Daily Archives: June 4, 2018

NexPoint Residential Trust, Inc. to Participate at NAREIT's 2018 REITWeek Investor Forum

DALLAS, June 4, 2018 /PRNewswire/ — NexPoint Residential Trust, Inc. (NYSE: NXRT) (“NXRT”) announced today that Brian Mitts, NXRT’s Chief Financial Officer, Executive VP-Finance and Treasurer and Matt McGraner, NXRT’s Executive VP and Chief Investment Officer will be meeting with…


McDermott Joins Groundbreaking Ceremony for New Ethane Cracker in Texas

HOUSTON, June 4, 2018 /PRNewswire/ — McDermott International, Inc. (NYSE: MDR) today participated in a groundbreaking ceremony on a previously announced ethane cracker project in Port Arthur, Texas, with its customer for the project Bayport Polymers LLC (“Bay-Pol”), a joint venture of…


Review: Roger Daltrey's 'As Long as I Have You' Gets Back to His Roots

When the Who started out, they billed themselves as “maximum R&B.” And before Pete Townshend embraced teenage wasteland and became one of rock’s poet laureates, the group was content playing blues and soul covers. Check out their stirring version of James Brown’s “I Don’t Mind” on My Generation, their myriad Bo Diddley covers and their Eddie Holland rave-up “Leaving Here” for a taste of that pre-fame aesthetic. Before long, though, they progressed into an arty hard-rock group with operatic ambitions.

On As Long as I Have You, Roger Daltrey’s ninth solo outing and first in more than a quarter century, he goes back to belting out soul numbers like he did half a century ago. The title track, a pleading, horn-accented R&B barnburner by Garnet Mimms that kicks off the collection, is even a tune he sang with the Who when they were called the High Numbers in the early Sixties. Seventy-four-year-old Daltrey’s voice is a little gruffer than it was when he was a young buck, but it’s as strong and passionate as ever when he pushes himself on this collection of songs by everyone from soul singer Joe Tex to Fifties vocal group the Five Keys.

What’s impressive, though, is how he never sounds like he’s doing an impression of the artist he’s covering (like he used to do with Bo Diddley), maintaining a consistent, full-band sound throughout the entire release. Townshend plays guitar on six of the record’s 11 songs, but it’s also the brass section and a gospel choir that make the record feel more like an singular artistic vision than just a (mostly) covers outing.

Daltrey’s version of Dusty Springfield’s “Where Is a Woman to Go” (switched to “Where Is a Man to Go” here) sounds as though it were written just for him with its “dooda-dooda-dooda-ay” refrains, and the early Parliament song “Come In Out of the Rain” – retitled “Get On Out of the Rain” here – has a funky quality that’s a little outside the P-Funk universe (it’s worth noting that George Clinton didn’t write this one). Where Nick Cave approached “Into My Arms” as a reflective piano ballad, Daltrey turns it into a vocal powerhouse showcase with his signature flare, and he slows down Stevie Wonder’s “You Haven’t Done Nothing” to a heavy-rock pace where he can holler along with the trumpets.

And when Daltrey sings his originals here, such as the tribute to his daughter, Rosie, “Certified Rose,” he pulls from the same toolbox as the other songs: bright horns and a swinging backbeat. It’s all part of something grander for him. Even the album’s closing track, “Always Headed Home” – another Daltrey original – is a big, orchestral ballad that would also work as a Broadway torch song. Sometimes the album verges on melodrama but he has a way of selling it where it never sounds like he’s acting. It’s not all R&B, but it is Maximum Daltrey.

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Nicki Minaj, Post Malone, Meek Mill Lead 2018 Made in America Fest

The Jay Z-curated Made in America Festival will return to Philadelphia on Labor Day weekend with Nicki Minaj, Post Malone and Meek Mill slated to headline.

The two-day fest, taking place September 1st and 2nd at the Benjamin Franklin Parkway, also features Janelle Monae, Diplo, Zedd, Miguel, Alessia Cara, Fat Joe and 6lack.

Now in its seventh year, the 2018 festival boasts Belly, Ty Dolla $ign, Rich The Kid, Jessie Reyez, Lil B, Gunna, Juice WRLD, BlocBoy JB, SOB x RBE and more acts.

While Meek Mill previously staged a surprise post-prison performance at Miami’s Rolling Loud, Made in America marks the hometown rapper’s first announced show since his April release. The festival is potentially a reunion of sorts for Meek Mill and Minaj, who dated for two years before their high-profile breakup.

Tidal subscribers will first have an opportunity to purchase Made in America tickets starting June 4th at 2 p.m. EST; the general on-sale begins June 8th at Live Nation. Tidal will also live stream the festivities on Labor Day weekend. Proceeds from the festival will benefit the ACLU of Pennsylvania as well as United Way of Greater Philadelphia and Southern New Jersey.

Although Jay-Z and Beyonce are both absent from this year’s Made in America lineup, the duo will perform in Philadelphia on July 30th as part of their OTR II tour.

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InventHelp Inventor Develops Versatile Piece of Yard-Care Equipment (MTN-3015)

InventHelp Logo (PRNewsfoto/InventHelp)PITTSBURGH, June 4, 2018 /PRNewswire/ — “As the superintendent of three buildings, I frequently use a lot of outdoor power equipment,” said an inventor from New York, N.Y. “I wished I had a more versatile single tool that could get the job of several tools done. That would certainly make…


Seamless Air Alliance Completes Structural Setup And Announces New Members On Mission To Transform In-Flight Connectivity

?p=captionSAN DIEGO, June 4, 2018 /PRNewswire/ — The Seamless Air Alliance – which will usher in a new era of innovation for airlines – announces the completion of its structural setup, enabling new membership beyond the founding members and the addition of Nokia, Air France KLM, Aeromexico, and…


New England Journal of Medicine Publishes Pivotal Cemiplimab Trials Showing Positive Results in Advanced Cutaneous Squamous Cell Carcinoma

TARRYTOWN, N.Y. and PARIS, June 4, 2018 /PRNewswire/ —
Patients treated with cemiplimab experienced robust anti-tumor effects
Data also presented today at the 2018 ASCO Annual Meeting
Cemiplimab applications under review by regulatory authorities in the U.S. and the EU; if…


Talib Kweli Faces Sexual Harassment Accusations From Former Protégé Res

Talib Kweli is facing accusations of sexual harassment from a former collaborator who claims that the rapper held her career “hostage” after she rejected his advances.

Res, an artist who was signed to Kweli’s Javotti Media and appeared on numerous Kweli tracks, made her claims against the rapper (real name Talib Kweli Greene) public this weekend in a series of tweets. Res (real name Shareese Ballard) also accused Kweli of intentionally withholding music she recorded for the label, Pitchfork reports.

“Let’s talk the truth my brother @TalibKweli tell the world how you treat women you work with shall we discuss your approach to a good work environment I have emails like you do KING,” Res tweeted.

“I tried to be humble but you letting a kiss that you didn’t get @TalibKweli keep my career on hold and I dare you to say I’m not telling the truth you know Gmail Mr [Greene] wasn’t you married then I’ll wait.”

Res also shared a screenshot of a 2014 email where Kweli allegedly apologized for trying to kiss her “in a pool in Puerto Rico,” but the rapper denied any other wrongdoing.

Following Res’ tweets, Kweli replied on Instagram with a photo of the judge’s verdict in a sexual harassment claim that Res filed against Kweli; the judge dismissed all claims, Kweli wrote.

“Res is a liar. She was dropped from my label Javotti Media in 2013 for disrespecting my employees and for failing to turn in an album I invested in. I am not holding her music because she never turned any music in. At all. Ever,” Kweli wrote. “In early 2014 Res started an indiegogo campaign and sent a song featuring my vocals to fans without my permission as a reward. I asked her to stop using my verse, she refused. So I sued her. Res then countersued saying that I sexually harassed her. I find her claim to be dubious in nature. Bogus.” A rep for Kweli did not immediately reply to a request for comment.

Following the dismissal of the sexual harassment claim, “Res has not accepted this outcome so she is using smear tactics. Recently, she fired her lawyer in the other case, the one where she profited off of my music without my permission.

“So now she is trying to use the #metoo movement to bully me into dropping my lawsuit against her. I fully and categorically deny any allegation of sexual harassment,” the rapper added.

Shareese Ballard Aka Res is a liar. She was dropped from my label Javotti Media in 2013 for disrespecting my employees and for failing to turn in an album I invested in. I am not holding her music because she never turned any music in. At all. Ever. In early 2014 Res started an indie Gogo campaign and sent a song featuring my vocals to fans without my permission as a reward. I asked her to stop using my verse, she refused. So I sued her. Res then countersued saying that I sexually harassed her. I find her claim to be dubious in nature. Bogus. Over a year ago, the judge in the case Carolyn E. Wade dismissed Res’ 3 claims against me, including the sexual harassment claim. NYSCEF doc number 37. Res has not accepted this outcome so she is using smear tactics. Recently, she fired her lawyer in the other case, the one where she profited off of my music without my permission. So now she is trying to use the #metoo movement to bully me into dropping my lawsuit against her. I fully and categorically deny any allegation of sexual harassment.

A post shared by Talib Kweli (@talibkweli) on Jun 3, 2018 at 7:37am PDT

Despite Kweli’s denial, Res insisted on Twitter that the rapper is in possession of 12 songs that remain unreleased. “Why are you refusing to release the music I gave you YEARS ago? This lawsuit you have against me has gone on too long,” Res tweeted.

In a follow-up statement to Pitchfork, Res said, “Unfortunately, Talib is unable to give an accurate account of what has happened in this situation. In my opinion he is extremely emotional and it has impaired his memory at times. He is clearly using his platform to bark loud and let loose any and every twist and turn to steer attention and support his way… To be sued at this point is ridiculous and not warranted. He is crafting a story all on his own alongside retweets with people that neither of us have a relationship with beyond a follow on social media, if that. It is all quite sad. I am regretful of ever signing to Javotti Media.”

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Kanye's New Album Is Out. So, How About That Performance Art Theory?

As of writing, there’s a Twitter thread that has over 13,000 retweets and might just convince you that Kanye West was never having a public meltdown, or pivoting to the right wing, or cashing in all his genius chips for a bonkers interview on TMZ, but instead engaging in some seriously high-concept performance art aimed at changing how we talk about politics in America in 2018. Spencer Wolff, the author of said thread, laid out what he calls the “Prestige Theory,” a complicated but well-researched argument that Kanye’s behavior over the past six weeks or so was designed to provoke, to make us think. People, especially Kanye fans, loved it.

Wolff’s theory tied together conceptual artists David Hammons and Joseph Beuys; late actor Andy Kaufman; a serious interpretation of emojis; and the 2006 Christopher Nolan film The Prestige. It also involved coyotes. The basic idea was that there was an intellectual game going on that explained what Kanye was doing when he tweeted an image of himself wearing a Make America Great Again cap, or when he burst onto the TMZ set and claimed slavery was a choice. That there was a bigger point being made.

The problem was no one could tell when the performance had started. More importantly, no one knew when it was going to end. The best bet was June 1st, when Kanye had announced he would release his highly anticipated eighth studio album. It was always unlikely that this theory would pay off. For one, it would be extremely difficult to make a musically worthy album that also explained the particulars of your recently concluded piece of complex concept art. Also, as May went on, it became harder to square Kanye’s behavior with Wolff’s painstakingly explained theory. However, many fans clung to the explanations that Wolff laid out in his Twitter thread, and later in a piece he wrote for the music site Pigeons & Planes.

The album was released last Friday, and it contains no indication that Kanye was orchestrating a grand piece of performance art. If he was, Ye was not its end point. Rolling Stone caught up with Wolff in the wake of Kanye’s album release to see where he’s at on his ambitious theory now that Ye is out in the world.

How’s Kanye release day going for you?
It’s good, man, I’ve listened to it probably four or five times now, had it on repeat all day. You know, with his albums, you catch stuff every listen. I still catch stuff off Pablo, sometimes his words are super cheesy and corny, and sometimes — he uses a lot of double meaning. A lot of times you don’t really catch it on the first listen, so I’m still trying to get those figured out.

What do you think of it?

I think that this is the least I’ve liked a Kanye on album on first listen, but my opinion has moved up since then. I need a couple more days to see where I’m really landing.
Yeah, I felt the same with a lot of his albums in the past. Yeezus obviously took a while for people to get, and now it’s probably my favorite of his.

I see people on Twitter saying that I was 100% right, and I’m not really sure where they get that from, because I don’t see that.

I wanted to talk to you about the “Prestige Theory” that you put out on Twitter last month. I thought it was well-researched but, listening to the album, I’m not sure that I see any of it there.
Oh yeah, sure. You know, I tried to make it clear – and I probably could have made it more clear – that I didn’t know that the album was going to be the giant prestige or the album was going to be the answer. Possibly it could have been. I think in the thread I just thought it could be. But after I thought about it, especially after the first few days of that thread blowing up, I leaned towards it maybe not being the end? Because, you know, Kaufman never broke character, and I think when Joaquin Phoenix was doing his thing – I’m Not Here was not some giant revelation, it was the final piece of that performance. As far as I know he never came out and said, “This is performance art,” it was just understood.

I’ve seen people on Twitter say that this thread was Capone’s Vault, that it was all lies, that it wasn’t real. But I don’t know if that was the case. And if it was, if I was totally wrong, I’m fine with that. I’m not a person who thinks that I have to be right about this — I don’t have any stake in this. But I still haven’t figured it out. Because I see people on Twitter saying that I was 100% right, and I’m not really sure where they get that from, because I don’t see that.

The one thing I’ve thought about more and more as I’ve listened to the album [is that] I think originally I thought the piece was more political, with the coyotes and Trump and Candace Owens. Now, I’m kind of leaning towards that it was more about mental health, and his bipolar [disorder]. This album is the first time he’s really acknowledged it and he’s fully embraced it – I mean, he put it on the cover, he talks about it on the first song. And the whole album really deals with his mental health a lot.

I’m kind of wondering now if the performance art was all geared toward that. You know, the TMZ interview happened the same day as the Charlamagne interview, which to me was always a juxtaposition of showing how you’re perceived in the media. If you do this two-hour sit-down you come across as rational and well-spoken and thought-out, and if you go on this heavily edited tabloid show you’re perceived as crazy and nuts, and that’s what he was trying to do.

I don’t think I understand what he was going for.
That’s what I lean towards, but who’s to say, I guess.

You’re a big Kanye fan. Do you worry that you’re working overtime to make everything he’s doing make sense?
I’ve thought about that, too. Obviously I’m going to be biased, I’m a huge Kanye fan, and obviously I put this thread out there, so I’ve got to stand by it. Like I said, if I’m wrong, I’m wrong. That’s totally fine by me.

I don’t know that anyone will be able to prove you right or wrong.
Yeah, I don’t think think that’s ever going to happen. As time goes on, if I come to the conclusion that I was wrong, that’s totally fine by me. Before the album dropped, I was 100% certain. Right now I’m down to 50/50. He doesn’t talk about anything that would allude to this being a prestige, but I never thought he was going to. I don’t know, it’s hard to say.

Before the album dropped, I was 100% certain. Right now I’m down to 50/50.

There’s the possibility parts of it were true and parts of it were not. He was tweeting about some of the things you were pulling from, but it may not have been one unified piece of performance art.
Looking at it now, in retrospect, there were parts that probably made sense and there were parts that I was probably reaching too much on. I was basically trying to do emoji encryption, I know it was ridiculous [Laughs]. It was far-reaching, and I never lost sight of that, that it was an off-the-wall, crazy theory. I never thought every single thing made sense, but I was pretty sure that I was right about it. Looking back on it now I can see that it could be a mix.

I haven’t really decided yet, but it’s coincidental to me that his last three albums include his name: Yeezus, and Pablo was based off this alias Paul, and then with Ye — I kind of think, Has he been doing this a while? Because if you look at Yeezus he was dressed in black leather and fighting cameramen, and just this super angry, mean guy. Then with Pablo he has this mental breakdown. And now we get Ye. And just, was this Bowie-esque? Was he playing characters and the albums were reflecting that? I don’t want to be misconstrued — I don’t want to say that’s for sure what he’s doing, that he’s playing characters and whatever he does shouldn’t be taken seriously because it’s all characters. Because I don’t know. I just think it’s kind of coincidental that these three albums all kind of tell this story of his life. Musicians do that a lot, but I’m curious if that somehow ties in.

I’m a big Kanye fan too, but it’s interesting how you take all the same information that I have and turn it into a narrative.
Yeah, I don’t know. I could be reaching.

I’m not making a value judgement on that, just noticing it. I also wanted to ask about how much attention you got from the tweet thread — what was that like?
Oh, it was crazy. It was nuts. I’m talking to Rolling Stone. I talked to Pitchfork, and Pigeons & Planes. It was crazy. It was fun; it was cool. I was worried for a little while that I had spoiled it, if that’s something that could have happened. I don’t want to speak too highly of myself.

No, I understand what you mean.
If that was what he was trying to do, I don’t want this tweet to go viral and then I fucking ruin the whole thing. That would be terrible, as a Kanye fan. But this has all been a lot of fun, if I’m wrong, I’m wrong, that’s fine. I enjoy Twitter, I enjoy Kanye’s music, being able to talk to people about it is a lot of fun to me. It’s a shakeup from ordinary life, if that makes sense. 

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InventHelp Inventor Develops White/Brown Rice Cookware (MTN-3020)

InventHelp Logo (PRNewsfoto/InventHelp)PITTSBURGH, June 4, 2018 /PRNewswire/ — An inventor from Yonkers, N.Y., has developed the patent pending DUAL COOKER, a modified rice cooker that is used to simultaneously cook two different types of rice within the same unit.
“Due to various reasons, not everyone can eat white rice…