By now you've probably heard that Shia LaBeouf, in his spare time, likes to battle-rap. You've also probably heard that Shia has a bit of a history of plagiarism. Now that his Transformers-referencing freestyle has gone viral, rap group the Anomolies are calling him out for jacking their lyrics without credit. In a post on Instagram, one of the group's members says, "You can’t rip songs from my Anomolies crew, recite them in a freestyle as your own, get credit for it, then not expect to be called out by actual MCs!" She says that one line in particular ("I reckon you want more of that rare commodity / The quality is what it’s got to be / And my philosophy is much farther than what your eyes can see") comes straight from the group's 1999 song "Perfectionist." She's right, he copies it almost verbatim. However, in Shia's defense, there's nothing that suggests the lyrics he's spitting are actually his. But going by today's rap standards, having a pre-written (or, in his case, thought-out) freestyle actually makes Shia LaBeouf even more of a real rapper than we ever considered. Looks like Shia did his homework.
Iggy Azalea on Blaming Britney for Song Flop: ‘I Don’t Have to Suck the Woman’s Asshole 24/7, Do I?’By Nate Jones
From Iggy Azalea's Twitter account, your No. 1 source for all Iggy Azalea news, comes the ongoing story of why, exactly, Iggy's Britney Spears collaboration "Pretty Girls" did not set the world on fire. "It's difficult to send a song up the charts without additional promo and TV performances, etc. Unfortunately, I'm just featured [on the track]," Iggy told a fan on Twitter over the weekend. "I would have enjoyed performing it a lot. I think it got off to a powerful start, but you need content to compete in 2015." Translation? It's Britney('s fault), bitch. When news outlets interpreted these tweets as a slam on Spears, Iggy spoke out in one tweet that perfectly captured the relationship between the two pop titans with a brilliant ass-eating metaphor:
Tatiana Maslany is the queen of multitasking, as evidenced by her ability to play practically every character on Orphan Black. Sadly, she's also fast become the queen of Emmy snubs, having yet to land one for all her hard work. And yet, here she is once again doing what she does best for Son Lux (never heard of him? Check out "Easy," and come swoon with the rest of us) for his new video, "You Don't Know Me." She plays the bored housewife who stares listlessly at her husband (Noah Segan) over dinner and other mundane married things. Except she also either moonlights as some sort of creepy religious cult leader or at least daydreams about doing that while her husband slobbers all over her. More proof that Tatiana can play literally anything.
Beginning July 10, Fridays will become the official worldwide album-release day in over 45 countries, an initiative led by the the International Federation of the Phonographic Industry, which represents over 1,300 record companies globally. Previously, different territories had different release dates. Here in the United States, Tuesday has been the traditional release day for decades, and the change is meant to help the music business align itself in the digital age on a global scale. Does any of this really matter to music fans? Well, here are five things you can expect after the shift:
Following the BET Awards, Big Sean premiered yet another music video from Dark Sky Paradise (his fourth in a week!) for his throwback jam "Play No Games," featuring Chris Brown and Ty Dolla $ign. And it takes us all the way back to the beloved '90s sitcom Martin, with a spot-on parody of the credits and cameos from both Martin Lawrence and Bruh Man in what might just be the best video of the year.
Look at him go! Get 'em, Shia! Pro tip: This crowd loves a good potato rhyme.
A more positive update about Joni Mitchell hit the internet Sunday, a couple of days after David Crosby told HuffPost Live that the singer suffered an aneurysm and couldn't speak. "Joni did in fact suffer an aneurysm. However, details that have emerged in the past few days are mostly speculative. The truth is that Joni is speaking, and she's speaking well," a statement clarified on her site. "She is not walking yet, but she will be in the near future as she is undergoing daily therapies. She is resting comfortably in her own home and she's getting better each day. A full recovery is expected."
Unfortunately, conflicting reports have surfaced over the last few months regarding the singer's health — à la Harper Lee's confusing condition, which has certain parties saying one thing and other friends another — but this latest update, if true, is an uplifting, welcome step in the right direction. The statements posted on Mitchell's site are supposed to be published according to the wishes of "those closest to Joni, with the interest of privacy, medical confidentiality, and Joni's well-being of highest priority." They are usually, if not always, approved by Leslie Morris, who is with Mitchell in the hospital and is the musician's conservator. You can read more of those updates here. Get well soon, Joni.
Say, who's that miserable-looking woman whose haunting melodies have soundtracked Colin Farrell's barroom angst on True Detective this season? It's Nashville singer-songwriter Lera Lynn, who, it turns out, is also the mystery woman heard in True D's first season-two teaser. Along with music supervisor T Bone Burnett and Rosanne Cash, Lynn wrote a number of songs on the True Detective soundtrack; she spoke to Vulture from her kitchen about her work on the show and made it very clear that she is not playing herself in those smoky bar scenes.
At this weekend's BET Experience in Los Angeles, three core members of the seminal rap outfit N.W.A. reunited and performed their iconic anthem "Fuck Tha Police." The group was around from 1986 to 1991 (Ren replaced Arabian Prince in 1988), and last night was the first time the outfit had performed together in more than two decades — Ice Cube hadn’t performed with Yella since 1989 and with MC Ren since 2000. Dr. Dre, however, didn’t show up. The other main member, Easy-E, died in 1995.
After Kanye West was announced as a Glastonbury headliner, an online petition with more than 133,000 signatures calling for Kanye to be replaced by a “real” rock band appeared, to the chagrin of those who aren't living in the 1970s. West called the petition “an insult to music fans all over the world.” Dave Grohl, who couldn’t perform because of that stupid broken leg (he was replaced by Florence and the Machine), said the petition would only fuel Kanye to create a bigger, better performance, but even Grohl probably didn’t anticipate Kanye breaking out into a cover of Queen’s iconic “Bohemian Rhapsody,” a quintessential classic rock and karaoke-night track. He performed the first verse before moving on to the normally scheduled programming. Watch West channel Freddie Mercury — as well as perform his own “Stronger,” “Power,” “New Slaves," "Heartless," and other songs — below.
It was undeniably badass when Dave Grohl broke his leg and continued to rock out with his bone out. It was undeniably unfortunate, however, that Grohl had to then cancel the Foo Fighters’ appearance at the Glastonbury Festival, one of the biggest stops on the Fighters’ European tour. Grohl & Co. were replaced by Florence and the Machine, who performed a cover of “Times Like These” in Grohl’s honor, which sort of makes it hurt less. Watch the performance below:
Epic Conducting Photos might be the greatest thing to ever happen to classical music. The uproarious Tumblr is “an attempt to compile the greatest poses, facial expressions, hair, and other moments caught on camera, in the history of orchestral conducting.” Throw on some Mahler and scroll through the glorious GIFs of maestros conducting so, so hard. A few highlights are below, and make sure you also check out Leonard Bernstein's awesome dance moves.
We haven’t had a genuine update on Joni Mitchell in a while, though rumors have eddied around the internet. Mitchell, 71, has been in the hospital since late March after reportedly being found unconscious at her home. Now her good friend 73-year-old David Crosby has told HuffPost Live that Mitchell has a long road to recovery ahead of her.
On a Friday afternoon in April, 14-year-old Paris Lavidis was rehearsing his string quartet before their debut at BAMCafé. They were readying Paris’s mind-warping composition, “and what do you think of my Buddha?” — which is set in the decidedly adult and druggy atmosphere of mid-century San Francisco — only they were using a modified, parent-friendly version.
One of my favorite moments from Netflix’s new Nina Simone documentary, What Happened, Miss Simone?, is when she boldly calls herself a “rich black bitch.” The way she says it speaks to her timelessness, her free-thinking attitude, and her ability to anticipate trends long before being a “bad bitch” became a total thing. Nina Simone knew intuitively that she could be anything she wanted to be — damn if anyone tried to stop her.
From the start, Nina Simone was a communal dream. Very early on in the life of Eunice Waymon — that was the name she was born with, in 1933 — the town of Tryon, North Carolina, realized it had a prodigy in its midst and, since the Waymons couldn’t afford piano lessons, took up a collection to give the girl a proper musical education. There were lines in the paper advertising the Eunice Waymon Fund. Local churches took up collections; the town council raised funds. The dream — Eunice’s, the town’s, the black community’s — was that she’d someday be the first black female concert pianist to play Carnegie Hall. Eunice practiced tirelessly, crossing the railroad tracks into the white part of town every Saturday to take lessons from a woman she called Miz Mazzy. “I was a busy child, hardly stopping to catch my breath,” she recalled many years later in her autobiography I Put a Spell on You, after she’d christened herself Nina Simone. “All the time there was the weight of my community’s expectations on my shoulders.”
Now that Selena Gomez is free from Disney's Hollywood Records, her music career could go any way. But a good indicator for how her sophomore album will sound is its presumed first single, "Good for You." Think of it as her own version of Beyoncé's "Partition": a titillating mid-tempo striptease that has her both exploring and enjoying the power of her sexuality. Its video pushes that theme even harder, with Gomez doing her best Lana Del Rey bombshell impression (though her baby face sightly distracts from that aesthetic) as she writhes around on the floor, on a couch, and wherever else she'll let your imagination take her. (And now we know where her steamy shower Instagram came from.) But the biggest statement the video makes is getting rid of A$AP Rocky's lazy guest-verse so that all eyes and ears are on Selena. "Make you never wanna leave," indeed.
Yesterday, during a demo at the Crosby Street Hotel in Manhattan, I was given a first look the new Apple Music app, launching June 30. There's not much revolutionary about it — you can create your own playlists; you can share your music with your social network; there are discovery options; a staff of editorial curators recommends playlists based on your tastes and habits; and so on. None of this is particularly exciting. They’re features we’ve come to expect — Apple-ized. Great, but not that impressive.
Two of this year’s Song of Summer contenders sound like bonus tracks plucked from a "Now That’s What I Call ‘80s Dance" compilation: “Shut Up and Dance” by Walk the Moon, and “Want to Want Me” by Jason Derulo. Is that a good thing? It depends on how honest you are about your addiction to John Hughes movies and big hair. If you’re really honest about it, you know you'll be listening to Walk the Moon a lot this summer.
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