Daily Archives: October 10, 2017

Watch Eminem Demolish Donald Trump in BET Awards Freestyle

Eminem tore into President Donald Trump during a ferocious a capella freestyle at the BET Hip Hop Awards Tuesday. The rapper opened the four-minute deluge with a reference to Trump’s disconcerting “calm before the storm” quip before proceeding to skewer the president over immigration, corruption, white supremacy, the NFL, gun control, environmental disasters and more.

Eminem packed his bars with deft internal rhyme schemes like, “But we better give Obama props/ Cause what we’ve got in office now’s/ A kamikaze that’ll probably cause a nuclear holocaust.” Elsewhere, he capped off lyrical diatribes with pointed punch lines: “Plus he gets an enormous reaction/ When he attacks the NFL so we focus on that and/ Instead of talking Puerto Rico or gun reform for Nevada/ All these horrible tragedies and he’s bored or would rather/ Cause a Twitter storm with the Packers.”

The rapper also tossed in references to Trump’s feud with Senator John McCain, Colin Kaepernick, the recent white supremacist march in Charlottesville and the president’s proposed wall on the Mexican border. He closed with a powerful message directed at his own fans: “And any fan of mine who’s a supporter of his/ I’m drawing in the sand a line/ You’re either for or against/ And if you can’t decide who you like more and you’re split/ On who you should stand beside/ I’ll do it for you with this.” As he finished the line, Eminem brandished a middle finger in front of the camera.

Related Content:

http://www.rollingstone.com/

National Christmas Tree Lighting Ticket Lottery Opens This Week

National Park Foundation. (PRNewsFoto/National Park Foundation)WASHINGTON, Oct. 10, 2017 /PRNewswire-USNewswire/ — Win tickets to attend the 2017 National Christmas Tree Lighting, which takes place November 30 on the Ellipse at President’s Park (White House), by entering the online ticket lottery October 12 through 16. Boys II Bow Ties, Mannheim…

PR NEWSWIRE

Stereophonics Talk Bob Dylan Shout-Out, 25 Years of Eclectic Rock

On the afternoon that Rolling Stone catches up with Stereophonics leader Kelly Jones, he’s already had a full, and rather upsetting, day. The 43-year-old singer and guitarist is calling from his home in the Parsons Green district of London, where, just a few hours earlier, an explosion on a train at his local tube station injured several people. “I’ve got three daughters, and I dropped the oldest one, who’s 12, at the tube,” he says. “And she went off on the train and then 10 minutes later I come back and there’s men with machine guns and helicopters flying over. So it’s been kind of a weird, insane, surreal day, to be honest.”

Jones is on the phone with Rolling Stone to speak about the Stereophonics’ new album, Scream Above the Sounds, the Welsh band’s 10th full-length overall. But several times throughout the conversation, he’ll make reference to the day’s alarming event – which, in its own way, also ties into some of the emotions captured on the record. “You know,” he recalls, “we opened up for U2 on their Elevation Tour, when 9/11 happened, and the names of all these firemen would come on [the screen] and stuff like that. There’s been a lot of stuff that has gone on in my professional life, and things happen and you don’t talk about it and you bury it. And I guess you get to a certain point and maybe you start making life choices, you don’t want to go here, you don’t want to go there. And then you realize it doesn’t really matter where you go, there’s shit happening all the time. Today is a fucking perfect example of that. And I always try to write about the things I’m experiencing. “

Those experiences are all over Scream Above the Sounds, such as in “Before Anyone Knew Our Name,” which finds Jones looking back on his musical life with both fondness and regret. Overall, however, he posits that Scream is a “hopeful” record, its title telegraphing a desire to have one’s voice heard through what he deems to be the constant noise and intrusions of modern life.

As for the Stereophonics’ own noise, Jones and his bandmates have been playing their particular brand of wide-lens pop-rock (gritty and punk-infused sometimes, slick and electronic-tinged at others, massively anthemic more often than not) for 20 years now, and continue to find great success – in particular in the U.K., where they regularly chart Number One albums and sell out arenas and stadiums. And while they haven’t experienced the same popularity on these shores, the band has garnered respect and recognition from some of America’s greatest artists, from Bruce Springsteen, who has had Jones & Co. open shows for him, to Bob Dylan, who in a recent interview named the Stereophonics as a “good record” he’s heard lately.

“It’s very surreal,” Jones says of the Dylan shout-out. “You know, I was brought up with two older brothers and they used to play stuff like Creedence and Neil Young and Dylan all the time when I was a kid. So when I heard him namecheck us I was very kind of nervous if it was true, and then very, very flattered. Because I’ve spent a long time trying to writing lyrics that mean something to myself, and that hopefully other people can then relate to. So to have something like that come from a guy who’s kind of the Shakespeare of music? It’s very … it’s a jab in the arm for sure. It’s encouraging, you know?”

This year is the 20th anniversary of the Stereophonics’ 1997 debut, Word Gets Around. Did you have that in mind at all while working on Scream Above the Sounds?
Not really. I’m not the type of writer or the type of musician that looks back very often. I mean, the last two albums [2013’s Graffiti on the Train and 2015’s Keep the Village Alive] have been very successful. We had a Number One record [with Keep the Village Alive]. And we did them both independently, on our own label, so I think of these as almost like a trio of albums, really. So I wasn’t really thinking about Word Gets Around a lot. And you know, records to me are kind of an ongoing process. I’ve got my own studio space and I’ve just been going to work every day and making songs and making music and not really thinking of them as albums. And then I compile the songs and fit them together at a later date. Whereas in the past, you’d book a studio for six weeks, go in and make a record and hopefully get it done in that period of time. But I’ve just been making music in a very free kind of experience.

Do you feel there’s a difference in the type of music you’re making today?
I think the main thing with each record is finding something that steps out of our comfort zone, musically and lyrically. And I try to always write about something I’m experiencing. Tracks like “Caught by the Wind” and “Boy on a Bike” reflect back on stuff that happened – oddly speaking considering what happened today – after things like the Bataclan, where I felt anxiety start to get in the way of choices we were making. And I thought the record as a whole might have turned that way, but the songs actually came out much more celebratory. I think they lend themselves to some sort of hopeful kind of record, and really in a time where there’s a lot of noise and a lot of destruction every day.

Is that what the album title is referencing? Trying to get beyond that noise?
Yeah. It’s a lyric in a song called “All in One Night,” which takes you through a journey where two people’s lives change quite dramatically. And then it just kind of fit. There is a lot of intrusion, and young people have to deal with this stuff every day. We all do. And I think people sometimes we forget to celebrate the small things – lying on a roof and looking up at the sky, or whatever it might be. I try to paint pictures that make people realize there’s more to life than the constant intrusion we’re living through, really.

“All in One Night” has a pretty detailed lyric about two people who meet at a party. Is it based on a true incident?
It’s pretty much a fictional story. I like narrative songs, story songs. I had an idea for each verse taking place at a different time of night. It was kind of inspired by … there’s an independent German movie called Victoria, where these guys leave a nightclub and over the course of an evening everything turns pretty dramatically on its head. And I like that idea. I had the music for the song in a hotel room in Shanghai when we had to do a stopover once. I had a few versions and that was the one that stuck really. So it’s a fictional story but one that takes you on kind of a trip.

“Boy on a Bike,” on the other hand, is clearly self-referential. It shows you looking back on your childhood, to a simpler time in your life.
Yeah, probably everyone’s lives. But there’s an image I used to use in my head of me riding down a small village street when there was snow on the ground, going to see my grandmother on Christmas day and it was very quiet and you could just hear the snow crunching under the wheels of the bike. That’s a common image for me that I use quite a lot. And it just came out in a little song, really. Kind of a little Louis Armstrong tune in a way. I had a nylon-string guitar, it was very lo-fi. It’s a very personal song and I’m quite fond of it.

Another song that shows you looking back, and in a very specific way, is “Before Anyone Knew Our Name,” which pays tribute to a former member of the band.
That’s about friendship and loss. Boyhood. That’s a reflection of losing Stuart Cable, who was the drummer in the band, which happened almost seven, eight years ago now. I don’t know where that song came from – one day it just came out that way and it was literally pages and pages of words and I just sat down at the piano and they unraveled. Again, it’s a very honest and vulnerable type of song, you know? Very true. Almost one of those ones where you’re not sure you want to put it on the album.

It’s a reflection on the beginnings of the band, and your musical journey with Stuart.
Yeah. I think, you know, Stuart left the band and we were still friends for seven years. And then he passed away tragically, and of course people have opinions about what happened and all this sort of stuff. We kept it very private because we were like brothers and we didn’t want to dish any dirt. And I guess a lot of the point of the song also is, you know, Stuart and I lived seven doors apart all our lives, and from the age of 12 I was in a band with him. So we were trying to be the people we became for a long time, before anybody knew who we were. So there’s a lot of history there before we even had a record deal. People forget that sometimes. There’s a lot of history there and sometimes people make judgements or calls on what happened when they don’t really know the backstory.

You talked earlier about stepping out of your comfort zone not only lyrically but also musically. And there are a few tracks on the new album that have a bit of a different sound for you: in particular, “What’s All the Fuss About?” and “Geronimo.”
“What’s All the Fuss About?” is a very musical song for us – it has almost like a jungle drumbeat. And it’s also a very lyrical song. I guess it’s influenced by people like Leonard Cohen and Tom Waits. Again, I’m using a nylon-string guitar with all these other kind of electronic sounds, and there are trumpets and other things. So that was a cool song which really led the way to some other ideas. “Geronimo” is more kind of gnarly. Again, I’m a big fan of Tom Waits, and I love songs like “Big in Japan” and that kind of stuff, where the trumpet just goes fucking crazy at the end, and all the saxophones and baritones. That kind of very free, falling-apart kind of feel. Compared to something like “All in One Night,” which is very linear and very electronic, it’s a complete contrast. And then you have something like “Caught by the Wind,” which is a very uplifting kind of sound, and that goes into “Taking a Tumble,” which has almost like a New Wave, Tom Petty / Cars kind of vibe. And “Elevators” at the end could be kind of Lou Reed crossed with Exile on Main St. It’s very loose and falling apart. So there’s a lot of different things on there. I don’t really like to box myself in on sounds. I let the song dictate where it feels it should go. And I try to make the sonics sound as close as possible to what the lyric is about, to take you on that trip.

You guys are huge in the U.K. Obviously, you haven’t had the same sort of success in the U.S. Have you ever wondered why that is?
Yeah, I’ve wondered why. I think people are the same worldwide. I think if there’s a certain tribe of people that like the music I make, then I’m sure there’s certain tribes of people in every country. But you know, we signed to an independent label, V2, and it was great for the first couple of years. And then it kind of fell to shit. And once you lose that momentum it’s very difficult to get it back. So without blaming others involved, we tried our best to be there as much as we could in the early days, but sometimes things don’t pan out your way. But I kind of feel that’s what’s made me work so hard for 20 years. And I feel more comfortable in my skin now than I ever have. And I think the music I’m making now, I’m way more comfortable, and if anything, we’ve become more successful now than I would’ve been then anyway. You know, we’ve had the opportunity to do Bowie’s last tour in America. We’ve done shows with Springsteen, who doesn’t have opening acts. We’ve learned so much from watching the greats. And I would say we’re ready for any opportunity that comes along. We’re in a good place now.

Twenty years in, are you amazed at the experiences and success that you’ve had?
The last, I would say three to five years, I’ve really embraced it and understood it. When it first started to happen I was very young. It happened on, like, our second or third record and I kept thinking that these people were there for someone else! I couldn’t fucking believe it. And of course it took me 15 years to realize they bought the ticket to come see us play. It’s weird because when success comes that fast and that hard and that big, and literally four years before you’re playing in a bar, it’s an odd feeling. You know, we headlined Glastonbury on the Pyramid stage [in 2002] and I basically can’t even remember it, really. It was an out-of-body experience, you know? It was so bizarre. I’d love to have a crack at it again and actually be present [laughs].

Is there one show you’ve done over the years that really stands out?
I guess the first big one. It was at a place in Wales called Morfa Stadium. It was just when our second album [1999’s Performance and Cocktails] came out, and a promoter took me to a field and he said he could put 50,000 people in this field. And I told him he was fucking crazy. And the next thing you know, there were 50,000 people in the field watching us. That was very special, because at the very beginning I didn’t really believe it could possibly happen. And then I realized that, you know, people really do relate to things that we’re saying. That was a very special moment. And then from that point on it was very, very fast. We were opening for everybody from the Chili Peppers to Aerosmith, and all these bands wanted to take us on the road. We were playing with the Stones and these sorts of things. So it’s been a fucking ride, and it’s been incredible. And like I said, since about 2012 I’m starting to really get into that whole, you know, “what it all is” point of view. And I’m loving it.

Related Content:

http://www.rollingstone.com/

Michael Jackson SCREAM Debuts #3 Current And Overall On Both R&B And Pop Album Charts & Top 10 Physical & Overall Albums

http://rockbands.net/wp-content/blogs.dir/3/files/2017/10/Legacy_Recordings_Michael_Jackson_SCREAM.jpg?p=captionNEW YORK, Oct. 10, 2017 /PRNewswire/ — Michael Jackson SCREAM, a collection of 13 of his all-time most electrifying and danceable tracks including Thriller, Dangerous, Blood On The Dance, Floor, Ghosts, Torture, and Dirty Diana, debuted on the album charts at #3 on Current and Overall…

PR NEWSWIRE

Hear St. Vincent's Playfully Sinister New Song 'Pills'

St. Vincent unveiled a deceptively playful new song “Pills” from her forthcoming album, Masseduction, out October 13th. The track boasts several guests, including backing vocals from Jenny Lewis and Cara Delevingne, saxophone from Kamasi Washington and beat production from Kendrick Lamar collaborator, Soundwave. St. Vincent co-produced the song with Jack Antonoff. 

“Pills” boasts heavy percussion that nevertheless skips alongside supple and sweet synths. Over this peppy pop production, St. Vincent’s Annie Clark croons her sinister lyrics with childlike glee, “Pills to walk, pills to think/ Pills, pills, pills for the family/ Pills to grow, pills to shrink/ Pills, pills, pills and a good stiff drink.” Clark doubles down on the dark undercurrents of “Pills” with blistering barrages of guitar, while the song eventually morphs into an epic ballad, during which Washington unspools a soulful saxophone solo that crackles around the edges.

“Pills” marks the third track from St. Vincent’s Masseduction, following “Los Ageless” and “New York.” Masseduction is St. Vincent’s first album since her 2014 self-titled LP. She’ll embark on a North American tour in support of the album November 14th at the Fillmore in Detroit.

Related Content:

http://www.rollingstone.com/

Flashback: Tom Petty Kicks Off Last Tour With First Heartbreakers Song

Tom Petty faced the same dilemma each time he went on tour: How many hit songs should be in the setlist? A huge portion of the crowd on any given night didn’t know much beyond his most famous tunes and he had so many of them that they couldn’t even all fit into a two-hour show. The problem was that a strictly hits show would bore his hardcore fans to tears and neglect about 90 percent of his vast catalog, but leaving his most iconic numbers out of the show would disappoint many people that paid big money to see him.

He ultimately found that the best solution was to peg a handful of songs (“American Girl,” “Refugee,” “Free Fallin’,” “Mary Jane’s Last Dance,” “Don’t Come Around Here No More,” “You Wreck Me,” “Learning to Fly,” “Runnin’ Down a Dream,” “I Won’t Back Down”) as must-plays and break them out virtually every time he played an arena, festival or stadium. Other hits (“Breakdown,” “Listen to Her Heart,” “Here Comes My Girl,” “Into the Great Wide Open,” “Don’t Do Me Like That,” “You Don’t Know How It Feels,” “I Need to Know,” “You Got Lucky”) came and went and the rest of the show was reserved for new tunes and lesser-known old ones.

On each tour, he attempted to resurrect at least one or two deep cuts that hadn’t been heard in many years. For his 40th anniversary tour – which kicked off April 20th at the Chesapeake Energy Arena in Oklahoma City – he shocked many fans by beginning the show with “Rockin’ Around (With You).” It’s the first song from the  Heartbreaker’s 1976 debut, and they hadn’t touched it since 1983. The show also featured the first “You Got Lucky” since 2010 and the Mojo track “Something Good Coming,” though it disappeared from the setlist after that night and never returned. As the tour went on, he sprinkled in “Crawling Back to You,” “Time to Move On,” “Swingin'” and “Good Enough.”

Here’s video of “Rockin’ Around (With You)” from opening night. In 2014, Mike Campbell told us it was the first song he wrote with Petty. “At that time, I wasn’t as developed as a songwriter as Tom was,” he said. “My input at the time was guitar riffs and chords and things. And that was just something I played in the studio one day. I had a little demo of it I think that I messed around with, and he took it home and said, ‘Maybe I can write some words to this.’ Then he came back the next day and took some of the extraneous chords out of it and simplified into a nice song, and that was the first song we ever wrote together.”

Watching this video in the aftermath of Petty’s shocking death is bittersweet. The group was in great spirits and on the verge of a stellar run of 53 shows that would keep them on the road for four straight months. The public didn’t know that Petty was battling hip pain that made it hard for him to move around when he wasn’t on stage, and nobody could have possibly imagined he’d die from a heart attack just one week after the final show. But at least he got to get in one final, amazing tour before the end. 

Related Content:

http://www.rollingstone.com/

Full Sail University Proudly Announces 9th Annual Hall of Fame Induction Class

2017 Full Sail University Hall of Fame Induction ClassWINTER PARK, Fla., Oct. 10, 2017 /PRNewswire/ — Full Sail University is proud to announce the 2017 Full Sail University Hall of Fame induction class comprised of six graduates recognized for outstanding contributions to the world of entertainment, technology, media, and the arts. The…

PR NEWSWIRE

Nanchang präsentiert Geschenk zum Nationalfeiertag – Der Marsch der Freiwilligen ertönt in New York

Site of activityNEW YORK, 10. Okt. 2017 /PRNewswire/ — Um Chinas Nationalfeiertag zu feiern, brachte der städtische Ausschuss für Tourismus-Entwicklung von Nanchang Musik nach New York, und die Besucher am Times Square hielten an, um spontan ein musikalisches Fest zu genießen.
Der muntere Jazz,…

PR NEWSWIRE

See Johnny Depp, Strokes' Euphoric Cover of Tom Petty's 'American Girl'

In 2012, Johnny Depp joined Strokes guitarist Nick Valensi and drummer Fabrizio Moretti for a special performance of Tom Petty‘s “American Girl” at the annual Petty Fest tribute show in Los Angeles. While fan-shot videos of the all-star performance have been floating around the Internet for years, a new clip featuring high-quality audio and video has arrived in honor of Petty, who died suddenly October 2nd after going into cardiac arrest.

Casey McGrath of Phear Creative directed the clip, which opens with Valensi leading a rehearsal, during which he quips to Moretti, “At the end, that solo is so fast – don’t get too fast on me, man!” After the band launches into “American Girl” in their practice space, the clip deftly cuts to the El Rey Theatre, where Depp appears alongside the band – which also includes guitarist Alex Levy, bassist Austin Scaggs and keyboardist Dave “Moose” Sherman – to pick out the song’s memorable lead riffs. As the performance continues, others including Matt Sorum, Sarah Silverman, Har Mar Superstar and Nicole Atkins flood onto the stage to provide back-up vocals while Valensi eventually hits the “American Girl” solo in stride, tearing through the familiar deluge of hammer-ons before spinning out into his own interpretation.

Petty Fest 2012 also featured appearances from Kesha, Butch Walker and members of the Black Keys, Kings of Leon and Eagles of Death Metal. The Cabin Down Below Band served as the house band and and hosts for the evening. 

Related Content:

http://www.rollingstone.com/

See Jhené Aiko, Big Sean's Tender 'Moments' Duet on 'Fallon'

The Roots and Big Sean accompanied Jhené Aiko during a soothing performance of “Moments” from her recently released Trip album. 

“Moments” is a soft, yearning ballad. “Please take away the stress I don’t need,” Aiko sang, as the Roots played a swirl of keyboards and cymbals behind her. “You got me on my knees, baby, James Brown, please.” Big Sean harmonized with her briefly before echoing her themes – escapism through companionship – in a conversational verse: “I can’t watch the news lately, it’s been too depressing/ I’d rather be with you, bodies pressing and decompressing.”

Aiko and Big Sean have a longtime working relationship. Aiko appeared on the rapper’s hit single “Beware” in 2013, and the two reunited for “I Know” and “Win Some, Lose Some” in 2015. Last year, the two released an entire duet project as Twenty88, and the two have also been linked romantically.

Trip is just one piece of MAP (“Movie, Album and Poetry”), a project that captures Aiko working through the grief of her brother Miyagi’s death. “Writing was a form of therapy, so all of these things became part of what I was going through,” she told Rolling Stone.

Aiko’s single “While We’re Young” reached Number 33 on the R&B/Hip-Hop Airplay chart last week. She’s also a featured guest on 2 Chainz’s “It’s a Vibe,” which sat at Number 20 in October. 

Related Content:

http://www.rollingstone.com/