Big Data puts some stank on this remix of Phases' 'I'm In Love With My Life'

Big Data puts some stank on this remix of Phases' 'I'm In Love With My Life'

Song Of The Day will blow your hair back, and make it a little scuzzier

We've been tracking songs of the summer on and off during these sunny months, and if you've been doing your own soundtrack trolling, then you've almost certainly come across Phases' bass-happy "I'm In Love With My Life."

Now, Big Data -- whose jams "Business of Emotion" (feat. White Sea) and "Dangerous" (feat. Joywave) have previously set your summer playlists on fire -- applied a fair amount of scuzz and grind to this exclusive new remix of "I'm In Love With My Life."

Just in case that redux doesn't sate your love for "Love," keep your eyes open all week for even MORE remixes of the single, from acts Mystery Skulls, Big Black Delta, Joywave and Dale Earnhardt Jr. Jr.

Phases (formerly JJAMZ) consists of members from The Like, Rilo Kiley, Phantom Planet and more. Check out two other killer electro-pop tracks "Cooler" and "Betty Blue" on their website. The quartet is playing Webster in New York next weekend, and then hits the West Coast on tour dates with X-Ambassadors

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Warner Bros. is super-bummed about that whole 'Suicide Squad' Comic-Con thing

Warner Bros. is super-bummed about that whole 'Suicide Squad' Comic-Con thing

Hall H lines, 'exclusives' and your fuzzy Instagram: Is the hype cycle broken?

The first footage from "Suicide Squad" debuted at San Diego Comic-Con over the weekend. Audiences were wowed by the trailer. Jared Leto's Joker laugh was heard. Everyone fell in love a little bit with Margot Robbie's Harley Quinn.

But for all the buzz, Warner Bros. is not happy. They say their hand was forced to release an official version of this Comic-Con "exclusive" reel today, after mega-crappy pirated versions, Periscopes and other video captures of the Hall H footage roved its way through the web.

Per a statement, via Sue Kroll, President Worldwide Marketing and International Distribution, Warner Bros. Pictures:

Warner Bros. Pictures and our anti-piracy team have worked tirelessly over the last 48 hours to contain the Suicide Squad footage that was pirated from Hall H on Saturday. We have been unable to achieve that goal. Today we will release the same footage that has been illegally circulating on the web, in the form it was created and high quality with which it was intended to be enjoyed. We regret this decision as it was our intention to keep the footage as a unique experience for the Comic Con crowd, but we cannot continue to allow the film to be represented by the poor quality of the pirated footage stolen from our presentation.

On the one hand, it’s a shame for anyone whose first impression of this film is through these lo-rez sources. This clip looks great: high-energy, shiftingly dark, with a lot of bouncy, varying voices of said 'Squad.

However, that video would leak should come as no surprise.

Fans frequently stand in line for 12 to 24 hours to guarantee entry in Comic-Con’s legendary "Hall H”, to see glimpses their favorite franchises, to get caught up in the excitement and see beloved movies stars. For whatever reason, fans have also leaked these glimpses over the years, of "exclusive" footage of "Man of Steel," "Hunger Games" or "Suicide Squad” within minutes after the Hall disperses.

This is why we can't have nice things.

Studios can't plug all the holes in the dams when 7,000 people with smartphones are put in the same place at the same time. Organizers can ban selfie sticks, Google Glasses and Periscopes all they want, but with the multitude of sources of technological freedom in/at hand, there's no enforcing those rules.

Should WB be surprised about what transpired this year? No. Does it still suck? Absolutely. Were they prepared? At least it only took 48 hours before they finally released the official version -- while some picture houses take weeks.

Studios like Paramount, Marvel and Sony bowed out of presentations at Comic-Con this year, even though they have valuable and fan-friendly films on slate. Using "regretful" language as above, Warner Bros. -- and, perhaps most importantly, fans -- may be taking a hard look at making Comic-Con a priority next year.

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Dolly Parton chooses the cutest little girl on Earth to play Dolly Parton

Dolly Parton chooses the cutest little girl on Earth to play Dolly Parton

Dolly Parton's first movie to come out from her NBC deal -- "Coat of Many Colors" -- focuses on the country superstar's early life. Thus, the need for a little Dolly. A few little Dolly-isms.

Watch Parton inform 7-year-old Alyvia Lind that she got the part, to play Parton at a young age when her mother stitched her a (you guessed it) coat of many colors, which inspired Parton's song of the same name.

"You have been announced to play little dolly in the movie," says Parton to Lind. She turned to her audience. "This is the big dolly and the little dolly, what do you think?"

Well? What do you think?

Lind was in the Lifetime parody “A Deadly Adoption” (which actually aired on Lifetime) with Will Ferrell and Kristen Wiig; she's also appeared on "Transparent" and "Masters of Sex," of all things.

Here's the NBC's description of this first standalone film, the premiere date to which is TBA:

Parton had called the 1971 track her favorite song she has written. It tells the story of how her mother stitched together a coat for her daughter out of rags given to the family, telling her the biblical story of Joseph and his Coat of Many Colors. But when the girl, all excited, debuts the new coat at school, she is ridiculed by her classmates for wearing rags.

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This Stormtrooper walked 500 milles to Comic-Con... and he'll walk 500 more

This Stormtrooper walked 500 milles to Comic-Con... and he'll walk 500 more

Kevin Doyle is raising funds for his late wife's foundation, and seeking peace of mind

Last night (July 10), a man named Kevin Doyle led the 501st Legion -- Star Wars fans in "The world's definitive Imperial costuming organization" -- in a costumed Stormtrooper's march up to the largest stage at San Diego Comic-Con. The crew helped introduce the "Star Wars Episode VII: The Force Awakens" panel with all the film's stars including Harrison Ford and Carrie Fisher.

Kevin Doyle walked 501 miles (and then some) from around San Francisco all the way to San Diego for the Con. That's because the Doyle is looking for a little peace of mind. He's also raising awareness and funds for a charitable foundation.

"My wife Eileen passed from Pancreatic Cancer, passed in November 2012. We were both members of the 501st Legion, and I thought I have to do something to raise funds for what I'm trying to do for her foundation, which I haven't organized yet. It's called Eileen's Little Angels."

I met Doyle along a road trip in Northern California late last month. He wasn't wearing his helmet as he walked alongside the Pacific Coast Highway, but his blazing white Stormtrooper armor still did a job of catching the eye. His walking companion looks like a running stroller or ice cream pushcart, that contains overnight gear, food, general life supplies, along with  bandanas and blankets, coloring books, plush toys, emblazoned and decorated with his late wife's artwork.

"I've put those together and called them her 'chemo bag.' I put those together and give them to children [with cancer], that's for the fundraising part of it." Doyle explained his purpose for walking hundreds of miles. "I searched the mileage from San Francisco to San Diego, it comes up 501 miles. I thought, it's just a sign! I do other [fundraising] walks ... I should walk or do something. That's what I've gotta do. I gotta walk 501 miles to raise money for my wife's foundation."

Altogether, Doyle will be walking 1500 miles in three months, "because I also hiked before starting down [to San Diego]... and I decided to do a return trip. A lot of that has to do with for myself for my healing process. so many people do that, who come out here who are healing, I'm hoping for healing for myself, for the walk back."

While he's at Comic-Con, Doyle obviously has been met with a community of other Star Wars fans, cosplayers and his Legion brethren. He's also hoping to meet more vendors and investors, who can help with the volume of chemo bags he'd like to cobble together to distribute to children with cancer and children's hospitals. Doyle is also an artist -- making Star Wars and other property artwork for Topps -- but he says recovering from his wife's death "has been really really difficult for me, I just haven't been able to find my way.

"I've been self-destructing for two-and-a-half years and I'm hoping that this will help me with that process 'cause it's all still right at the surface for me," he said. "November 7. I still think of myself on that day. I still haven't been able to get to November 8 yet. But we'll see... with Eileen's Little Angels and taking her artwork and using it as I'm using it will in itself give me some purpose. So I'm really hopefully people will respond to that and allow me the opportunity to do that and share her artwork with so many people she never had a chance to."

After the jump, Doyle answered some more questions from the road:

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Try to guess who's playing The Dude in this 'Big Lebowski' live-read. Just try.

Try to guess who's playing The Dude in this 'Big Lebowski' live-read. Just try.

Try and take a guess who's reading the part of The Dude in this upcoming script live-read of "The Big Lebowski"...

Just try...

Did Michael Fassbender come to mind?

Jason Reitman's live-read script series has made its way to Montreal's Just For Laughs Comedy Festival, and Reitman himself was shocked that Fassbender said yes to reading as The Dude, made immortal in the Coen Brothers' original film by Jeff Bridges.

“I heard from Simon Kinberg, who’s in Montreal now producing 'X-Men: Apocalypse,' that not only is Fassbender an enormous fan of The Big Lebowski, but he apparently quotes it daily,” Reitman told EW.

Patton Oswalt is on tap as reading for Walter (played first by John Goodman).

This is the Reitman's second time "re-casting" "Lebowski": the first time, in 2012, it was Seth Rogen and Rainn Wilson as The Dude and Walter, respectively.

“Unlike other Live-Reads where I have a decent sense of how, for instance, Seth Rogen going to play The Dude, I have no idea how Fassbender will do it,” Reitman said. “But he’s one of the our greatest performers, he’s on the current Mount Rushmore of actors, so I can’t wait to see what he comes up with.”

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Damon Albarn played 5-hour set at Roskilde, was forcibly removed from the stage
Credit: AP Photo

Damon Albarn played 5-hour set at Roskilde, was forcibly removed from the stage

You think you had a wild 4th of July weekend....

Damon Albarn had to be forcibly removed from the stage at the Roskilde Festival in Denmark on Saturday night when organizers asked he cease performing after five hours on stage.

The Gorillaz and Blur frontman was actually at the fest leading African Express, a supergroup of world musicians. It was at about 4am local time that Albarn along with Songhoy Blues, Nick Zinner, Jeff Wootton, and Seye Adelekan launched into The Clash's "Should I Stay Or Should I Go" in order to rile of fans who wanted the group to keep playing.

Instead, Albarn was quickly hoisted over the shoulder of a security guard and hauled off.

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'Magic Mike XXL': The woman's dollar and the fantasy business

'Magic Mike XXL': The woman's dollar and the fantasy business

Women make fewer dollars than men do, but that dollar goes a long way in this sequel

The reality: In the United States, women make 78 cents for every dollar a man makes. For African-American women, it’s 64 cents. For Latinas, 56 cents.

The fantasy in the movie “Magic Mike XXL,” is that women hold all the dollars, and the dollar really stretches.  Ladies – of all colors, sizes and ages -- rain dollar bills on stripping men in wads, or like falling confetti, like it’s nothing, while men strip without command, without any extra urging from those waving singles.  (In what is one particularly unsexy scene at the Myrtle Beach male stripper convention, women wait in line to get single-dollar bill change for the $20 or $100 dollar bills, in delicious modular stacks.)

The reality is that money is power. By proxy, a film whose core demo is women (and gay men) that rakes in a lot of money means that the woman’s dollar has power -- why we have a “Magic Mike” sequel to begin with. If a film has a successful box office run, women’s dollar-power in Hollywood can be further recognized if not augmented, even if it appeals specifically to straight women’s normalized sexual proclivities.

A fantasy is that films for women, and films about power reversal via the almighty dollar – without question – would be financed and released anyway. 

The reality is that men and women both have to struggle to make their dreams to come true. Mike (Channing Tatum) is having a hard time getting his small business off the ground. Tarzan (Kevin Nash) wants to be an artist and Ken (Matt Bomer) wants to be an actor and a singer; Tito (Adam Rodriguez) is trying to start an artisanal frozen yogurt food truck. Big Dick Richie (Joe Manganiello) just wants to settle down with a nice girl whose vagina can handle his genital girth. Rome – Jada Pinkett Smith in a role that was originally penned to be male -- built her “subscription-based” strip joint from the ground up after paying her dues.  Zoe (Amber Heard) is a fledgling young photographer who would rather live homeless than have to return to her job as a stripper - a parallel that the career of a female stripper is vastly different than that of a male stripper.

But it’s a fantasy that achieving one’s dreams is equally hard-fought between genders. Look at the filmmakers and crew for “Magic Mike XXL”: in a phrase often used ironically, the struggle is real. One of six “Magic Mike XXL” producers is a woman. Of 160 credited crew members, less than one-third of them are women. Only one female made the cut on the music soundtrack, and she’s a featured guest on a Jeremih song. Rome’s character was written as a woman instead of a man, but her role is partly contingent on having romantic ties to a man. Zoe’s dream of “making it” as a New York photographer was contingent on the financing from a man who was mostly only interested in her for sex.

The reality is that anyone woman watching “Magic Mike XXL” doesn’t see have to see themselves as any one woman in the film. We can all be a little Zoe: misanthropic, flirtatious, artistic, sarcastic. Or Rome: powerful, independent, masculine, wounded. Or Andie McDowell’s Nancy: middle-aged, divorced, moneyed, liberated. Or Mae (Jane McNeill): sexually unsatisfied, romantic, trapped. Or any number of convention-goers, strip club attendees or drag barflies: thick, thin, black, white, queer, cis, working class, filthy rich.

The fantasy is that any one of these female roles is actually a complete “character.” Rome bats close, but loses her moxy when Magic Mike dances for her on-command, which is apparently action enough to let bygones to be bygones. She saves the day in order to push the males’ plot forward. (Rome, baby, he ghosted you: you CAN tell your ex “no.”)

Speaking of “no,” there’s a fantasy, the grand finale at the convention. Manganiello’s routine is playing house by “marrying” an audience member and then strapping her in a sex swing to the strains of Trent Reznor’s romantic prose “I want to f*ck you like an animal.” Rome preaches that opposites attract: hot goes with cold, and “yes” can be met with “a little no.” After a particularly spirited performance, a woman is  heard shouting “ravage me,” the operative term synonymous with violence, destruction and sometimes even rape. This isn’t to say all women prefer sexual play involving dominance, cockteasing or rape-fantasy. To the contrary, “Magic Mike XXL” is one of the few movies to positively frame those fantasies as a specifically female fantasy in a “safe” communal space.

The reality is that no woman has a single fantasy that can be fulfilled by fictional, chiseled men who are eager only to render a smile on her face.

The fantasy is that all these men are all so comfortable with their sexuality that they can vogue in a drag club like champs; that they believe in equality of body hair maintainence; that they know all the words to Bryan Adams’ “Heaven” and Backstreet Boys’ “I Want It That Way”; that they want to watch “Downton Abbey” on the weekends and grow fat and old with you; that they will “worship you” as a “goddess” (and that God “is a her”); that they are ogling cars and punching each other in the dick to settle arguments when women aren’t around; that birth control is “grown woman sh*t”; that the dude “who stole your smile" is an a**hole; and that stripping for you – even if you’re a frumpy gas station attendant -- is super fun (if not a little messy… bottled water and Cheetos, who’s gonna have to clean that up?).

The reality is that – as pandering as all that may be – “Magic Mike XXL” is as good-natured a film, that one can laugh at it, chide it or smile during it as one sees fit. Manganiello -- an actor whose rise to fame originated with his role on a vampire TV show -- plays a character who later scoffs at a “Twilight”-themed strip routine. Rome is a black woman in a fedora who effectively gentrifies the term “queen” -- slang with origins in gay and black communities. Zoe isn’t in a “boy phase” right now, and Magic Mike respects it; but Rome is apparently bisexual and Magic Mike – her ex – didn’t even know, and reacts with shock. There is room for irony as much as there is for simple pleasures.

The fantasy is that for under two hours, an audience that is knowingly being pandered to, that “Magic Mike XXL” is for women, the woman’s and the gay male’s gaze.

The reality is, “empowering” is a word someone uses when they’re trying to sell you something. “Magic Mike XXL” isn’t a non-profit. The film isn’t in the reality business; it’s in the fantasy business.

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Skip Or Repeat? New albums from Tori Kelly, Kacey Musgraves, Leon Bridges, more

Skip Or Repeat? New albums from Tori Kelly, Kacey Musgraves, Leon Bridges, more

Capsule album reviews from new June 23 releases

Welcome to another edition of Skip Or Repeat, capsule album reviews from the week's latest crop.

New for June 23: I review Tori Kelly's long R&B/pop effort "Unbreakable Heart"; Wolf Alice's genre-spanning and loud debut "My Love Is Cool"; Kacey Musgraves' joyous "Pageant Material"; and Leon Bridges' soulful "Coming Home."

None of those scratch an itch, want something more? Check out fresh sets from electronic mainstays The Orb, rockers Bully, jazz artist Jamison Ross, a solo set from Rolling Stones' Bill Wyman, and Son Lux's latest, all due this week.

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'Why did nobody stop it?': Director Asif Kapadia on Amy Winehouse documentary

'Why did nobody stop it?': Director Asif Kapadia on Amy Winehouse documentary

What does the 'Amy' helmer have to say about Winehouse's father Mitch?

"That’s said to be one of her best."

I told director Asif Kapadia -- director of Amy Winehouse documentary "Amy" -- about the sole time I'd seen Amy Winehouse perform live. It was her first U.S. performance, a nail-biting wonder. 

"That’s the one that Jay-Z was at."

"Yeah, there was a lot of industry," I said. We went on.

I feel a small amount of pride and tittering excitement whenever I've seen a show that has gone on to become a thing of legend, even on an insular scale. When it comes to artists who have died, those memories can transcend into nostalgia. And when I think of Winehouse's death, those good rememberances burn with pain and shame. Because at points -- even in my career as a reporter -- I've felt complicit in the obsessive nature of celebrity, pecking at low-hanging fruit, or using reductionist language in discussing entertainers who are struggling with their very humanity.

That's what "Amy," as a film, achieves: the same emotional awe, which can transition into contrition, personal loss and empathy. Using home footage, photos, news footage, TV appearances, new interviews and film/pics shot by Winehouse herself, the story of the singer/songwriter's early career and even her early childhood kickstarts the conversation of her undoing and her death. It's full of the music that made Winehouse a worldwide phenom, but also the same gross stuff that complicated her audience's relationship to her, and artists/celebrities/talent who struggle with substance, mental health issues and fame.

"We’re the audience who watched it, laughed at it, commented on it, shredded it. We’re all a part of it," as Kapadia said during our chat.

Below is an abridged interview with the helmer, who responded to recent comments made by Winehouse's dad Mitch, who has distanced himself from the film that features a lot of his own commentary. We also talked on celebrity, ownership, Winehouse's intuitive talent and audience reactions to Winehouse's downward spiral.

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Skip Or Repeat: New albums from Nate Ruess, Hilary Duff, Adam Lambert

Skip Or Repeat: New albums from Nate Ruess, Hilary Duff, Adam Lambert

Capsule reviews of new music, including James Taylor, Giorgio Moroder, Mika

From this week's edition of Skip Or Repeat: capsule album reviews on the ambitious pinings of Nate Ruess' "Grand Romantic," Hilary Duff's pleasure-centric "Breathe In. Breathe Out.", James Taylor's nostalgic "Before This World," Giorgio Moroder's "Deja Vu," Adam Lambert's "The Original High" and Mika's "No Place In Heaven."

Maybe some of these albums move the needle for you. Maybe you need something more... try on Active Child's "Mercy," Academy Award-winning Michael Giacchino's "Inside Out" soundtrack, Heartless Bastards' "Restless Ones," High On Fire's "Luminiferous" or the Vans Warped Tour compilation for 2015.

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