"Watch Out For This (Bumaye)" feat Busy Signal, The Flexican and FS Green
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Stephen King sounds off on 'The Shining' prequel, 'The Overlook Hotel'
"I’m not saying I would put a stop to the project because I’m sort of a nice guy," King tells Entertainment Weekly. "When I was a kid, my mother said, ‘Stephen if you were a girl, you’d always be pregnant.’ I have a tendency to let people develop things. I’m always curious to see what will happen. But you know what? I would be just as happy if it didn’t happen."
Sounds like he's kind of numb to the project. How couldn't he be after seeing his work bastardized time and time again. Still, we retain some hope. Look for more on this one soon. In the interim tell us what you think in our comments section!
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I'm not sure how I feel about this to be honest. On one hand it seems like it could have the potential to be really awesome but there are also so many ways that it could go wrong. King has never been a fan of what Kubrick did with 'The Shining' (and to be honest as great as Kubrick is I prefer the mini-series) so I could see why he's less than enthusiastic about it.
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'COMMUNITY' PUPPET EPISODE: WELL, THAT'S IT. SHOW'S OVER
"You know what would be funny? If the entire gang was puppets. Puppets who sing."
That seems to be all the deliberation that went into the construction of Thursday night's Community episode, the latest in the series' long string of high-concept turns, "Intro to Felt Surrogacy." If you han't already solidified your disappointment over the post-Dan Harmon era of this once mighty comedy show, this ep is bound to do it. A perfect example of everything that was lost in the transition from Harmon to replacement showrunners Moses Port and David Guarascio, "Felt Surrogacy" is surface value schlock, trope abuse over trope desconstruction, and a perfect misunderstanding of everything that Community was crafted to represent, at its finest.
Less than 30 seconds after the opening credits, Dean Pelton enters a tight-lipped study room to institute a means of overcoming the mysterious awkwardness that has suddenly overtaken the group: puppet therapy! It's as abrupt and meaningless as that; unlike the animation format that swept the septet in "Abed's Uncontrollable Christmas," there is no meaty subtext to the utilization of the odd medium. The dean's desire to play with a box of puppets is a strikingly thinly veil for the writers' desire to play with a box of puppets.
And so, a felt flashback to the gang's apparently traumatizing recent adventure through the Colorado woods unfurls. And all the while, as they sing (yes, they sing) and recount the bad memories that led them to a state of mutual discomfort, we're left to wonder, "Why, exactly, did they need to use puppets for this?"
They really didn't. Nothing seems accomplished by the medium, nothing is really said about it. It's just, quite clearly, an idea the staff thought might be funny and visually stimulating.
We're not here to claim that all of the high-concept episodes during Harmon's reign were entirely spot on — a handful missed the mark, "Regional Holiday Music" and "Digital Estate Planning" among them. But these are the outliers, the head-scratchers, the eps that made us wonder, "What did the network insist on shoving in/cutting out to produce what was probably, initially, a great take on musicals/video games/et al?" Season 4 has been filled to the brim with this breed of disappointment. Just as "Cooperative Calligraphy" is the epitome of everything that exemplified Community's golden era, "Intro to Felt Surrogacy" is the epitome of everything that exemplies Community's dark age.
And it's not just the puppet medium to which the episode does no service, it's the characters. The gang blurts out (through song!) humiliating or shameful secrets while camping — thus resulting in the aforementioned embarrassment — that are moreover dismissed moments after they are mentioned. Some are jokes: Britta admitting she has never voted, Pierce fessing up to never having slept with Eartha Kitt. But a few are sincere: Shirley telling the gang that she was so enrapt by her mistrust of Andre that she accidentally left her kids at a supermarket while trying to tail a man who looked like Andre when she caught him with another woman. Jeff opened up about dating a woman with a young son, to whom he promised his attendance of a little league baseball game, only to ditch the pair and never call either one of them again. Both of these things are deep elements of the respective characters' haunting backstories. And both are handled flimsily at best.
All this, on top of the redundant theme of the gang having to learn, unlearn, and then relearn how much they love and need Greendale (this seems to happen every week now, doesn't it?), should convert all those still hanging on. If you do in fact maintain an adoration for Community, I applaud you. Any value you can find is flying way over the rest of our heads, so please do share your assessments in the comment section to cheer the lot of us up. Until then, we wade in our sorrow over a fallen great. Maybe we can use puppets to talk about our feelings on this one.
Follow Michael Arbeiter on Twitter @MichaelArbeiter
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idk, i enjoyed the episode. maybe because it fulfilled my avenue q/musical theater nerd desires. i feel like people have been deconstructing the show too much this season. i will agree that the changnesia subplot is annoying
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Rob and Kristen at Coachella.with katy and friends.
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'Game of Thrones' star Nikolaj Coster-Waldau once walked in on George Clooney in the bathroom
Nikolaj Coster-Waldau might not play the most likable character on "Game of Thrones,"but he is a sweet, funny guy in real life. The man known on the HBO fantasy series as Jaime Lannister got to show off his real self on "Conan," where he told a hilarious anecdote about his recent trip to the American Film Institute award luncheon.
"Every year there's a lunch where they pick out the 10 best movies, and this year as well 10 best television shows. We were there and it was really cool and it's a lunch, they serve you drinks and food and it was one of those places where whenever you put your glass down there's someone there to fill it up," Coster-Waldau says.
He continues, "At the end, I was just dying. I had to go to the restroom. Finally it's over and I'm just running out there and it's packed with people. All the urinals are [full] but then I spot there's a stall and the door's open. So I go, I'm not going to let anyone get there. I was dying. ... This idiot -- this guy -- was in there, so I just go for it. I didn't know, the door was open, I just go for it. There's a guy there, he's standing. I'm pretty sure there's spillage. I just ran into him. I said, 'Sorry,' and he said, 'Sorry,' and then I go, 'My god, that's George Clooney.' He's so short."
According to Coster-Waldau, this is actually a "cautionary tale." "Guys do that. Why? He's smart, he can win Oscars and he's a great director, but ... close the door or you leave it open," he says.
Watch the second part of the interview where Coster-Waldau talks about getting very, very muddy below. "Game of Thrones" airs Sundays on HBO at 9 p.m. ET.
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'Arrow' star Colton Haynes gaining 20 pounds of muscle for Roy Harper
As we reported last month, Colton Haynes has been upped to series regular status on "Arrow" for Season 2 -- and it sounds like his character, Roy Harper, is going to get involved in some of the major action sequences next year. Either that, or Colton is getting prepared just in case.
From his time on "Teen Wolf," we can attest that Colton looks just fine without his shirt on -- but if he's going to keep up with Stephen Amell in all those parkour stunt sequences, he might have some work to do.
"I've got to gain another 20, 25 pounds of muscle," Colton tells Mark Malkin. "I have a feeling I'm going to be possible be wearing a suit of some sort."
Perhaps Roy will be teaming up with Arrow sooner rather than later! In the comic books, he becomes the vigilantes apprentice/sidekick/adopted son, Red Arrow. Either way, Colton has plans for "training, a lot of eating, a lot of steaks ... I'm gonna have to cut back on the yoga."
Gotta make sacrifices for your craft, right? "You do it for the art," Colton says. "Yeah right, I do it because all the fans want to see all the guys on 'Arrow' with their shirts off."
Source: Zap2it
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DOCTOR WHO: 7.09 Hide Trailer, Cold War BTS Video
Clara and the Doctor arrive at Caliburn House, a haunted mansion sat alone on a desolate moor. Within its walls, a ghost hunting Professor and a gifted psychic are searching for the Witch of the Well. Her apparition appears throughout the history of the building, but is she really a ghost? And what is chasing her?
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Thoughts on this week's episode?
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There is no limit for rising US pop singer Sky Ferreira
Sky Ferreira is a hot property right now. The native of Los Angeles is about to release one of the year's best pop singles, Everything is Embarrassing, a song that got the blogs buzzing when it appeared online last August. It sounds like an unpolished Madonna offcut from the early 1980s, incredibly catchy but lo-fi and echoey, and the lyrics capture all the frustration of a once promising relationship that won't work out. "Could have been my anything, now everything's embarrassing," 20-year-old Sky sighs on the chorus.
Meanwhile, having just performed at the prestigious South By Southwest music festival in Texas, Sky is now touring the US on a double bill with indie R&B artist How to Dress Well. She's also the hip, pouting face of a new "festival collection" by international fashion chain Forever 21. Sky Ferreira has all the right credentials to be your new favourite pop star, but what makes her really interesting is the knock-backs she's overcome to get to this stage.
Sky first emerged back in 2010, when her record label EMI tried to market her as the new Britney Spears. However, Sky's debut single One stalled at number 64 on the UK singles chart and a song called Obsession that was supposed to make her a star in the US failed to take off. At the age of 18, Sky already looked like a flop.
Things went wrong, Sky tells me before a recent show in London, long before those singles even came out. "You know, I was a teenager and I didn't really know what I was doing," she admits candidly. "I had a record deal at 16 and obviously that was awesome, but it didn't make sense, it didn't fit, and I realised this early on."
Sky had received offers from several labels after posting a batch of homemade demos on MySpace and becoming the protégé of Bloodshy & Avant, a successful Swedish songwriting duo. She chose EMI because they promised her greater creative freedom, but once the deal was done, the label's philosophy seemed to change.
"They wanted to mould me into something else behind my back. I would send them these demos I was making, and they would be like 'no, no, no'. Everything I wanted to do, everyone I wanted to work with, they'd just say no to," Sky recalls.
Sky wanted to make her debut album with Paul Epworth, a producer she'd been working with before she got signed, but EMI had other ideas.
"Every person who was either big at the time or had hype around them, they wanted to shove me in the studio with them. There was nothing cohesive about it and I had no personal attachment to anything. I'd go into this room with strangers for two days and we'd have to leave with a song or else they'd get angry because they were paying for the studio time."
EMI also tried to give Sky so-called "media training". It's a hoop most wannabe pop stars signed to a major label will jump through, but the process brought out Sky's rebellious streak.
"They tried to tell me how to behave but they couldn't. I just wanted to do, like, the complete opposite of whatever they said. They'd put me in an interview and I'd be a complete brat," Sky recalls. Her bloody-mindedness reached its peak during the promo campaign for Obsession, when Sky took an unusual approach to plugging her single: she told journalists that she didn't like the song very much.
"I got manipulated into recording Obsession because I didn't know any better," Sky says today. "You know, I can see it's a great pop song but it really wasn't for me. To be honest though, I don't regret it. It's annoying that I still have to deal with it now, but so what if I have a past? I learned from it and I'm glad I made my mistakes when I was young."
Given her lack of success and increasingly strained relations with EMI, it was no surprise when Sky's debut album got shelved. For a while, she found herself in a catch-22 situation: the record execs wouldn't let her do what she wanted, but she refused to do anything they asked of her. In March 2011, Sky managed to put out As If!, a five-track EP, but promotion was minimal and it failed to sell.
Sky stuck it out, though, and her patience paid off. When EMI was sold, the team around her changed and suddenly she wasn't restricted by people who didn't seem to understand her. However, the real turning point came last summer when she was sent a demo by Dev Hynes, the songwriter-producer who's recently helped to revive the career of Beyoncé's sister Solange.
Sky was already in the studio with her producer Ariel Reichstadt, so after changing a few chords and lyrics, she laid down a vocal and passed on the demo to her publicist for feedback.
Without revealing who was singing on it, Sky's publicist sent the demo to influential music website Pitchfork and it became an instant blog hit. That demo was Everything is Embarrassing and even now, Sky seems surprised by its popularity. "You know, I'm so used to nothing ever happening. I've gotten so used to putting something out and nobody even caring about it. So when this happened, I was like, 'Wait, what?'. This song has really turned things around for me. I was not planning on that when I made it."
Sky capitalised on her unexpected comeback by releasing a US-only EP at the end of October. It's a musical grab-bag reflecting the fact she's still experimenting with different genres: alongside Everything Is Embarrassing, there's the fizzy synth-pop of Lost in My Bedroom and a grungier number called Red Lips, which was co-written by Garbage's Shirley Manson. Most surprising, though, are a couple of folky ballads, Ghost and Sad Dream. During Sky's recent live shows in London, these stripped-down tunes drew the biggest cheers.
However, Sky is still a relatively inexperienced live performer and nearly slipped up at one of those London shows. "I've never had an encore in my life, so when the crowd cheered for one at the end, I didn't really have a song prepared. Luckily [my guitarist] Miles knew this one old song of mine, or else … I dunno! I would have had to sneak off," she laughs.
Sky's plan now is to play live as much as possible and finally release her debut album - as she notes wryly, it's been nearly five years in the making. The album has no official title yet, but she's finished recording all the songs and they're in the process of being mixed. Everything Is Embarrassing, Sad Dream and Ghost will definitely feature, but many of the other songs have a different sound. They're a poppy combination of rock guitars and electronic sounds, with Blondie an obvious touchstone.
At this stage, Sky Ferreira is clearly still a work in progress, but she has some strong tunes, a great look and plenty of pluck. Long-term pop careers have been built on a lot less.
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Heather Morris baby bump: she sure looks pregnant! (PHOTO)
Just in case you had any doubt that Glee’s Heather Morris (Brittany) is pregnant, there now appears to be photographic proof.
Us Weekly’s report that Heather is three months pregnant rocked the Glee fandom last week. Still, no one from Heather’s camp has confirmed the report, and not a single one of her co-stars have acknowledged it on Twitter, either.
That said, photos don’t lie (though they have been known to deceive). On April 6, a photographer caught up with Heather while the 26-year-old actress was out for a run with her pit bull in a Los Angeles neighborhood. Dressed in red sweatpants, a midriff-baring yellow shirt, and wearing no makeup, the Glee actress certainly looks pregnant.
Despite her thin frame, Heather looks to be sporting a bit more tummy than usual. Her lower stomach is rounding out quite noticeably, and it's very likely that this is more than just a case of a slouching posture or too many tacos. In our opinions, Heather is either knocked up with a human baby or one hell of a food baby.
Reports of her pregnancy assert that she is three months along, so her bump would still be relatively tiny — kinda like this one! The Glee star is almost certainly incubating a little Cheerio in there!
If Heather is indeed pregnant, this would be her first child. She and the baby’s father, Taylor Hubbell, are high school sweethearts, and Heather has been vocal in the past about wanting to marry him and start a family. Their little bundle of joy would be due sometime around October 2013.
No word yet what effect pregnancy would have on Heather’s Glee role. It could be written into the storyline or Brittany might just disappear from the show for a few months. It’s also possible that she will be written off the show entirely, but we’re seriously hoping that doesn’t actually happen. Brit is by far one of the funniest characters on Glee, and we’d find it pretty difficult to even imagine the show without her.
wetpaint
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Hilary Duff at Coachella with Friends
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Dexter: New Season 8 trailer plus new footage!!! + footage of new show Ray Donovan
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Portia de Rossi: Ellen DeGeneres and I Definitely Don't Want Kids
The only little feet pitter-pattering around the fabulous homes of Ellen DeGeneres and wife Portia de Rossi will be those of dogs and cats. Married for nearly 5 years, the couple are steadfast in their decision not to have children, de Rossi explains in the May issue of Out Magazine. The Australian-born actress says she struggled, briefly, with the decision.
"There comes some pressure in your mid-30s, and you think, Am I going to have kids so I don’t miss out on something that other people really seem to love?" the Arrested Development star, now 40, says. "Or is it that I really genuinely want to do this with my whole heart? I didn't feel that my response was 'yes' to the latter."
Continues de Rossi: "You have to really want to have kids, and neither of us did. So it's just going to be me and Ellen and no babies."
And that's more than fine for de Rossi and her comedienne/talk show wife, 55, whom she wed in 2008. "We've settled into happily married life," she explains. ""We really support each other in whatever we're doing and we're incredibly happy, which is why you don't see us in the press so much. There's no drama to report."
De Rossi is also gearing up for the much-anticipated return of Arrested Development: She's reprised her role as Lindsay Bluth Fünke in a hotly anticipated new season of the beloved comedy, returning via Netflix. All in all, life's a beach! "Married life is blissful, it really is," she tells Out. "I've never been happier than I am right now"
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Lindsay Lohan gets her party fix as she hits Coachella
Lindsay Lohan isn't letting a little thing like rehab stop her from living it up. Fortunately she had her little brother Cody Lohan to help keep her on the straight and narrow as she descended upon the Coachella Music Festival in Indio, California on Friday night. Lindsay's brother is only 16 but hopefully he has more sense than his will-o'-the-wisp sister who has a penchant for problematic situations.
The 26-year-old made no secret that before committing herself to three months in a rehabilitation centre she wanted to catch the live of bands playing all weekend long.Lindsay was seen strolling through the desert grounds with red-haired Cody who held her arm in a protective gesture. and looking grunge chic in tiny black shorts that were borderline bikini bottoms.Her bare legs weren't in the best shape either and there was a nasty bruise and an ugly red scar on her left thigh.
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Richard Armitage: 'I wish I could jump out of character; I'd be more popular'
I never like to go out of character when filming starts I fear that if I do, I might not be able to pick it up again. This was particularly the case with the character Thorin Oakenshield [in Peter Jackson's The Hobbit]. He's moody and broody, so people kept their distance from me during the production. I wish I was good at jumping out of character in between takes, as I'd be more popular socially.
Publicity for 'The Hobbit' was relentless I was travelling and doing junkets around the world, being asked the same questions every day for three weeks. Then at the end of the working day I'd have to get down the red carpet. It's pretty hard work. I much prefer being in front of a camera.
I love how Gary Oldman disappears into a role You see a character before you see him; you believe him as he's so invested in that character, such as his George Smiley in Tinker Tailor… That's what I'm striving for.
I'd like to act in a film without special effects I've spent the past two years in a special FX environment for The Hobbit. I also need to find something where I'm not fighting or inflicting violence on someone, as a lot of the roles I've had, such as Lucas North in Spooks and Guy of Gisborne in Robin Hood, have involved that. I don't know why that's been the case!
It's bloody annoying being shy I'll spend a whole evening at a party asking everyone else about themselves. I'm not being self-deprecating; it's because I'm too shy to talk about myself. So people come away from the evening actually having learnt nothing about me.
I hate selfishness in people I lean towards the Japanese idea of "you first", such as always allowing another to walk through a door before you. Though admittedly, in their culture, this [thoughtfulness] is shame-based, to some extent.
I'm an avid skier Most of the time that I've been skiing, I've been about to go and film something, so I'm always living in fear of a broken leg and I ski very safely. I've taken a few tumbles, though. I once flipped and bounced on my head, landing in a mess on the floor; it's a dangerous sport but it's exhilarating and it allows me to unwind.
Snowboarders ruin the piste They shave off all the snow so it's like an ice patch, and they sit in the middle of the piste, chatting with friends in a line, so you have to jump over them as you come over the crest of a hill.
I'd like to live off-grid I'm fascinated with the documentation of the environment [and its degradation] through photography, and our hunt to move away from fossil fuels and towards new technology. I'm attempting to build a home that uses water, wind or solar power. Right now it's just a pastime, but it's an exciting prospect.
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This post is dedicated to everyone who came and partied so hard at every Richard Armitage and Hobbit post. Have a great weekend everyone! :)
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Daft Punk give flawless + very interesting interview to Rolling Stone
Exclusive: Daft Punk Reveal Secrets of New Album
In their first interview about 'Random Access Memories,' the dance duo explain the process and inspiration behind the LP
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Last night, at the Coachella Music and Arts Festival in southern California, Daft Punk debuted a teaser trailer for their new album, Random Access Memories: Without warning, a nearly two-minute video popped up on jumbotron screens flanking the festival's various stages, in which Pharrell Williams, Nile Rodgers and the Daft Punk robots rock out in heavily sequined getups to "Get Lucky," the album's lead single. Surprised festival-goers at the main stage began dancing and pointing camera phones, oblivious to the fact that the French dance heroes – Thomas Bangalter and Guy-Manuel de Homem-Christo – were in fact standing in civilian garb on the edge of the VIP section, watching themselves on the screens with delight. (Pharrell was standing nearby, and he gave Thomas a high five afterwards.) When the screens went black, Thomas and Guy-Manuel were shown tweets from attendees giddy about what they'd just seen. Thomas grinned. "The fun part will be seeing the footage people shot when it hits the Internet," he said.
Random Access Memories, made in near-total secrecy, is one of 2013's most eagerly anticipated – and most enigma-enshrouded – releases. Late last month, for an upcoming Rolling Stone profile of Daft Punk, they discussed the new album’s creation in extensive detail at their studio in Paris. Here are the ten things you need to know:
They began working on Random Access Memories in 2008, in Paris, with no clear plan."After three records, there was a sense of searching for a record we hadn’t done," Thomas says. The duo were dissatisfied with early demos that leaned heavily on electronic equipment, feeling like they were operating on "autopilot," Thomas says. Eventually, a new approach emerged: "We wanted to do what we used to do with machines and samplers," he explains, "but with people." Except for a snippet of "an Australian rock record" that opens the final track, "Contact,"Daft Punk foreswore samples entirely, and they limited the role of drum machines to just two of the album’s thirteen tracks. The only electronics come in the form of a massive, custom-built modular synthesizer that Daft Punk played live on the album, they told me, and an arsenal of vintage vocoders on which they manually manipulated factors like pitch, vibrato and legato. "There’s this thing today where the recorded human voice is processed to try to feel robotic," Thomas says, referring to the undying AutoTune vogue. "Here, we were trying to make robotic voices sound the most human they’ve ever sounded, in terms of expressivity and emotion."
The title captures the duo’s endless fascination with blurs between humans and technology…"We were drawing a parallel between the brain and the hard drive – the random way that memories are stored," says Thomas.
…and their endless fascination with the past. 2001’s Discovery was in part a backward-looking concept album about revisiting the funk, disco and soft-rock of Thomas’ and Guy-Manuel’s childhood. For Random Access Memories, they hired "top-notch session players," says Guy-Manuel, with credits on classic records by Michael Jackson, Herbie Hancock, and Eric Clapton. Chic mastermind Nile Rodgers played rhythm guitar on a few tracks. "The Seventies and the Eighties are the tastiest era for us," Guy-Manuel says. "And all these guys were tripping on meeting again and playing together again." He adds: "It’s not that we can’t make crazy futuristic sounding stuff, but we wanted to play with the past."
Pharrell, Julian Casablancas, Giorgio Moroder, and Animal Collective’s Panda Bear are among the guest vocalists. "We were at a party for Madonna’s last album," Pharrell recalls, "and I was like, You guys should have produced this! Why did that not happen? Madonna and the robots would have been unbelievable! They were like, We’re working on something. I said, Whatever you do, call me – I’ll play tambourine on it. They looked at each other and they were like, We’ll be in touch." Pharrell wound up singing on "Get Lucky" and a stomping disco track called "Lose Yourself to Dance."
The album’s move away from computerized sounds reflects Daft Punk’s "ambivalence" about the EDM craze they helped to inspire. "Electronic music right now is in its comfort zone and it’s not moving one inch," Thomas says. "That’s not what artists are supposed to do." He adds that the genre is suffering "an identity crisis: You hear a song, whose track is it? There’s no signature. Skrillex has been successful because he has a recognizable sound: You hear a dubstep song, even if it’s not him, you think it’s him."
Keep an eye on those Saturday Night Live commercial breaks. So far, Daft Punk have debuted two fifteen-second chunks of "Get Lucky" in ads that play during Saturday Night Live, incrementally revealing more of the song. Along with billboards advertising the album, these TV ads represent a throwback impulse that's guiding the new album’s roll-out. "When you drive on the sunset strip and see these billboards, it’s more magical than a banner ad," Thomas says. "SNL is this part of American culture with a certain timelessness to it." (A billboard overhanging the I-10 east greeted motorists driving to Coachella this weekend.)
The new songs came together around the world. Most vocals and overdubs happened in Paris, but the rhythm sections were committed to Ampex reels in Los Angeles and New York, at Electric Ladyland studio, Henson (formerly A&M) studios, and other venerated old rooms. "There are songs on the album that traveled into five studios over two and a half years," Thomas says. "They’re vials being filled up with life. Today, electronic music is made in airports and hotel rooms, by DJs traveling. It has a sense of movement, maybe, but it’s not the same vibe as going into these studios that contain specific things."
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While recording, Daft Punk found time in their schedules to jam with Kanye West for his next album. At their Paris studio, they laid down a combination of live and programmed drums while Kanye worked out rough vocals on the fly. "It was very raw: he was rapping – kind of screaming primally, actually," Thomas says. "Kanye doesn’t give a fuck," Guy-Manuel adds. "He’s a good friend." Director (and longtime Daft Punk compatriot) Michel Gondry says that Kanye recently played him "two songs" that sprang from the session. "One of them, I told him it sounded solid and powerful – I envisioned a cube when I heard it," Gondry says. "He told me, Chris Cunningham’s already directing the video!"
The biker gear from the last album and tour is out; sequins are in. Hedi Slimane, the Saint-Laurent-by-way-of-Dior-Homme fashion designer who made Daft Punk’s black-leather bike-dude outfits for their last album, 2005’s Human After All, designed their new look (spied for the first time in the exclusive photo above.)
They say there are no current tour plans to promote the album. (EXCUSE ME WHAT??!! noooooooooooooooooooooooooooooooooooo) Their "Alive 2007" world tour, in which they played within a giant steel pyramid covered in screens, was a marvel of pop stagecraft, but Thomas says "we have no current plans" to tour the new record. "We want to focus everything on the act and excitement of listening to the album. We don’t see a tour as an accessory to an album." When they do finally hit the road, he added, it will be with a career-encompassing set list, not one overly focused on the new material.
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01 - Give Life Back To Music featuring Nile Rodgers
02 - The Game Of Love
03 - Giorgio by Moroder featuring Giorgio Moroder
04 - Within featuring Gonzales
05 - Instant Crush featuring Julian Castelblancas
06 - Lose Yourself To Dance featuring Pharrell Williams on vocals and Nile Rodgers on guitar
07 - Touch featuring Paul Williams
08 - Get Lucky featuring Pharrell Williams on vocals and Nile Rodgers on guitar
09 - Beyond
10 - Motherhood
11 - Fragments of Time featuring Todd Edwards
12 - Doin’ it right featuring Noah Lennox (Panda Bear)
13 - Contact with DJ Falcon
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Rolling Stone has been offering them such a huge amount of support, it's really made me happy as a fan. Please click the source to give them the hits they deserve, because seriously, RS has been ON THE BALL with all our much-needed Daft Punk news!
Mods: r u sure no tag? :(
In their first interview about 'Random Access Memories,' the dance duo explain the process and inspiration behind the LP
Last night, at the Coachella Music and Arts Festival in southern California, Daft Punk debuted a teaser trailer for their new album, Random Access Memories: Without warning, a nearly two-minute video popped up on jumbotron screens flanking the festival's various stages, in which Pharrell Williams, Nile Rodgers and the Daft Punk robots rock out in heavily sequined getups to "Get Lucky," the album's lead single. Surprised festival-goers at the main stage began dancing and pointing camera phones, oblivious to the fact that the French dance heroes – Thomas Bangalter and Guy-Manuel de Homem-Christo – were in fact standing in civilian garb on the edge of the VIP section, watching themselves on the screens with delight. (Pharrell was standing nearby, and he gave Thomas a high five afterwards.) When the screens went black, Thomas and Guy-Manuel were shown tweets from attendees giddy about what they'd just seen. Thomas grinned. "The fun part will be seeing the footage people shot when it hits the Internet," he said.
Random Access Memories, made in near-total secrecy, is one of 2013's most eagerly anticipated – and most enigma-enshrouded – releases. Late last month, for an upcoming Rolling Stone profile of Daft Punk, they discussed the new album’s creation in extensive detail at their studio in Paris. Here are the ten things you need to know:
They began working on Random Access Memories in 2008, in Paris, with no clear plan."After three records, there was a sense of searching for a record we hadn’t done," Thomas says. The duo were dissatisfied with early demos that leaned heavily on electronic equipment, feeling like they were operating on "autopilot," Thomas says. Eventually, a new approach emerged: "We wanted to do what we used to do with machines and samplers," he explains, "but with people." Except for a snippet of "an Australian rock record" that opens the final track, "Contact,"Daft Punk foreswore samples entirely, and they limited the role of drum machines to just two of the album’s thirteen tracks. The only electronics come in the form of a massive, custom-built modular synthesizer that Daft Punk played live on the album, they told me, and an arsenal of vintage vocoders on which they manually manipulated factors like pitch, vibrato and legato. "There’s this thing today where the recorded human voice is processed to try to feel robotic," Thomas says, referring to the undying AutoTune vogue. "Here, we were trying to make robotic voices sound the most human they’ve ever sounded, in terms of expressivity and emotion."
The title captures the duo’s endless fascination with blurs between humans and technology…"We were drawing a parallel between the brain and the hard drive – the random way that memories are stored," says Thomas.
…and their endless fascination with the past. 2001’s Discovery was in part a backward-looking concept album about revisiting the funk, disco and soft-rock of Thomas’ and Guy-Manuel’s childhood. For Random Access Memories, they hired "top-notch session players," says Guy-Manuel, with credits on classic records by Michael Jackson, Herbie Hancock, and Eric Clapton. Chic mastermind Nile Rodgers played rhythm guitar on a few tracks. "The Seventies and the Eighties are the tastiest era for us," Guy-Manuel says. "And all these guys were tripping on meeting again and playing together again." He adds: "It’s not that we can’t make crazy futuristic sounding stuff, but we wanted to play with the past."
Pharrell, Julian Casablancas, Giorgio Moroder, and Animal Collective’s Panda Bear are among the guest vocalists. "We were at a party for Madonna’s last album," Pharrell recalls, "and I was like, You guys should have produced this! Why did that not happen? Madonna and the robots would have been unbelievable! They were like, We’re working on something. I said, Whatever you do, call me – I’ll play tambourine on it. They looked at each other and they were like, We’ll be in touch." Pharrell wound up singing on "Get Lucky" and a stomping disco track called "Lose Yourself to Dance."
The album’s move away from computerized sounds reflects Daft Punk’s "ambivalence" about the EDM craze they helped to inspire. "Electronic music right now is in its comfort zone and it’s not moving one inch," Thomas says. "That’s not what artists are supposed to do." He adds that the genre is suffering "an identity crisis: You hear a song, whose track is it? There’s no signature. Skrillex has been successful because he has a recognizable sound: You hear a dubstep song, even if it’s not him, you think it’s him."
Keep an eye on those Saturday Night Live commercial breaks. So far, Daft Punk have debuted two fifteen-second chunks of "Get Lucky" in ads that play during Saturday Night Live, incrementally revealing more of the song. Along with billboards advertising the album, these TV ads represent a throwback impulse that's guiding the new album’s roll-out. "When you drive on the sunset strip and see these billboards, it’s more magical than a banner ad," Thomas says. "SNL is this part of American culture with a certain timelessness to it." (A billboard overhanging the I-10 east greeted motorists driving to Coachella this weekend.)
The new songs came together around the world. Most vocals and overdubs happened in Paris, but the rhythm sections were committed to Ampex reels in Los Angeles and New York, at Electric Ladyland studio, Henson (formerly A&M) studios, and other venerated old rooms. "There are songs on the album that traveled into five studios over two and a half years," Thomas says. "They’re vials being filled up with life. Today, electronic music is made in airports and hotel rooms, by DJs traveling. It has a sense of movement, maybe, but it’s not the same vibe as going into these studios that contain specific things."
While recording, Daft Punk found time in their schedules to jam with Kanye West for his next album. At their Paris studio, they laid down a combination of live and programmed drums while Kanye worked out rough vocals on the fly. "It was very raw: he was rapping – kind of screaming primally, actually," Thomas says. "Kanye doesn’t give a fuck," Guy-Manuel adds. "He’s a good friend." Director (and longtime Daft Punk compatriot) Michel Gondry says that Kanye recently played him "two songs" that sprang from the session. "One of them, I told him it sounded solid and powerful – I envisioned a cube when I heard it," Gondry says. "He told me, Chris Cunningham’s already directing the video!"
The biker gear from the last album and tour is out; sequins are in. Hedi Slimane, the Saint-Laurent-by-way-of-Dior-Homme fashion designer who made Daft Punk’s black-leather bike-dude outfits for their last album, 2005’s Human After All, designed their new look (spied for the first time in the exclusive photo above.)
They say there are no current tour plans to promote the album. (EXCUSE ME WHAT??!! noooooooooooooooooooooooooooooooooooo) Their "Alive 2007" world tour, in which they played within a giant steel pyramid covered in screens, was a marvel of pop stagecraft, but Thomas says "we have no current plans" to tour the new record. "We want to focus everything on the act and excitement of listening to the album. We don’t see a tour as an accessory to an album." When they do finally hit the road, he added, it will be with a career-encompassing set list, not one overly focused on the new material.
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01 - Give Life Back To Music featuring Nile Rodgers
02 - The Game Of Love
03 - Giorgio by Moroder featuring Giorgio Moroder
04 - Within featuring Gonzales
05 - Instant Crush featuring Julian Castelblancas
06 - Lose Yourself To Dance featuring Pharrell Williams on vocals and Nile Rodgers on guitar
07 - Touch featuring Paul Williams
08 - Get Lucky featuring Pharrell Williams on vocals and Nile Rodgers on guitar
09 - Beyond
10 - Motherhood
11 - Fragments of Time featuring Todd Edwards
12 - Doin’ it right featuring Noah Lennox (Panda Bear)
13 - Contact with DJ Falcon
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Rolling Stone has been offering them such a huge amount of support, it's really made me happy as a fan. Please click the source to give them the hits they deserve, because seriously, RS has been ON THE BALL with all our much-needed Daft Punk news!
Mods: r u sure no tag? :(
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Vanessa Hudgens At Coachella Day 1
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Sharon Stone countersuing Ex-Nanny for unpaid loans
Sharon Stone HATES her former nanny's guts -- like seething, fiery hatred -- and now she's suing her former help ... claiming the nanny ran off with $9,500 of Sharon's cash.
Stone has a bitter history with the woman -- Erlinda Elemen. Just last year, the nanny sued Stone claiming the actress was a tyrant of a boss who would often hurl racially charged insults her way.
Stone denied the allegations ... calling the case "frivolous."
But now, Stone is lashing back with a brand new lawsuit of her own -- alleging she loaned the nanny $12,500 back in 2010 ... but the woman only paid back $3,000.
In her suit, filed in L.A. County Superior Court, Stone claims Elemen stopped making loan payments in January 2011 ... one month before Elemen claims she was fired.
Stone is suing for the remaining debt -- $9,500 ... plus interest.
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Stoney come on, you need to go take a nice long walk hunting in the woods, in the 'morn, where you can talk to the trees.
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Onion Knight talks about Doctor Who
Cold War is the latest Who instalment penned by Mark Gatiss, and features The Doctor and Clara (Jenna-Louise Coleman) up against an Ice Warrior aboard a Russian submarine.
Dubliner Cunningham - who plays Captain Zhukov - told Access Hollywood that he greatly enjoyed seeing Smith in the role of the Eleventh Doctor.
"Matt Smith is a wonderful Doctor. He's wonderful," Cunningham declared, adding:"He's a very quirky character both in real life and as Doctor Who.
"I'd seriously say, I think he's gonna go down as - definitely one of the classics of the Doctors, definitely, definitely, and a delightful human being - as is Jenna-Louise."(One of the classics?...not under Moffat's writing)
Cunningham is also currently portraying Davos Seaworth in Game of Thrones, which began its third season last weekend in the US and on Sky Atlantic.
Doctor Who airs tonight (Saturday) at 6.00pm on BBC One.
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The Following: 1x13 Sneak Peeks
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Movie Mistakes: 10 Inexcusable Inaccuracies in Biopics
It’s quite rare for a movie about a person’s life to be 100 percent correct. Dramatic flavor, poetic license, romanticization, sugar coating, and other means to create entertainment out of real life understandably causes the occasional fact to go out the window. Although it’s sometimes just a matter of accidental fallacy, people tend to have a field day with biographical blunders. (We will likely soon be hearing about inaccuracies in the new Jackie Robinson biopic “42,” opening this weekend.)
Granted, many wrongs are pointed out only through those who experienced the events first hand, and a lot of these are subjective offenses about how persons are portrayed or characterized. There’s also great issue taken with whitewashed depictions, as well. Then there are the easily provable errors, like when Congressman Joe Courtney made a big deal earlier this year about an incorrect vote count spotted in “Lincoln” regarding Connecticut’s approval of the 13th Amendment.
Below are
‘Braveheart’
Inaccuracy: William Wallace’s Affair With Isabella
There is not a lot that is empirically provable or disprovable about events that happened more than 700 years ago. Anyway, you can’t get too picky about the truthfulness of something like the life of William Wallace (Mel Gibson). He’s the dictionary definition of the word legend, and appropriately this movie is filled with folklore carried through the centuries not only in historical records but in stories and songs and poems and plays. Nevertheless, one major aspect of “Braveheart” is completely erroneous and that’s Wallace’s affair with Princess Isabella of France (Sophie Marceau), who was a wee child at the time she was supposed to have met the Scottish hero, and still an adolescent when Wallace was killed.
‘My Week With Marilyn’
Inaccuracy: Marilyn’s Film Performance of ‘Heat Wave’
It’s not good to kick off a movie with a glaring error, but this film does just that -- sort of. The opening scene has Eddie Redmayne’s character in a theater watching a movie starring Marilyn Monroe (Michelle Williams). But what movie is it? She’s singing “Heat Wave,” which is from “There’s No Business Like Show Business.” But it’s definitely not the scene from that movie. Everything about it -- costumes, sets, props, dance routine -- are not right. It kind of looks like her performance of “My Heart Belongs to Daddy” in “Let’s Make Love” (which came out after “My Week With Marilyn” is set), but it’s probably really just supposed to be a composite -- a nonexistent musical film scene representing all her musical film scenes. That’s fine if that’s the intention. It’s also probable that the filmmakers weren’t legally able to reenact Fox’s movie and thought nobody would notice.
‘Great Balls of Fire!’
Inaccuracy: “Great Balls of Fire” Topping the Pop Charts
It’s one thing to make changes here and there, but it’s another thing to outright lie the way “Great Balls of Fire!” does. The film about early rock and roll star Jerry Lee Lewis is as cartoonish as biopics get. There are inaccuracies abound. But it goes too far, literally, with a montage illustrating Lewis’s title tune climbing all the way up the Billboard charts. In reality it peaked at #2. So what’s the shame in pretending it grabbed the #1 spot? Well, dumping this documented fact, easily found in print, shows either laziness or total disregard for truth.
‘Hitchcock’
Inaccuracy: Alfred Hitchcock Signs Off By Saying “Good Evening”
The recent dramatic film about the making of “Psycho” opens with Alfred Hitchcock (Anthony Hopkins) breaking the fourth wall and addressing the audience by saying, “Good evening.” (The clip isn't available online.) This is obviously inspired by the director’s television series, “Alfred Hitchcock Presents.” But then Hitch also closes out by again saying, “Good evening.” However, he always bid farewell (till next time) on the show by saying “goodnight.” Sure, it’s hard to “prove” he wouldn’t have said “good evening” in this made up situation, but it wouldn’t make sense anyway. “Good evening” is technically a greeting rather than a term for goodbye.
‘Ray’
Inaccuracy: Della Bea’s Presence in the Final Scene
The very end of “Ray” takes place in 1979, when Ray Charles (Jamie Foxx) is being honored by the State of Georgia, which has selected “Georgia On My Mind” as their official song. He’s joined at the occasion by his wife Della Rae (Kerry Washington) and their three sons. But in actuality Ray and Della divorced in 1976. This isn’t to say she couldn’t have been present at the event, but it’s very unlikely. And the main issue here is that the movie implies the couple was not only still together at the time but that they’d lived happily ever after.
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