Daily Archives: November 2, 2017

Hear Taylor Swift's New Song 'Call It What You Want'

Taylor Swift gave another taste of her album Reputation with the new song, “Call It What You Want.” Reputation will be available everywhere on November 10th.

“My castle crumbled overnight / I brought a knife to a gun fight,” Swift sings over mid-tempo electro-pop. “They took the crown but it’s alright.”

Swift teased the song on Instagram a day before its release with lyrics typewritten out on a brown background. It is the fourth track off the singer’s forthcoming sixth album to be released, following singles “Look What You Made Me Do” and “…Ready for It?” as well as promotional track, “Gorgeous.”

Since wiping all of her social media ahead of teasing “Look What You Made Me Do” in August with mysterious snake videos, Swift has held up a promise she made in one of her Instagram posts: “There will be no further explanation. There will just be reputation.” She revealed little about the songs or videos, which seem to poke fun at her own past, celebrity, dating life and famous feuds with Kanye West and Katy Perry.

So far, Swift is only scheduled for a few public appearances at the end of the year, including two stops on iHeartRadio’s Jingle Ball Tour (in Los Angeles and New York City) . She’ll perform on Saturday Night Live the day after Reputation‘s release alongside host and Girls Trip star Tiffany Haddish.

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Paul McCartney Narrates Short Film on Climate Change, Animal Agriculture

Paul McCartney narrates a new short film about the devastating impact of animal agriculture on climate change, One Day a Week. The film is a collaboration between the McCartney family’s Meat Free Monday campaign and French director Yann Arthus-Bertrand’s Hope Production. It arrives ahead of the United Nations’ upcoming Climate Change Conference.

One Day At a Time also features appearances from Emma Stone, Woody Harrelson and McCartney’s daughters Mary and Stella. The short also features an unreleased McCartney song, “Botswana,” as well as selections from his 1997 classical album, Standing Stone.

In the film, McCartney discusses the massive amounts of greenhouse gasses animal agriculture produces and the increasingly unsustainable amounts of water, land and energy it requires. These problems, the musician adds, aren’t landlocked either, with industrialized fishing wreaking havoc on marine ecosystems.

“There’s a simple but significant way to help protect the planet and all its inhabitants,” McCartney says. “And it starts with just one day a week. One day without eating animal products can have a huge impact in helping maintain that delicate balance that sustains us all.”

Towards the end of the video, Stone, Harrison and Stella and Mary McCartney offer several remarkable facts about animal agriculture. Among the most shocking is the rate at which rainforests are cut down to make room for animal grazing, as well as the amount of water – 2,350 liters – it takes to produce one beef burger.

McCartney and his daughters launched Meat Free Monday in 2009 with the goal of inspiring people to change their diets as a way to combat climate change

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Hear A$AP Ferg, DJ Premier's Rugged Boom-Bap on 'Our Streets'

A$AP Ferg teamed up with famed producer DJ Premier – whose productions buoyed classic albums from Gang Starr, Notorious B.I.G. and Jay-Z, among others – for “Our Streets,” a new collaboration full of head-nod-inducing drum loops, tuneful soul samples and the sounds of scratching vinyl.

On his albums, Ferg frequently favors the bone-crushing trap beats that rule today’s airwaves, but he bobs easily over Premier’s throwback boom-bap beat, dropping flinty syllables in between sharp thwacks of percussion. The rapper celebrates Premier’s production prowess and his own talent in the same couplet – “Primo put the soul in it, I make the track hot/ And this thing forever got the game in the padlock” – while also paying homage to Guru, Premier’s former partner in Gang Starr: “My bars is Gang Starr, nobody can fuck with me/ Rest in peace Guru, nobody can fuck with he.”

“With Ferg, or anybody I work with, they already know my history so they know that I come from the Nineties era,” Premier said in a statement. “Ferg just automatically said ‘Don’t do what I’ve been doing on my albums – I want you to do a Preemo style and let me show I can rap to that,’ so I was like, ‘let’s do it.’ Everybody was happy off jump – no suggestions, no ‘I think we should go this direction’ – it was an automatic in, out, done, in one day.”

“It’s a dream to be able to work with the legendary Dj Premier on this record,” Ferg adds. “Preemo has worked with all the NYC hip hop icons and greats – Nas, Biggie, Guru, Hov, KRS-One and the Lox. Just knowing I was working with him pushed me as an MC.”

“Our Streets” will appear on Payday Records, which is preparing to re-launch after a long period of dormancy. Payday released DJ Premier’s New York Reality Check 101 compilation and Premier-produced LPs from Jeru the Damaja as well as Jay-Z’s debut solo single, “In My Lifetime.” To commemorate the label’s 25th anniversary, DJ Premier will release four new productions on the label in six-month intervals. He has stayed busy in recent years, contributing to Faith Evans’ Notorious B.I.G. tribute album, Miguel’s “2 Lovin You,” Yuna’s “Places to Go,” Dr. Dre’s “Animals” and numerous other tracks.

“I’ve been DJ’ing since the whole hip-hop culture was born,” the producer recently told Rolling Stone. “I know how to approach it.”

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Live Nation Entertainment Reports Third Quarter 2017 Financial Results

Photo Credit: Katarina BenzovaLOS ANGELES, Nov. 2, 2017 /PRNewswire/ —
Highlights (year-over-year):

Event-Related Deferred Revenue Up 86% to $774 Million as of September 30
Concert Tickets Sold for 2017 Shows Over 80 Million, Up 20% through October
Sponsorship & Advertising…

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Pharcyde Plot Massive 'Bizarre Ride II the Pharcyde' Box Set

Los Angeles hip-hop veterans The Pharcyde will celebrate the 25th anniversary of their seminal debut, Bizarre Ride II the Pharcyde, with an expansive reissue out November 17th via Craft Recordings.

The 25th anniversary set will be available in several formats, including a vinyl package featuring two LPs and three 12-inch singles, and a two-CD set featuring the original album and bonus material. Remastered versions of the original album will also be available digitally and on vinyl, CD and cassette. All versions are available for pre-order.

Released in 1992, Bizarre Ride II the Pharcyde arrived in the middle of West Coast hip-hop’s heyday. But the Pharcyde offered an alternative to Dr. Dre’s sticky, G-funk fever dreams with jazzier, stoner-friendly production and intricate lyrics that upended rap cliches with clever, bawdy humor.

The 25th anniversary reissue of Bizarre Ride features a remastered version of the album from Dave Cooley alongside new liner notes from music journalist Jeff Weiss. The CD and vinyl deluxe editions boast slightly different bonus material, with the CD version featuring some additional remixes and rarities, plus a cappella versions of five album tracks. The bonus 12-inch singles, meanwhile, feature some remixes that won’t be available on the CD set.

The Pharcyde and Craft Recordings have also teamed with the online hip-hop database WhoSampled to create an interactive website that delves into the history, lyrics and production of Bizarre Ride II the Pharcyde. DJ Chris Reed also created a 25th anniversary mixtape, which pairs album tracks, remixes and alternate versions with the original songs the Pharcyde sampled. 


Bizarre Ride II the Pharcyde
25th Anniversary Vinyl Track List

LP1
A1. “4 Better Or 4 Worse” (Interlude)
A2. “Oh Shit”
A3. “It’s Jigaboo Time” (Skit)
A4. “4 Better Or 4 Worse”
B1. “I’m That Type Of Nigga”
B2. “If I Were President” (Skit)
B3. “Soul Flower” (Remix)
B4. “On The DL”

LP 2
A1. “Pack The Pipe” (Interlude)
A2. “Officer”
A3. “Ya Mama”
A4. “Passin’ Me By”
B1. “Otha Fish”
B2. “Quinton’s On The Way” (Skit)
B3. “Pack The Pipe”
B4. “Return Of The B-Boy”

“Ya Mama” 12-inch
A1. “Ya Mama” (Murphy Mix)
A2. “Ya Mama” (Cosby Mix)
B1. “I’m That Type Of Nigga”
B2. “Soul Flower” (Remix)

“Passin’ Me By” 12-inch
A1. “Passin’ Me By” (Video Remix)
A2. “Passin’ Me By” (Video Instrumental)
A3. “Passin’ Me By” (Acpella)
B1. “Pork”
B2. “Pork” (Cosby Edit)
B3. “Pork” (Instrumental)

“Otha Fish” 12-inch
A1. Video Edit
A2. L.A. Jay Remix
A3. Video Edit Inst.
B1. The Angel Remix
B2. “Passin’ Me By” (Fly As Pie Mix)

Bizarre Ride II the Pharcyde 25th Anniversary CD Track List

Disc One

1. “4 Better Or 4 Worse” (Interlude)
2. “Oh Shit”
3. “It’s Jigaboo Time” (Skit)
4. “4 Better Or 4 Worse”
5. “I’m That Type Of Nigga”
6. “If I Were President” (Skit)
7. “Soul Flower” (Remix)
8. “On The DL”
9. “Pack The Pipe” (Interlude)
10. “Officer”
11. “Ya Mama”
12. “Passin’ Me By”
13. “Otha Fish”
14. “Quinton’s On The Way” (Skit)
15. “Pack The Pipe”
16. “Return Of The B-Boy”

Disc Two

1. “Pork”
2. “Panty Raid”
3. “Live @ Dodger Stadium”
4. “Ya Mama” (Murphy Mix)
5. “Ya Mama” (J-Swift Mix)
6. “Passin’ Me By” (Fly As Pie Mix)
7. “Passin’ Me By” (Instrumental)
8. “Otha Fish” (L.A. Jay Remix)
9. “Otha Fish” (The Angel Remix)
10. “Soul Flower” (Dogs Bollocks Remix)
11. “I’m That Type Of Nigga” (Straight Up Faded Mix)
12. “Passin’ Me By” (Acapella)
13. “Ya Mama” (Acapella)
14. “Otha Fish” (Acapella)
15. “Soul Flower” (Remix) (Acapella)
16. “4 Better or 4 Worse” (Acapella)

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Craig Campbell & Us The Duo to Perform at the 2017 National Christmas Tree Lighting

National Park Foundation. (PRNewsFoto/National Park Foundation)WASHINGTON, November 2, 2017 /PRNewswire-USNewswire/ — Earlier this week, lottery entrants found out if they won free tickets to attend the 2017 National Christmas Tree Lighting taking place November 30 on the Ellipse at President’s Park (White House). Whether people attend in person or…

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Craig Campbell & Us The Duo to Perform at the 2017 National Christmas Tree Lighting

National Park Foundation. (PRNewsFoto/National Park Foundation)WASHINGTON, November 2, 2017 /PRNewswire-USNewswire/ — Earlier this week, lottery entrants found out if they won free tickets to attend the 2017 National Christmas Tree Lighting taking place November 30 on the Ellipse at President’s Park (White House). Whether people attend in person or…

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Watch the Used's Acoustic Set for 'Rolling Stone'

The Used‘s Bert McCracken and Justin Shekoski delivered a powerful acoustic performance in an exclusive video for Rolling Stone. The veteran rock outfit recently released their seventh studio album, The Canyon.

McCracken and Shekoski opened the three-song set with an old favorite, “On My Own,” the sweeping ballad off their 2002 self-titled debut. Over Shekoski’s steady strumming, McCracken delivered a remarkable vocal performance in which he jumped from a soft croon to a ragged wail.

The Used then performed a stripped-down versions of two songs off The Canyon, while McCracken also discussed the inspiration behind both tracks. Prior to tearing through the blistering “Over and Over Again,” McCracken said the song is about learning from past mistakes and what people can glean from computers. “Computers never get sick of failing – they approach every attempt with the same enthusiasm as the last one, and that’s what humans should be able to do.”

McCracken and Shekoski closed out the set with a poignant rendition of The Canyon opener, “For You.” McCracken said the song is a tribute to friends they’ve lost and hopes it provides solace to others dealing with grief. “So for anyone who’s lost anyone, I hope that you can feel what this song is about and how important it is to remember that mortality gives us the ability to be fucking courageous and brave and to love so hard.”

The Canyon marks the Used’s first LP since 2014’s Imaginary Enemy. The group recently kicked off a North American tour in support of the record, which wraps November 29th in Seattle. 

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Big K.R.I.T. Talks Ambitious, Blues-Soaked Double Disc Return

In 2013, Mississippi rapper Big K.R.I.T. was one of the most celebrated rapper/producers on Earth: signed to Def Jam, shouted out as Kendrick Lamar’s competition on his “Control” verse and regarded as the future-minded heir to the bass-heavy “country rap” pioneered by UGK. His second album, the following year’s Cadillactica, was critically acclaimed, but didn’t make much of a commercial splash, and the following years would be spent quietly releasing mixtapes and Twitter freestyles. Eventually, K.R.I.T. and Def Jam’s relationship would end.

His ambitious third LP, the double-disc 4Eva Is a Mighty Long Time, feels like it’s making up for those lost years. With jazz and blues informing the journey, he dedicates one disc to the front facing, trunk-rattling Big K.R.I.T. and the other to a more introspective and soulful Justin Scott, using the album to make what may be his most important statement yet. “The things that I leave creatively are going to stay here long past me,” he says. “That’s the reason why the album is called 4Eva Is a Mighty Long Time.”

We caught up with the rapper to discuss the things he wants to leave behind and what he chose to do with his new creative space.

The new album feels like a homage to Black music, with jazz, soul, blues and gospel influences. Why do you think we’re seeing those sort of sounds come back?
I would say when you’re dealing with live musicians and musicality, the warmth of a live instrument brings a certain feel to a song that is really hard, sometimes, to get from synthesized instruments. I think now in today’s society and with what’s going on, people need music that makes them feel like someone else understands. And sonically, you can get that across with having the warmth and the dedication of an instrument actually speaking to people instead of it being an eight-bar loop that might be extremely simplistic. Not to say that’s not riding, but sometimes that doesn’t feed the soul like a bassline might or a guitar might or a piano or organ depending on how it’s played.

You’re talking about alcoholism and depression on the album. Would you say this is the most introspective and open you’ve been?
I think it was important that I talked about how it is when you don’t feel good. When I’m dealing with anxiety or dealing with depression or the drinking. How I have these fears of, ‘Am I doing the right thing?’ A record like “Price of Fame” – when you do get this success, how do you treat it or how do you let it treat you? How does it affect your family and friends and the people around you? … And I don’t mind telling people what I’ve been through when it comes to the pressure I put on myself of wanting to be the best and the greatest. There’s nothing wrong with that, but a pressure comes with that, and you have to realize that if you don’t want to run yourself into a space that you can’t get out of.

Is it hard to be that transparent at times? Like are there moments where you’re drawing those lines between Big K.R.I.T. and Justin Scott?
When you get older, your perspective – stuff can change. I want to put those kind of things in my music, and I decided to. I never had the opportunity to split it up and make it totally separate. By doing that, it just created this space where you can tell I’m being as genuine as I possibly can.

The trailer for this album made it seem like you’re having Justin kill off Big K.R.I.T. Is that correct?
I would say it’s more Justin and Big K.R.I.T. getting rid of older versions of Justin and Big K.R.I.T. that are no longer needed and/or weren’t the better side. It’s growth. It’s the transition to the person that I’ve become, because I’ve been gone so long that it’s very important that people don’t think I’m the same person I was when I did Cadillactica. … I needed that to be a thing – not only for them to see, but even for me to realize that whatever bitterness I had as an artist in the beginning, or whatever I dealt with the labels, I can let go of that now and focus on what’s in front of me. I learned from it. It’s still there, but I don’t have to bring it along and fuel me anymore when it comes to writing music and songs. It played its part with songs like “Mt. Olympus” or records like that where I was super venting, but now it’s a different way of venting.

“Mt. Olympus” really touched on the way Southern artists are treated and, more often, discredited. Why do you think that disconnect exists?
I stand on this, and I mention it in the album, geography plays a major part. … Manhattan is a 12-mile radius, and there’s millions of people there. There’s roughly 60,000 people where I’m from. That’s a real difference in support when you’re just starting. It’s also a difference in where you have to go in order to make moves or for people to hear your music. I had to go two states over in order to start making something happen and then go from there. I couldn’t make it happen in my city on a level that, if you’re from a metropolitan city, you may have the opportunity to, and that doesn’t take anything away from those artists that are from there. That’s why I said what I said about it being a lottery – we can’t choose these things, but I think it plays a major part in how you’re able to maneuver and how you’re able to get that support.

I knew about Compton in movies growing up long before it was a place that I could go to. I knew about Hollywood. I knew about New York just from TV and the artists. You’re hard-pressed up until a certain amount of time in hip hop – talking about David Banner – to have known about Mississippi artists or culture if it’s not blues. When I came to that reality, it made it a little easier to not be so mad at the industry because they didn’t understand. … I just challenge people to look further to these artists in small cities that are actually amazing and talented, but they just never get the opportunity.

Do you think that sort of uphill battle compiled with the bitterness and the label situation kind of killed your momentum back then?
It’s hard to say. It was a lot of different things that took place between when the single came out, album rollout, dropping mixtapes in between. It was just a lot, man. … We were selling out shows and people were into it and we were getting the clicks and people were talking about it. It just wasn’t on the radio. And to some degree, that was necessary in order for me to get the push that I might have needed. It’s one of those things where I try not to look too deep into it now because, for me as an artist, longevity is what we strive for. I couldn’t imagine if I was always chasing a hit record. That’s not the course I took.

You’ve talked about the healing aspect of music – specifically in regards to “Might Not Be Okay.” How do you, personally, find healing and sanctuary in your own music?
It’s like a release. Just getting it off my chest and being able to say how I feel with hopes that someone will feel the same way but just didn’t have the opportunity to say it out loud. “Might Not Be Okay” was a really difficult record to create. Shoutout to Kenneth Whalum because I’d had a conversation with him about the climate of what was going on in the world. I had stopped creating a little bit about around that time primarily because of what was going on in society and I felt like what could I say? I’m just as scared, and I’m just as worried. It’s all impacting me like everyone else, and music wasn’t what I felt like doing. Music wasn’t what I thought was helping. I didn’t think I could create something that could heal the wounds of what was going on. And even now, I still sometimes feel like that, but I know I still have to say something. I still have to get whatever I have on my chest off – even if it’s telling people that I’m worried too.

You were excited to have Bun B hop on “Country Shit” in 2011, and now you’re the musical coordinator for his new album. How does it feel to have that circle complete itself?
Man, look. It’s phenomenal. Really, you speak these things and you have these ideas while you’re creating. … I was just a kid in Meridian – I didn’t think it would really happen. It was a want, an idea. Fast forward to now, and it’s something real. It’s just a blessing. It’s hard to explain because it’s still hard to fathom. Sometimes I’m like, “Man, I just got off the phone with Bun B.” I don’t think that will ever go away just because, looking back on it, it’s UGK. They made it cool, to me, to be Southern. That pride and that grit that they had and knowing that they came from a small town. I could see them putting on but unapologetically. It’s just a style. I needed that when I first started, and more than ever, I want that to be in the forefront. … To be able to work with Bun B and be able to have a conversation, and the insights the OG has, and really be able to get just advice from him is amazing. It’s definitely been very much helpful now, but it was helpful during the development of my album.

How so?
Just being able to hear the way music has changed and how he’s been able to keep his longevity and stay true to himself and grow. It gave me that confidence. A lot of creating my album was being like the growth has to be there. People have to feel it. You can’t be scared of where it goes. Some people are going to love it, and some people are going to hate it, but you’ve got to grow with the music. Yeah, man. I’m excited all over again. 

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http://www.rollingstone.com/

Peter Graigs Talks of Solo Work and Work as Scars Of Grace

Solo artist Peter Graigs not only is doing his solo work but as well as his other project Scars Of Grace as well. He goes into double time, to disclose the juggling aspects of two …Read More

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