Daily Archives: September 18, 2017

Watch Lil Wayne's Bizarre Football-Inspired 'Friends' Theme Parody

Lil Wayne sang along to a football-inspired rendition of the Friends theme in a bizarre NFL promo that aired on Fox Sunday.

In the video, the rapper seems ready to drop verses about Week 2 of the NFL season when the beat stops abruptly and the iconic theme song kicks on, confusing Lil Wayne.

Rather than the usual lyrics, this version of the Friends theme instead acts as a plea from the fanbases of NFL teams to not lose the first two games of the 2017 season. The rapper mouths along to the themed lyrics.

“You already brought your loyal fans to tears / ‘Cause it hasn’t been your day, your week, your month / For like 15 years,” Wayne “sings.” “Please don’t go 0-2 / Just ’cause you can’t catch a ball.”

It’s unclear why Lil Wayne was handpicked for the video considering his beloved Green Bay Packers won their first game of the season.

The Fox promo is the second unlikely Friends parody in as many months, following Jay-Z’s perfect remake of the sitcom for his “Moonlight” video.

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See First Trailer for 'George Michael: Freedom' Documentary

Showtime has shared the first trailer for their upcoming documentary George Michael: Freedom. The late singer himself provided narration for the film, which serves as his final work.

Through unseen archival and private home footage, as well as Michael’s own anecdotes, the documentary focuses on Michael’s entire career but especially the height of his fame leading up the release of 1990’s Listen Without Prejudice Vol. 1

The documentary will also provide a first-person account of Michael’s historic and lengthy legal battle with Sony Music.

Michael was heavily involved with the making of the film at the time of his December 2016 death, with the singer listed as co-director alongside David Austin.

George Michael: Freedom, which premieres October 21st on Showtime, also features interviews with artists like Stevie Wonder, Elton John, Mark Ronson, Mary J. Blige and Oasis’ Liam Gallagher as well as all five supermodels seen in the “Freedom ’90” video: Cindy Crawford, Naomi Campbell, Christy Turlington, Linda Evangelista and Tatjana Patitz.

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How Mija's 'Fk a Genre' Ethos is Bringing Pop and EDM Kids Together

In 2014, Amber Giles, who DJ’s as Mija, was performing at Bonnaroo when Skrillex joined her onstage for a back-to-back 6 a.m. set. The gig went viral and her audience nearly doubled overnight.

“My career was prematurely launched,” Giles, now 25, tells Rolling Stone. “I didn’t have a plan.”

Before her ascent into the upper echelons of EDM, Giles was a classically trained vocalist who quit the school choir at age 17 to start promoting raves in her hometown of Phoenix. Her mom would often join her – and continues to attend as many of her gigs as she can. “She’s the best,” says Giles. “She tries to come to all the parties.”

Giles has since moved to Los Angeles, toured the world, scored hits like her remix of DJ Snake’s “Middle” and originals like “Secrets,” and started work on her first EP – a follow-up to the recent multimedia project Time Stops. And though she often works with Skrillex’s record label, OWSLA, Giles remains an independent artist. 

“It’s probably my DIY punk-rock mentality,” she says.

Similarly, within minutes of any given Mija set, Giles promptly flips the script on those eager to box her in. Her upcoming EP, which features her vocals for the first time, departs from what fans may expect. “L.A. is such a melting pot,” says Giles. “I wanted to experiment and go outside of my boundaries.” 

She also draws inspiration from every place she passes through on her travels. “Depending on what’s happening in the world, what music is comingout, what city I’m in,” she explains, “I do some research on a place I’m goingto, get a feel for it and maybe do something that would be special for thatcity.” 

This innate curiosity fueled her signature musical style, which she calls “Fk a Genre,” a marriage of traditional electronic music and contemporary chart-topping sounds. Under the same moniker, she’s launched a wildly successful mixtape and tour, featuring acts like A-Trak and Joey Purp. “People want that sort of education,” she says. “People want to have a good time, they want to party with their friends, but they also want to learn something.”

She fondly recalls a tour stop in Chicago, where she blended turntablism, hip-hop and house, to the great satisfaction of her audience. “To just see them all dancing together – EDM fans, b-boys in the middle of the floor – like all these kids that don’t normally get to experience that,” she says, “that was really cool.”

These days, jumping across timezones and sleeping when she can, Giles can barely find time to do an interview – let alone find a quiet room to do it in. But despite her considerable success, she admits that if she hadn’t stumbled into this world she would “probably be playing some sick house music on some turntables at a local bar with all [her] friends, and probably be just as content.” As a tattoo on her forearm reads, it seems as if Giles was “born into this, like this” – even if she wasn’t planning on it. 

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Andrew W.K. Plots First New LP in Nine Years

Andrew W.K. will release his first studio album in nine years on March 2nd, 2018 via Sony.

“I’m going for the sound of pure, unadulterated power,” the musician/motivational speaker/longtime party champion said in a statement. “Every emotion, every thought, every experience, every sensation, every fear, every joy, every clarity, every confusion, every up, every down… all extruded and concentrated into one thick syrup of super life-force feeling, and then psychically amplified by the celebratory spirit of glorious partying.”

The label has yet to announce a title or track list for the album, which follows two experimental projects from 2009: 55 Cadillac, a set of improvisational piano tracks, and covers set Gundam Rock, featuring reworked material from the Japanese anime series Gundam.

Based on the singer’s description, the new record will align closely with the exuberant hard-rock spirit of early LPs like 2001’s I Get Wet and 2003’s The Wolf.  

The performer’s recent studio output has been minimal: He released the Japan-only “Party All Goddamn Night” EP in 2011, and he flirted with the EDM world with last year’s bass-heavy single “Party Til We Die.” He issued his most recent album of original rock material, Close Calls With Brick Walls, in 2006.

W.K. launched the Party Never Dies Tour Sunday at Chicago’s Riot Fest. The trek, which includes a run of April 2018 U.K. gigs, continues September 18th in Minneapolis, Minnesota. 

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How Fela Kuti Drummer Tony Allen Rediscovered His Jazz Roots

As Fela Kuti’s drummer during the 1970s, Tony Allen was at the center of one of the era’s greatest groups. “There was no band like the Africa ’70,” asserts Fela’s son Femi Kuti, a respected Afrobeat musician in his own right. “And there is no drummer like Tony Allen.”

In conjunction with Africa ’70’s conga players, Allen produced a darting web of rhythm, invigorating but never overpowering, that entranced generations of musicians. “I was accustomed to a hard and rigid sort of drive in the drums,” explains prodigious bassist Meshell Ndegeocello. “Hearing Tony Allen really opened my mind up to fluidity and the understanding of agility within the pulse.” Ndegeocello is part of the revered percussionist’s high-powered unofficial fan club along with Brian Eno, Damon Albarn – who recruited Allen to drum on multiple side projects and contributes piano to one track on the drummer’s new album, The Source – and the Red Hot Chili Peppers’ Flea.

Allen, however, shows little interest in revisiting his canonical work. “I don’t talk about myself,” he says, speaking over the phone from his longtime home in Paris. “I don’t need to say what I’ve done.” During a second call a week later – the first was plagued by a bad connection – Allen expands further. “I shouldn’t be going back to that,” he explains. “My music, when it’s done, it’s done. For me to explore – that’s what I should be doing now.” To that end, The Source is a vocal-less project that nurtures the drummer’s longstanding connection to jazz.

Allen’s release schedule has been nearly as idiosyncratic as his drumming since 1979, when he put out his first solo record without Kuti’s involvement. He cuts an album now and then, maybe contributes to an Albarn project or a Zap Mama album or a dancefloor cut for French disco pioneer Cerrone. “When you are a musician, you know who Tony Allen is, of course,” Cerrone says. “When you like the groove, you know Tony.”

But Allen’s productivity as a bandleader appears to be increasing with age: The Source marks his fourth LP since 2006, and a quick follow-up to an EP, A Tribute to Art Blakey and the Jazz Messengers, which arrived in May. That was an explicit nod to jazz drum legend Blakey – “my idol” – and other Blue Note records that have informed Allen’s playing since he encountered them on the radio in Nigeria in the early 1960s. Hearing Blakey prompted Allen to wonder, “Is he the only one on the drums, or are there two or three people?” (Allen has been praised in a similar fashion.) “I could hear a lot of things coming from an American guy that were very related to what I have in the continent of Africa,” Allen adds.

Originally the Blakey tribute was planned as a live-only affair, but when he signed with Blue Note France, the label encouraged him to record the songs as a teaser EP before releasing a full-length. Simultaneously, Allen was playing with a jazz big band in Paris and coming to the realization that he was sick of doubling on vocals.

“Maybe once in a while [I’ll sing] if I have to, but not now,” he explains. “I really want to concentrate more on my drumming. My groove is already a complicated, difficult groove down there. And then singing on top of it? I’ve been doing it for years, but I’m tired of it now. I want to have the jazz music.” He decided to make his next LP a 10-piece affair with no vocals.

To prepare for The Source, Allen got together with sideman Yann Jankielewicz – a collaborator since 2009’s Secret Agent – for what the saxophonist calls a “sharing of taste.” “We would drink whiskey, because we both like whiskey,” he remembers, “and we started to listen to some music to know what jazz he loved and what I loved.” Jankielewicz cued up Gil Evans, the Canadian pianist-arranger-composer whose partnership with Miles Davis resulted in monuments like Miles Ahead and Sketches of Spain, while Allen brought Blakey and Charles Mingus to the table. “Classics,” Jankielewicz acknowledges, “but still efficient.”

On The Source, Allen often finds a middle ground between these references and the Afrobeat he is known for – or starts closer to one end of the spectrum before moving towards a mean, as he does on album opener “Moody Boy.” In “On Fire,” “Tony’s Blues” and “Cool Cats,” when the tempo is up, the bass is vamping steadily and the horns are gnawing a phrase in unison, The Source tilts towards the dance floor. Tracks like “Bad Roads” and “Woro Dance,” in contrast, are more reserved than anything on Allen’s last album, 2014’s Film of Life.

Regardless of outcome, this is methodically constructed music. “What I always write first is my drums, the pattern I want to play with,” Allen says. “Then I follow it by the bass. Then the keyboard. Then guitar.” But within this regimented system, the horn section keeps changing. “We tried to create some surprises: sometimes it’s two tenor and a baritone, sometimes one alto and one baritone or a trumpet and tuba,” Jankielewicz says. And Mathias Allamane packs extra oomph into his bass riffs, anchoring the songs and leaving Allen plenty of room to roam. “That gives him the opportunity to play very free,” Jankielewicz suggests. “The last two albums are a more static way of playing.”

For Allen, stasis remains the enemy: With The Source finished, he suggests that he’s planning yet another creative swerve. “If you check all my albums, the sound of each one is different every time,” he notes. “This time now, I’m on jazz. This one is going to come, and it’s going to go. And then I won’t do the same direction again.”

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National Touring Cast Announced For GOBSMACKED! The Amazing A Cappella And Beatboxing Show

GOBSMACKED! Logo (PRNewsfoto/GOBSMACKED!)CHICAGO, Sept. 18, 2017 /PRNewswire/ — Nic Doodson, producer and creator of GOBSMACKED!, is delighted to announce full casting for the upcoming National Touring Production of the sensational, next-generation a cappella show, GOBSMACKED!. GOBSMACKED! will begin its first US tour set to pla…

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Institut Marquès stellt seine Studien zu Musik und dem Beginn des Lebens am Massachusetts Institute of Technology vor

Dr. Marisa López-Teijón, director of Institut Marquès, Dr. Àlex García-Faura, scientific director of the center, and Lluís Pallarés, creator of the Babypod, accept their IG Nobel award.– Dr. Marisa López-Teijón, Leiterin des international anerkannten Zentrums für Künstliche Befruchtung, erhielt den Ig-Nobelpreis für Medizin
– Die Preise, die an der Harvard-Universität vergeben wurden, zeichnen die überraschendsten und innovativsten wissenschaftlichen…

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L'Institut Marquès présente ses études sur la musique et le début de la vie au Massachusetts Institute of Technology

Dr. Marisa López-Teijón, director of Institut Marquès, Dr. Àlex García-Faura, scientific director of the center, and Lluís Pallarés, creator of the Babypod, accept their IG Nobel award.– La Dr Marisa López-Teijón, directrice de ce centre de renommée internationale en procréation assistée, a été décerné le Prix Ig Nobel de Médecine
– Les prix, qui ont lieu à l’Université Harvard, reconnaissent les recherches scientifiques les plus surprenantes et les plus innova…

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Institut Marquès apresenta seus estudos sobre a música e o começo da vida no Massachusetts Institute of Technology

Dra. Marisa López-Teijón, diretora do Institut Marquès, dr. Àlex García-Faura, diretor científico do centro, e Lluís Pallarés, criador do Babypod, aceitam seu prêmio IG Nobel.BOSTON, 18 de setembro de 2017 /PRNewswire/ — O Institut Marquès apresentou no Massachusetts Institute of Technology (MIT) seus estudos científicos sobre a influência da música no desenvolvimento embrionário e fetal.
Seu trabalho, publicado na prestigiada revista científica…

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El Institut Marquès presenta sus informes sobre la música y el comienzo de la vida en el Instituto Tecnológico de Massachusetts

La Dra. Marisa López-Teijón, directora del Institut Marquès; el Dr. Àlex García-Faura, director científico del centro, y Lluís Pallarés, creador del Babypod, aceptan su galardón IG Nobel.BOSTON, 18 de septiembre de 2017 /PRNewswire/ — El Institut Marquès presentó en el Instituto Tecnológico de Massachusetts (Massachusetts Institute of Technology, MIT) sus informes científicos sobre la influencia de la música en el desarrollo embrionario y fetal.
Su trabajo, publ…

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