Moi, Boo Boo
Chaz Bundick is a shapeshifter, and his latest has him tilting toward a more mainstream R&B sound – perhaps in part because mainstream R&B is tilting toward the trippy electronic pop Bundick’s been making for years. “Mona Lisa,” meanwhile, is a New Order-ish love song that may involve taking LSD on Mount Tamalpais, and it dissolves into a sequence that conjures Animal Collective pitching ideas to Trey Songz. Will Hermes
Hear: Amazon Music Unlimited | Apple Music | Bandcamp | SoundCloud Go | Spotify | Tidal

Chris Bell, Looking Forward: The Roots of Big Star
Before co-writing Big Star’s 1972 power-pop landmark #1 Record, Chris Bell was a Memphis-based Beatles fan working his way up to an influential sound in projects that bore names like Rock City, Icewater and the Wallabys. Some of these early tracks still have a foot in the pastoral Sixties, providing an interesting link between psych-pop and what would eventually be punk, New Wave and indie rock – fans of bands like the Soft Boys and XTC, take note. Most of these songs have been reissued before but a few unreleased gems appear, including the Syd Barrett-rock of “The Reason” and the Nuggets-y “A Chance to Live.” Christopher R. Weingarten
Hear: Amazon Music Unlimited | Apple Music | Spotify | Tidal

Dream Version, Fight Fair
Chicago trio Dream Version specializes in sharp-cornered, highly erudite rock that brings to mind horn-rimmed glasses and sticker-covered college radio studios. Vocalist Alec Jensen doubles on bass, anchoring the band with a hyper-precise aesthetic that adds heat to his pointed (and, at times, self-lacerating) lyrics about 21st-Century ills and turns the band’s moments of post-punky chaos – the string-bouquet synths and power-pop harmonies of “I’m Still As Spoiled As the Day I Was Born,” the metallic drone draped over “Shame” – into giddy realizations of their musical might. Maura Johnston
Hear: Apple Music | Bandcamp | Spotify | Tidal

Charley Pride, Music In My Heart
Country legend Charley Pride’s first album in six years, a partnership with singer-songwriter Billy Yates, doesn’t reinvent the wheel, with the pioneering singer showing off his finely tuned interpretative skills on the sparkling “Make Me One More Memory” (made famous by Johnny Paycheck in ’77) and the matter-of-factly mournful “New Patches” (written by Bakersfield Sound architect Tommy Collins). The lush ballad “Natural Feeling for You” was written by the late Ben Peters, who won the Best Country Song Grammy in 1973 for penning Pride’s crossover hit “Kiss an Angel Good Mornin'”; and Pride’s longtime friend Merle Haggard originally wrote and recorded the nostalgic “The Way It Was in ’51.” The classic-Nashville arrangements – a languorous slide guitar here, some feisty fiddles there – frame Pride’s twangy burr lovingly, allowing his simply stated emotion to take center stage. Maura Johnston
Hear: Apple Music | Spotify | Tidal

This Is the Kit, Moonshine Freeze
Kate Stables is a banjo-plucking U.K. singer/songwriter with a gentle demeanor and a dangerous undertow. Her fourth LP as This Is the Kit, shaped in part with PJ Harvey consort John Parish, sounds less like a solo album than the product of a band. See “Hotter Colder,” with fiery Afrobeat brass, swooping guitar lines (by occasional tourmate Aaron Dessner of the National), and multicolored vocal arrangements that recall Sufjan Stevens. Elsewhere, “Easy on the Thieves” is a timely indictment that notes “People want blood … now you’ve got panicking/That’s just how they work, exactly how they win.” Like the rest of the set, it’s cryptic, provocative, and addictive. Will Hermes
Hear: Amazon Music Unlimited | Apple MusicSoundCloud Go | Spotify | Tidal

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After Four Years, Sevyn Streeter, R&B and Pop Hitmaker, Finally Gets Her Chance

Though she’s only releasing her debut album today, Sevyn Streeter is no stranger to the pop charts. Streeter’s an ace songwriter who has co-written Top 40 hits for Chris Brown (“Yeah 3x,” “Next to You,” “Strip,” “Fine China”) and Ariana Grande (joyous breakout single “My Way”). And, as a singer, her drowsy, besotted ballad “It Won’t Stop” hit Number 30 in 2013.

But working in a music business that tends to back male performers over female ones – this week female singers account for just 25% of Billboard’s Top 20 R&B Albums – Streeter’s attempts at building a solo career have been continuously put on hold. Despite a strong track record and a hit single, her debut full-length LP, Girl Disrupted, comes more than four years since she entered the popular consciousness with “It Won’t Stop.” Streeter says that over the last 18 months, the difficulty of getting music to her listeners had sent her into depression.

“[The depression] came from a place of: I dedicated my life to this work and this art, and I don’t feel like it’s having the opportunity to be heard,” she tells Rolling Stone, speaking over the phone from Los Angeles before shooting a video for album cut “Anything You Want,” which features Ty Dolla $ign, Jeremih and Wiz Khalifa.

“Being a young black woman can add so many different hurdles,” she adds. “It was almost like I had a muzzle over my mouth. Sometimes I would place it there myself; sometimes I would allow other people to place it there.”

Streeter grew up going to church, and her faith helped her battle. “If God is in control of everything, why would I be fearful to say what I want, do what I want, ask what I want?” she says. “Why are you afraid of going left when someone else wants you to go right? It really did cause me to learn how to say no, to learn how to put myself and my thoughts first.”

“Guess what,” she continues. “There is no muzzle over this mouth now.”

Girl Disrupted‘s title nods to the 1999 film Girl Interrupted with, as she says, “this crazy industry” as a stand-in for the bizarre cast of characters at the movie’s mental hospital. The album shows the extent of Streeter’s reach in R&B and hip-hop, a byproduct of goodwill built up from nearly a decade of writing and singing sessions. In addition to Jeremih, Khalifa and Ty Dolla $ign, featured guests include Dej Loaf, August Alsina and rising New York rapper Dave East. For production, Streeter calls on Bangladesh (Beyoncé, Lil Wayne), the Stereotypes (Bruno Mars) and The-Dream and Tricky Stewart (Rihanna, Justin Bieber), who contribute a rail-splitting beat to “Present Situation.” Those are airwave-focused beatmakers, but their sound doesn’t define the record. Streeter envisioned it as a statement of range.

“It pulls from the foundation of R&B, it pulls from where we are and it also pushes it a little bit forward,” she says.

In addition, she says Girl Disrupted‘s unifying purpose is to provide nourishment during the weekdays, a period sometimes neglected by the club-focused hit industry.

“There’s only two days on the weekend, and the majority of your life is during the week,” Streeter explains. “We feel real things; we go through real things; we need to have music that balances all of that out for us.”

This is exemplified by Girl Disrupted‘s winningly weak-at-the-knees single “Before I Do,” which suspends a nerve-wracking moment of romantic indecision in taut rimshots and delicate guitar. The track interpolates the Isley Brothers and brings to mind lavish, buffed Nineties ballads like Blackstreet’s “Before I Let You Go.”

“‘Before I Do’ isn’t trying to be like anything you hear today,” Streeter says. “The old me would not have wanted to go with that song. The old me would have been like, ‘Let’s go with something that feels a little more now.’

“But the Girl Disrupted version of me was just like, It hits people in the heart,” she adds. “The Girl Disrupted version of me is all the way here for ‘Before I Do.'”

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