Rihanna released her new music video for "Man Down" yesterday, and not everybody likes the final product.
Watch it below.
Featured in the beginning is the singer taking aim in a crowded "central station," like in the song, and shooting a man down. Folks scatter, the guy lays dead with a pool of his own blood. Then it rewinds to the day before, in the same unnamed island town, and Rihanna struts and bounds around her city, happy, and ultimately ends up at a nightclub. A potential suitor sees her across the room, makes a few moves, they kiss and rub and then she pushes him away: game's over. She leaves, he follows her into an alley and he rapes her. The rape itself is obviously not shown in the video, but Rihanna's bright colors become muted and she crumples, ultimately going home, and finding her gun.
The Parents Television Council has already condemned what it views as a violent message.
The city of Las Vegas owes Cee Lo Green a little bit of scratch for putting on such a nice commercial for them.
The solo and Gnarls Barkley singer has released the new music video to "Lady Killer" track "I Want You," based in Sin City and amped with the dollars of a heavily branded liquor (the name to which I will not mention, for I have not been sent my own sample).
While Green showed the world he could pull off a mean Elton John impression at the Grammys, he tips his hat here to Liberace. To get ladies. Because Liberace loved the ladies. (Right, OK, but he goes by Loberace here instead. Get it? Loberace? Oh forget it, I'll explain it to you later.)
This Vegas lover courts his lady with fine jewelry, to the detriment of her sultan or whatever he is. Women: so easily won.
Everybody’s got that friend. He can’t get through a sentence without a few f-bombs and would rather chat about your or your wife’s breasts – right in front of you -- than about the babbling newborn twin babies nearby. He doesn’t know how high is a little too high to be playfully tossing a little girl in the air. He doesn’t know how to talk to children, or about children, or even about growing up. Because he is a child.
“You see that look of innocence in that little girl's eyes and you say, ‘I need to push her into the stairs. I need to quiet that innocence,’” Ryan Reynolds laughs, after shooting a scene where he does just that.
That’s Reynolds’ Mitch in “The Change-Up,” forthcoming from “Wedding Crashers” director David Dobkin and “The Hangover” writers Jon Lucas and Scott Moore. The “Green Lantern” actor performs opposite of Jason Bateman’s Dave, who plays into somewhat familiar territory as a family man holding down the domestic fort with wife Jamie (Leslie Mann). Mitch is a blonde-streaked womanizer and aspiring actor, still living in a man-cave covered with band posters and college tchotchkes, and best-friend-since-high-school Dave has a straight-laced j-o-b (and law associates with what’s described as “dream girl” Olivie Wilde, as Sabrina).
Now imagine they magically switch, switch bodies, and go through what Dobkin describes as a “hall pass” conversation about men, marriage and fidelity (and what you’d have tattooed onto your buddies body while he’s not “looking”).
Does it sound a little heady? Add in the movie’s hard-R rating. This is no “Vice-Versa.”
In 2002, I was helping to promote my college’s concerts, at Northwestern University; that May, the Dismemberment Plan was on our annual music festival bill. I was beside myself: “Emergency & I” had been on constant rotation ever since I’d heard “You Are Invited” on one of those CMJ Monthly CDs. “Change” – which later was revealed to be their swan song -- had dropped the previous fall.
It was one of those shows that gave you temporary vertigo. The set had been moved indoors from out due to typical Chicago weather instabilities, and the collective equilibrium of students and stragglers was swimming in excessive levels of merciless bass. I remember drummer Joe Easley’s hair doing its own dance on tracks like “Ok Jokes Over” and breathless “Gyroscope.” Jason Caddell worked his guitar around the elbows and knees of odd time signatures.
Frontman Travis Morrison – taking advantage of the band’s few stable instrumental breaks – would oscillate between articulate banter and what could be described as fissures of reality. During one of these, he closed his eyes and, in his falsetto, urged “I’m a cheerleader” in a feverous chant, while running his fingers up the sides of his own ribs and “cupping” what I suppose was this cheerleader’s imaginary bustier. Perhaps it was on “Bra.” The show was silly, and mostly magnificent.
About a year later, the Plan split. Morrison released his solo debut “Travistan” in 2004, and “All Y’all” in 2007 under the name Travis Morrison Hellfighters. His bandmates formed new projects, like Eric Axelson’s group with former Promise Ring members, Maritime. But the band couldn’t stay away from each other for too long: they reconvened for two “one-offs” in 2007, and they embarked on a proper tour this past January to promo the vinyl reissue of “Emergency & I." The stint took them all the way to Tokyo, where they recorded 23-track “Live in Japan 2011,” D-Plan’s very first live set. It will be out internationally tomorrow (June 1), and available digitally.
“Our live show was so much a part of our rep, so it’s nice to have a statement that presents and explains that,” Morrison tells me, before going into self-deprecation mode. “But it’s like Chris Rock said in an interview once: ‘It can’t always be the “Purple Rain” tour.’”
Considering their outputs, I was abhorred at the possibility of two the annoyances of Akon and Asher Roth combined for a song. Then that idea became reality. But I'm finding myself pleasantly surprised.
"Last Man Standing," a new Roth single with the singer guesting, has teh rapper sounding hungry. After the runaway success of "I Love College" and the fratty white-boy dorkishness that thrived therein, it sounds here like Roth is trying to put his smarts into some serious spit.
And the hook, as it pretends to break no new bounds, is catchy as hell.
The beat is a thudding rally-time boomer, and obviously label-backed since that exactly who "leaked" it to us.
I am merely told a new Asher Roth album is "to come." His last proper studio set, "Asleep in the Bread Aisle," was released in 2009 on Universal Motown.
Robert Plant said it best when he sang "AAAAAAaaaaaaaaaaaaauuuuuuuuuuuuuuaaaaahhhhh!" Academy Award winner Trent Reznor (that phrase will never get old) and Yeah Yeah Yeahs singer Karen O are apparently working on a cover of Led Zeppelin's "Immigrant Song."
According to The Playlist and Pitchfork, the track is getting reworked for the upcoming film adaptation of "The Girl With the Dragon Tattoo." That flick is being directed by David Fincher, with whom the Nine Inch Nails frontman worked on "The Social Network." Reznor is scoring "Tattoo."
Karen O has also had her hands full with soundtrack work before, on Spike Jonze's "Where the Wild Things Are."
No word yet if other guest contributors will be in the "Tattoo" soundtrack or score, but "Immigrant Song" is purportedly featured in the trailer to the flick, which is being shown during "The Hangover 2" screenings opening this weekend. The film will be out Dec. 21.
Normally covering Zep is considered blasphemy. But I can't think of a more feral voice in rock than Karen's (though Caleb Followill's in "Charmer" goes there). The combo of Reznor and her it tantalizing on top; perhaps there could be more collaborations in the future?
If he was going to adopt such a popular song title, he should've gone with "Road to Nowhere" instead, because that's where this slow-riding, low-energy track gets us. Weezy is obviously trying to make a statement -- like Katy Perry wearing a high collared shirt, or Lady Gaga directing her own videos: he has all the resources in the world, included protege Drake, to do the singing, but perhaps the tune was just too good to give to somebody who can, y'know, sing.
Love you, Wayne, but this color doesn't look good on you. Like your cohort Nicki Minaj, let the rappers rap. Here, listen to The Weeknd, you'll feel better, see how it's done.
"How to Love" will be featured on "Tha Carter IV," out in June.
Beyonce distinguished herself as one of the brightest highlights during "American Idol's" season finale last night, due in part to the debut of "1+1," the first ballad to be introduced from her forthcoming album "4."
While we're playing the numbers game, this will mark the second single from the set, as "Who Run the World (Girls)" continues to struggle with airplay and mass adoption on a "Single Ladies" scale. But upon viewing Bey's live take of the song for "Oprah" earlier this week -- despite the borderline hilarious handing-out-of-diplomas bit -- plus this spectacular vocal performance, Beyonce is aiming for entertainment perfection.
If only it didn't seem the lyrics to "1+1" were penned by a second-grader.
Despite the elaborate set pieces, extreme costumes and a travel back in time, January Jones simply "enjoyed being a mutant" in new "X-Men: First Class."
The '60s era during which the comic book film takes place may be no new stretch to Jones, who's best known for her role as Betty Draper in "Mad Men." But the privileges of having superpowers were not lost on her or her "X-Men" castmates, gathered in New York today (May 25) to discuss the franchise flick. "I loved my character the best I think," she deadpanned as actors like James McAvoy (Charles Xavier), Michael Fassbender (Erik Lehnsherr / Magneto), Kevin Bacon (Sebastian Shaw) and Rose Byrne (Moira MacTaggert) debated the strengths of the story and their own characters.
Byrne -- who plays a non-mutant CIA agent -- admitted to a little "power envy." Bacon was "knocked out" upon viewing the movie, unknowing how his mutant power to absorb and manipulate energy was going to manifest on screen.
"Where he's wise, I was unwise. Where he's chaste, I was rather randy," McAvoy said, comparing his younger, "silly and drunk" version of Professor X to the elder, played by Patrick Stewart in the five other "X-Men" films. "I didn't see myself as..."
"... a bald guy," Fassbender cheerfully chimed in.
And to that -- of all the many different foreign languages spoken in "First Class" -- none seem to be as widely adopted as sarcasm and gentle chiding on set and during this promotional run. Zoe Kravitz said preparation for her role as acid-spitting, flying former stripper Angel involved "research on the WonderBra." Upon initially learning he got a part in the film, Bacon said his first thought was, "Who fell out?" Fassbender and McAvoy -- whose characters in them play out how they began as friends and end as enemies -- were quick to suggest baby names to round-bellied Jones, who is expecting a child in the fall.
Many of the actors described the process of making the movie "fast-paced," "tough" and "under-pressure" or having joined the cast "very quickly." The Matthew Vaughn project had undergone some delays but obviously made it out just fine on the other side, said McAvoy. When he'd first seen the final, he encouraged Fassbender to watch it as soon as possible."I said, You've got to see it quick, you're gonna be relieved, you'll be able to go to the toilet again," he laughed. "We were worried, man, because sometimes these things are a nightmare, and it's been well-documented that they can."
Earlier this month, we warned you that a deluxe version of Arcade Fire's "The Suburbs" was on the way, on Aug. 2. Now, we're able to preview some of the goods that will be included on that set.
"Speaking in Tongues" featuring David Byrne and "Culture War" debuted on AF bestie Zane Lowe's radio show in the UK today. Below are the radio rips, via ListenBeforeYouBuy.
The former is ominously jaunty, with swirling synths, a sparkly guitar line and the Talking Heads frontman's typical, sonorous voice on the chorus. The latter is droopy-headed melancholia from Win Butler, sharply divided with handclaps and some distorted electric holding down the rhythm.
The re-release includes these two previously unreleased tracks, and extended version of "Wasted Hours (A Life That We Can Live)", an 80-page booklet and a DVD featuring Spike Jonze's "Scenes from the Suburbs" short film, a "Suburbs" doc and "The Suburbs" music video.
Arcade Fire basically done touring America except for a few festival dates.