Robin Thicke has confessed under oath that he was so jealous of Pharrell Williams' talents he told interviewers he had a bigger part in the writing of 2013 hit Blurred Lines.
Interrogated for allegedly ripping off Marvin Gaye's song Got to Give it Up, the singer reveals he amped up his involvement in the song because he was upset that his biggest hit was really someone else's brainchild. Thicke and Williams are currently in the middle of a drawn-out legal battle with Gaye's children over claims they sampled various segments of the late soul legend's song without permission, and in sworn testimony, revealed for the first time in a Los Angeles federal court on Monday (15Sep14) and obtained by The Hollywood Reporter, singer Thicke admits he took too much credit for the track.
He told the Gayes' lawyer, "I was jealous and I wanted some of the credit... I tried to take credit for it later because (Williams) wrote the whole thing pretty much by himself and I was envious of that... I was present. Obviously, I sang it. I had to be there."
But when he was asked if he was around when the rhythm track was being created, he added, "To be honest... I was high on Vicodin and alcohol when I showed up at the studio. So my recollection is when we made the song, I thought I wanted... I wanted to be more involved than I actually was by the time, nine months later, it became a huge hit and I wanted credit. "I started kind of convincing myself that I was a little more part of it than I was... but the reality is that Pharrell had the beat and he wrote almost every single part of the song... (I was) lucky enough to be in the room."
Williams appears to agree with Thicke in his deposition, explaining, "This is what happens every day in our industry. You know, people are made to look like they have much more authorship in the situation than they actually do. So that's where the embellishment comes in." But the Happy hitmaker insists it's Thicke's voice that holds the song together - and that's why he gave the singer so much credit: "It's the white man singing soulfully and we, unfortunately, in this country don't get enough... we don't get to hear that as often, so we get excited by it when the mainstream gives that a shot."
Thicke goes on to admit that any comments he made in media interviews about the song's similarities to Gaye's track and his love for the soul man's music, which are now being used as proof of his sampling acts by the Gayes, were probably made in a drug haze, adding, "I had a drug and alcohol problem for the year... I didn't do a sober interview."
Thicke further confesses he was high on painkiller Norco when he sat down for a revealing TV chat with Oprah Winfrey, and reveals his wife Paula Patton left him when he told her the truth about his drug use. Thicke and Williams' depositions were recorded back in April (14).
Rita Ora's new single Black Widow has become a girl power collaboration - the track features a chorus written by Katy Perry and Iggy Azalea joins the Brit on the record. The Australian rapper let it slip that she would be rapping for Ora is a new interview, revealing she'll also appear in the song's video.
She says, "We're gonna have a very crazy music video, with a lot of other people that you guys may know, playing different characters. I'm really excited about it."
Ora also teamed up with Azalea to perform the track at London's Wireless Festival on Friday (04Jul14).
The new song will be released in September (14).
Iggy Azalea is convinced teenage singer Lorde was the victim of a gross misunderstanding when she was accused of racism over lines in her hit track Royals. The New Zealand pop star scored a massive international hit with her debut single last year (13), winning two Grammy Awards and topping charts all over the world.
However, the 17 year old faced a backlash over the song's lyrics, with some critics complaining about her mention of Cristal Champagne, Maybach cars and diamond watches, which are often associated with cash-flashing rappers.
Azalea, who faced a racism row herself over the lyrics to her song D.R.U.G.S., is adamant critics were irresponsible to brand Lorde with such harsh words, telling Britain's The Observer, "Yes, I didn't know Lorde was a big old racist. Me, I've been called everything but it kind of irks me to think that they said that about a 17 year old. Don't say that about a kid! You cannot erase those things, they are there forever.
"I also think it is a generational thing, a misunderstanding. When I think of Royals - 'gold chains, diamonds on your timepiece' - I think about (blog website)Tumblr kids. She was talking about the aesthetic of Tumblr. The people writing the music see it one way, the consumers see it another. And anyway, is rap really that much of a stereotype? To say that rap is a guy in chains and baggy pants popping bottles in a club is stereotyping black culture."
Closing out the Devil's Dance Tour 2014 on May 21, brothers Matt and Trevor Wentworth, Alex "Woody" Woodrow and Tim Molloy, otherwise known as the band Our Last Night, performed for fans at Irving Plaza in New York City. Alongside bands Chiodos, Emarosa, Hands Like Houses and '68, Our Last Night performed a set full of their biggest songs and popular cover of Katy Perry's Dark Horse (which we may or may not play on a daily basis in our office - check it out below!).
We had the chance to sit down with them before they hit the stage and ask a few questions to help get to know them better. Here's what they had to say...
CM: Before we watch you guys perform tonight, do you guys have any pre-show rituals that you guys do?
Matt: Um, not like, not really.
Trevor: A lot of people ask us this; I feel like a lot of bands do have this.
CM: Do you feel like maybe you should develop one?
Trevor: Yeah, I think maybe now's the time that we need to start doing something. Nah, I don't know. We kind of just all hang out, relax. Don't stress ourselves out too much or psyche ourselves out.
Matt: And then about 10 minutes before you go on, you rush everything on stage really quick and hopefully start playing.
Trevor: Because, yeah, you know it's going to be stressful setting everything up, so before you have to do that, you kind of just relax.
Matt: I think sometimes, if you have a set thing, at least for me, it's just like, I don't know, it just gets you kinda psyched out maybe a little bit. It gets you more nervous for the show, cause you're like...
CC: Thinking too much?
Matt: Thinking too much, yeah exactly. It's almost time to play, and then you're like doing your whatever -- thing. I don't know, I feel like it's cool to just like, hang out, realize you're playing in ten minutes--
Trevor: And then walk out and have it be amazing.
Matt: Yeah, just go for it.
CC: Do you guys prefer performing more or writing and recording?
Trevor: I mean, they both have their perks.
Matt: I mean, yeah, they're both so different, I guess. I love writing, and I feel like there's nothing cooler about being in a band than finishing up an album and listening to it when it's done. And shows are awesome, but those are all the songs that you're gonna be playing at your show, so it's a really cool feeling to finish a bunch of songs, a whole album. Then listen to it and be really excited about it.
Trevor: Yeah, exactly.
Matt: But obviously, playing live is nothing like that either. Just the energy and --
Trevor: It's kind of like the shows come from what you just made. It's kind of like you write something, feel great about it, and the next step is to play them live, so it's definitely cool.
Matt: You never really know how it's gonna go either, every show. A crowd could be awesome, or a crowd could be boring, and you just have to work a little bit harder to pump 'em up.
CM: Have you guys had any particularly bad crowds?
Trevor: Not on this tour at all. I mean --
Matt: We've been a band for a while so...
Trevor: It depends on what you mean by 'bad crowd.' If a bad crowd is like throwing tomatoes at you, and rotten fruit at you? Then no, luckily, we've never had that, but --
Matt: I don't know, sometimes I think it's just a vibe. Sometimes, a lot of people are, like, you can tell, they're paying attention and they're excited about what you're doing, but sometimes, crowds are just more mellow, and sometimes if you think about it, just the personality of each person in the room - you might get sometimes a lot of people with sort of timid personalities that just like to chill and watch you. It's not like a bad show, it's just a little more calm.
Trevor: Also, sometimes I feel like it has to do with the venue you're playing in, too. I feel like some people can feel super weird and awkward in a certain place, like --
Matt: If you're surrounded by a foot of space around you, it's weird, you're not gonna be like freaking out all by yourself.
Trevor: But if it's super packed, if it's like, I don't know, like it just depends.
Matt: I wouldn't say a crowd that doesn't move that much, that they're a 'bad crowd.' It's obviously a little less exciting on stage, but a lot of times those kids were just as excited to see us as the kids that went crazy. It's just the vibe of the room, the vibe of the people at the show.
CM: For sure. I have hard time reacting sometimes, so if you guys see me tonight and I'm not moving, it's not personal.
Trevor: No, I'm the same way. If I go to a show, I'm not like -- I stand in the back and watch. I love it, but I'm not like front and center, like "Here we go!"
CC: What song gets the best audience reaction?
Matt: I think we definitely agree on this tour which one does.
Trevor: Yeah, I mean, we play a cover every show.
Trevor: No we play "Dark Horse." We used to play "Skyfall."
CM: I knew it was "Dark Horse." We had a bet going.
Trevor: Those are the only two covers we've ever played live.
Matt: Sometimes, we're like, "Aw man ... yeah, a cover song." Everyone goes nuts and it's not even our song. But I think a lot of times, what has to do with that, is that even people that don't know our band at the show, they're still familiar with that song. They're like, "Oh cool! A new version of the song." They know the words cause they've heard "Dark Horse" a billion times in the last few months.
Trevor: That song live is definitely pretty crazy, and it's just got a lot of energy to it.
CM: I just want to add that now whenever "Dark Horse" comes on the radio, my first reaction is always "Oh! I like this song!" And then I realized it's not your version, which I prefer to Katy Perry's.
Trevor: Well, thank you. I appreciate that.
Matt: We get a lot of tweets saying "the only reason I know all the words to all these pop songs is because of your covers."
CC: Yeah, like the rapping part?
Matt: Exactly. That's funny.
CM: Speaking of your covers, have you guys heard from any of the artists that you covered?
Trevor: Zedd, with the "Clarity" cover. He tweeted us and tweeted the cover that we did.
Matt: That was like, two days after we posted it. So it was cool. I don't know if people were like tweeting at him. Sometimes, we do like a tweet at Rihanna and try to get her to watch it. They're so big that they probably don't even tweet their own shit anymore.
Trevor: Also, some of those people may have seen it, not necessarily tweeted about it. Like, so, we come across covers of our songs all the time. Everyone sits on YouTube, even Adele, even Rihanna. So, I don't know. Maybe they've seen it, maybe not. But there's definitely a good chance that maybe they did.
CM: The other question we had about your covers, sort of as fangirls over here - will there more covers in the future at some point?
Trevor: Yeah, definitely.
CC: Another "Summer of Covers"?
Trevor: Exactly. It's just something that we do when we have down time in between writing our own music slash not being on tour. It's just something to keep fans interested, and they're fun to do.
CC: Do you have any idea which songs you're going to be covering soon?
Trevor: Yeah... a little bit.
Matt: We've had a couple that we wanted to do for a while that are more timeless songs, not like in the moment. Mostly the ones we've done now are songs that are big right now, or we try to guess which song's going to be big because usually those get the biggest reactions, I guess. But we're doing one coming up. We never say what they are, but there's one --
Matt: What? I'm not gonna say. I'm saying, "We never say what they are, so I'm not gonna say..." but it is a more timeless song that people from, even younger people now and people our age should know.
Trevor: We can tell you guys off the record.
CC: From what decade?
Matt: It was popular, like really huge, when I was in like 6th grade.
Trevor: So, 90s.
Matt: All over TRL, definitely. It'll be a fun one to do though, for sure.
CM: You guys have made it pretty big, but if you weren't doing this, you guys are still so young, was there ever any back-up plan?
Trevor: I mean... Not really, honestly. I've been in the band longer in my life than I've not been in the band, which is pretty crazy. So, I don't really know what I would do, other than this.
Tim: Any one of you guys got back-up plans?
Trevor: I honestly don't.
Tim: All I did was play drums when I was younger, and then getting to do this was never anything I had planned. It just kind of happened. The next thing I knew I was here.
Matt: I think definitely, being in a band, you kind of take it -- whatever happens, you roll with it.
Tim: It's also hard to know what you would be doing other than this, because there are things I like, but I don't know if I like them enough to be doing that everyday of my life, you know what I mean? I'd probably be a bum. I'd probably be a hobo.
CM: I thought you just said you'd "be a mom" and I thought that was quite the 180.
Trevor: That's impressive!
Tim: Who knows what I'd be doing?! To each his own. Or her own.
CC: What's the most personal song for each of you?
Matt: It's different for each record, but I would probably say "Sunrise" for this one. It's the most personal one for us, and probably for our fans too. We kind of wrote it for our fans, as a positive outlet. A lot of our fans contact us, Trevor and the band, on Facebook, just saying thank you for your music, "It means a lot to us," so we kinda wanted this to take things to a next level. Writing more positive songs, because we have a lot of fans going through - I don't know - certain shit, and it seems pretty hard to deal with.
CM: When you guys aren't recording or touring, what's your go-to stuff to watch, on TV, on Netflix?
Matt: Ohhh, that's a great one. Last was definitely True Detective. We were really into True Detective. It's hard to top Matthew McConaughey.
Trevor: Matthew McConaughey's a boss.
Matt: Yeah, so that was awesome, I think we've been a little obsessed with it. Parks & Rec, The Office...
Tim: Breaking Bad...
Trevor: Breaking Bad. Best TV show ever. I'm a pretty big Sons of Anarchy fan.
CM: Nice. You guys sound like maybe you should work for us.
Trevor: Yeah, perfect.
CM: That's your back-up plan!
Trevor: There it is!
CC: Lastly, what's your dream collaboration?
Trevor: That's a great question. Dream collaboration...
Tim: I mean, well, I just came up with this in my head, but I think it's the best answer. For me, anyway. Beyoncé... featuring Kendrick Lamar, with me playing drums.
CM: Like a Travis Barker situation?
Matt: I think for me personally, I don't know if it'd be with Our Last Night, but I would love to write a song with Ryan Tedder, from OneRepublic. He's just one of my favorite songwriters, OneRepublic's probably one of my favorite bands.
Trevor: Definitely, I mean, anything. Doing a song with Lana Del Rey would be amazing.
CM: You guys are surprising me here.
Trevor: Pretty much all I listen to is like, Lana Del Rey, The Neighborhood, and The 1975. That's pretty much all I listen to.
Matt: Yeah, something like that could be cool. 2 Chainz. That would be great.
Tim: 2 Chainz would be awesome!
Matt: 2 Chainz on some heavy part. It would be sick. We should just save up a shit ton of money and just get 2 Chainz. It would be worth it. Even if no one likes it, it would be worth it. For me, personally, it would be worth it.
Our Last Night will be playing a hometown show in Boston, Massachusetts on August 22 to celebrate their 10 year anniversary, and no, that wasn't a typo. Though they're only in their twenties, they're already veterans to the music scene. With plans to hit the road again this summer, and releasing their acoustic EP in mid-June, we highly suggest every one check them out because they're pretty amazing musicians.
It needs to be said that hip-hop music has always been wildly innovative, but we've also suffered from a few lulls over the years. Particularly in the music video department, there's been a tendency towards repetition. Or, as the great 2Pac once eloquently pointed out, things can get a little boring when the same video vixens (we call them "vixens" now) are showing up in all of the videos. And The Roots and dead prez have both made satirical videos, pointing out the monotony in popular rap.
But we're here to celebrate those rappers who opted for a different route, which is partly why we enlisted the help of the one and only DJ Rosenberg. Co-host of Hot 97's “The Morning Show” and one-half of the brilliant Juan Epstein podcast duo (DJ Cypha Sounds represents the "Juan" portion), Rosenberg is more hip-hop than roughly 89 percent of the world's population. So when he spoke with us about the aesthetics of a truly trippy rap video — and gave us some suggestions — we listened. And for that we thank him, just as we thank the many stoner rappers, artsy rappers, underground rappers, backpack rappers (and plain, ol' regular rappers) on this list for going against the grain. Here are the 17 trippiest hip-hop videos ever. And yes, 17 is a pretty random number, but once you experience all of the epic randomness in these videos, you'll understand.
1. Busta Rhymes, "Gimme Some Mo"
Ah, yes. The great Busa Buss. One of the most brilliant, beloved rappers ever changed the game when he teamed up with Hype Williams (one of our favorite music video directors-turned filmmakers) and started making videos. Busta Rhymes really needs his own list — since pretty much all of his videos are the trippiest videos ever — but for now we're picking this Psycho-inspired awesomeness as our favorite. Also, can we please have Rah Digga back now?
2. *A Tribe Called Quest, "Jazz (We've Got) Buggin' Out"
Now, Busta's video is so much more interesting when you go back and watch this one. This 1991 track from A Tribe Called Quest got a seemingly simple video that suddenly turns trippy in the end. The bugged-out eyes are a great reminder of the fact that Busta had some powerful influences back in the day.
3. *Gravediggaz, "Diary of a Mad Man"
Back in 1994 the Gravediggaz album 6 Feet Deep became a seminal work in the "horrorcore" rap subgenre. The supergroup (comprised of Prince Paul, Frukwan, RZA, and Too Poetic) teamed up with Shabazz The Disciple and Killah Priest for "Diary of a Mad Man." Themes of religion, dark magic, and street life mesh together in the haunting, black and white visuals.
4. *Pharcyde, "Runnin'"
The beat is a classic, the song is infectious, but if you have a fear of clowns, this may not be the video for you. Still—clowns and all—there's an amazing, dream-like quality to the video that makes for an awesome visual experience.
5. Goodie Mob, "They Don't Dance No Mo"
No disrespect to Outkast, but Goodie Mob is the trippiest rap group to come out of Atlanta. Long before The Voice, Cee Lo Green was being weird and awesome, and rocking footy pajamas in rap videos (sort of).
6. *Psycho Realm, "Stone Garden"
Embraced by Cypress Hill in the early '90s, Psycho Realm came on the scene with a West Coast/gothic vibe that resulted in some pretty intense lyrics and videos. "Stone Garden" opens with some über-trippy hospital scenes (which may have gone on to have some influence on Eminem's "The Real Slim Shady" video).
7. Geto Boys, "Mind's Playin' Tricks On Me"
We can't talk trippy rap videos without the Geto Boys. "Trippy" is really putting it lightly here—paranoia, fear, and intimations of suicide make this one a powerful, eerie video to experience.
8. Missy 'Misdemeanor' Elliott, "The Rain"
If you're grown out here in these streets, you can probably remember the first time you saw this video. You didn't know what you were looking at, you didn't know why there was a garbage bag theme, but you knew you were in love. Like Busta Rhymes, Missy's video catalogue is worthy of its own list. She's the reigning queen of trippy rap visuals, and for that we thank her.
9. Eminem, "My Name Is"
When we first met Eminem back in 1999, some of us were skeptical... and weirded out beyond belief. But the Detroit rapper went on to become one of the biggest deals of all time. His contribution to the world of bizarre rap videos (which went along perfectly with his tripped-out lyrics) is immense, but it all started here.
10. Kid Cudi, "Day 'n' Night"
Mr. Solo Dolo came on the scene back in 2008, a Cleveland native living in Brooklyn who got the ultimate co-sign from Kanye West. The somber sounds of Day 'n' Nite might be attributed to the fact that the song was inspired by troubles he was having with a family member who passed away shortly after the song's release. Some of that darkness gets manifested in the visuals, but there's also a playfulness at work here that we really love.
11. Frank Ocean, "Pyramids"
Director Nabil really outdid himself with this unforgettable video. Frank Ocean's brilliant single from channel ORANGE was brought to life in the strip club of your nightmares, and it was epic. Demonized skrippers flipped the concept of the sexually-charged rap video on its head, and the visual experience for the audience mimics tripped-out Frank's own experiences in the video. John Mayer's cameo towards the end only made it weirder. And by "weirder," we obviously mean "cooler."
12. Kanye West, "Black Skinhead"
Another favorite for trippy video fans, Kanye came back on the scene last year with Yeezus and slayed all. Granted, everyone couldn't get into the new sound, but those of us that loved it, really loved it. The "Black Skinhead" (or "BLKKK SKKKN HEAD") video was dark, twisted, and intense—all while remaining somewhat minimalistic, with a computer-generated version of Yeezy at the center of it all. Yeezy also released an interactive version on his website.
Sidenote: every Yeezy fan should check out his incredible interview with the Juan Epstein podcast.
13. Iggy Azalea, "Pu**y"
Before the amazing, Clueless-inspired video for "Fancy," Iggy was just a young, underground rapper struggling to get some airplay. We can't imagine why radio didn't take to this record (ahem) but we will say that any video explicitly referencing the... uh... things she's referencing in this video—while featuring a bunch of kids — is pretty trippy, and even offensive depending on your feelings. But then again, maybe she's just talking about kitty cats.
14. *Tyler the Creator, "Yonkers"
Thanks to DMX, Yonkers has always seemed like a pretty scary place. But Tyler the Creator took our fears to new heights when he dropped these visuals. Prepare to be terrified... and weirdly intriqued. And for a slightly less dark — but equally trippy video — check out Tyler's video for "Tamale" (a song which also features one of the most powerful verses anyone's ever written about their father, probably).
15. Earl Sweatshirt, "WHOA"
Yes, the Odd Future fellas have got the trippy hip-hop video game on lock. Earl Sweatshirt's "WHOA" video almost feels like a tribute to what is probably the trippiest movie ever, Gummo. When he starts dancing with that 45 year-old-ish ballerina outside of his trailer, you just know things have gone too far. It's awesome.
16. Angel Haze, "Werkin Girls"
Creepy, stone-faced kids? Check. Frightening Freddy Krueger hand prop? Check. Weird kidnapper dude with an aluminum foil mask under his shades? Check. If you haven't been checking for Angel Haze, consider this your introduction. She's talented, trippy, and her latest video for Battle Cry is equally dope.
17. Flume & Ghostface Killah, "Space Cadet"
One way to make a dope rap video is to team up with an Australian electronic musician. Flume got Ghostface to feature on his new track, and the collaborative video is one of the coolest we've seen so far this year. Plus, don't you want a little cartoon Ghostface Killah of your own? Of course you do.
*Rosenberg's Top Trippy Picks
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When Avril Lavigne's video for her new single "Hello Kitty" hit the net, the reaction was swift and unkind. There was the claims of racism for Lavigne's objectification of expressionless Asian backup dancers to claims of intellectual plagiarism for the similarities with Gwen Stefani's "Hollaback Girl" video.
The video, with its candy-colored (one sequence is set in what looks like a Sanrio store) backgrounds and funhouse props, is about as misguided an attempt at trying to be hip as you'll ever find. And one giant problem is the song itself.
Come, Come, Kitty, Kitty
With lyrics like "Come, come, kitty, kitty," and "Let's play truth or dare now, we can roll around in our underwear," it might be the worst use of double entendre and sexual innuendo in the history of music.
When asked about the song's meaning by Digital Spy in October, and whether or not the "kitty" in question was meant to represent a part of her anatomy, Lavigne said, "Obviously it's flirtatious and somewhat sexual, but it's genuinely about my love for Hello Kitty!"
Well, sure, because the line "I wanna do everything with you together, come play with Kitty and me" sounds like it's referring to a Japanese cat with a hair ribbon.
WWMD (What Would Miley Do)
The problem is that Lavigne is trying to have her cupcake and eat it too, which doesn't work in a world where Lady Gaga and Miley Cyrus fight for social media attention. Lavigne didn't need to be as overt as hard rockers like The Who ("Squeeze Box") or AC/DC ("Big Balls") but she at least needed to commit as much as Madonna or Pink.
The lyrics of the song call for one thing: winking knowledge of the innuendo at play. But the way that Lavigne handles it, both in the song and the video, provide nothing. In the video, Lavigne is frequently just as expressionless as her dancers; apart for a bounce here or there, she barely moves. If Cyrus were doing the song, for instance, there would be no doubt of the double-meaning. The video would've featured a slumber party orgy with the entire cast of a touring production of Cats.
Why, Avril, Why?
What's sad is that Lavigne feels the need to play this game at all. When she first started out, she was the pop antithesis to Britney Spears, singing about her "Sk8ter Boi." She's been down this road before with trying to find a niche somewhere between Stefani and Pink, most noticeably on her "Girlfriend."
You wish that Lavigne would work harder to find a niche that's separate and different from her contemporaries. Putting out something that appears to be nothing more than an attention grab — how else do you explain releasing the weakest track from her eponymous album as a single? — she's made herself look a little bit desperate.
At the very least, if she's going to do a video for a song with a double entendre title and sexual innuendo lyrics, then she needs to really commit to it. In today's musical landscape, female artists don't straddle the fence anymore. They jump into everything with everything they have. Hopefully, Lavigne won't do anything as egregiously bad as "Hello Kitty" again, but if she does, here's hoping that she at least fully owns it.
Rap mogul Master P has spoken of his disappointment after his incarcerated brother C-Murder took aim at him in a new track. C-Murder, real name Corey Miller, is currently serving a life sentence at Louisiana State Penitentiary after being found guilty of murdering 16-year-old Steve Thomas in a New Orleans, Louisiana nightclub.
His peer Lil Boosie was released from the same prison last week (05Mar14) after five years behind bars, and on Monday (10Mar14), he released a new track, Came2DaCan, which features C-Murder.
The song's lyrics include barbs against Miller's brother Master P, who now alleges the claims that he has not supported his sibling throughout his legal woes are false.
He tells Allhiphop.com, "I want to see Lil Boosie get a second chance and take over this hip-hop game... but getting on that song with C (Murder) was disappointing. Honestly, the beat was wack and outdated. He gotta know that C has a problem and we're dealing with family issues... I've made C a priority while taking care of all of our families in good and bad times, but he got more love for his friends.
"I love my brother but at times he can be ungrateful and disrespectful. I've spent millions of dollars towards his legal fees in fighting all of his cases... I know he's innocent but he needs to grow up and face reality."
Master P goes on to warn his brother against releasing rap music which could be used against him in any forthcoming appeals against his sentence.
He adds, "I told C that you shouldn't be putting out negative music while you're fighting a life sentence. They're going to use those words against you."
Fox Broadcasting Co.
Ted Mosby might have some competition. Any How I Met Your Mother fan who wasn't in love with "The Mother" already surely was by the time she finished her ukelele rendition of "La Vie en Rose" in the show's 200th episode. Cristin Milioti wasn't cast in this pivotal role just because she's cute as a button and has impeccable comic timing. We're glad to see the show is also capitalizing on her serious musical chops. There's plenty more where that sweet solo (and the English muffin song) came from. We've mined YouTube for five more must-hear Milioti performances.
1. "Call Your Girlfriend"
Milioti starts slow and then lets loose on this full-band cover of Robyn's catchiest single.
2. "On Raglan Road"
Before being cast on the sitcom, Milioti was best known for originating the role of "Girl" in the Broadway musical Once. Here she covers an Irish folk song that the show's band plays during the nightly pre-show onstage jam session.
If you've ever tried singing this at karaoke, you know the Justin Timberlake song's range-y vocals aren't easy to tackle. Cristin destroys it without breaking a sweat.
Yes. In 2003, Milioti really did rock a Pat Benatar classic during a legit "Battle of the Bands" in shiny rock and roll leggings and a bleached blond wig. We've got proof.
5. "Cosmic Love"
Soft and romantic is fine for a Piaf cover, but Florence and the Machine demand some vocal power. Milioti's got that in spades. We're pretty sure the ceiling catches fire around 3:13.
Alone Yet Not Alone/Facebook
Alone Yet Not Alone gets an Oscar nod — controversy stirs. The Oscars take the nod away — controversy grows.
The just-shy-of-unknown picture earned a Best Original Song nomination for its title number, "Alone Yet Not Alone," written by Dennis Spiegel (lyrics) and Bruce Broughton (music). Technically speaking, the nomination should furrow some brows:
For one, Alone Yet Not Alone only had a 21-day (and largely overlooked) theatrical run in 2013, a move to option it for awards eligibility — enough to color the film with a puzzling rouge, maybe, but not quite to support accusations of wrongful nomination... as proven by the fact that a yet unnamed organization hired a private investigator to confirm the legitimacy of Alone's eligibility. According to The Hollywood Reporter, the investigation — which focused specifically on the existence of print advertisements during its theatrical run, which are necessary for a film aiming for an award — deemed the film A-OK for nomination.
Far more important is the official reason for the song's disqualification: a specific degree of campaigning conducted by Broughton, who just so happens to be a former Academy governor. Reports following the removal of "Alone Yet Not Alone" from the nominees list share a message sent by Broughton to Oscar voters during nominations week, courtesy of CBS News.
Anybody who remembers Melissa Leo's Best Supporting Actress candidacy back in 2010 knows that awards campaigning is hardly taboo practice. Off-putting, maybe, but not against the rules, which is why the official ruling on Broughton's actions might perplex. According to Academy President Cheryl Boone, it wasn't so much what he did, but who he was. The mere fact that Broughton's name, as a former Academy governor, appeared at the head of the aforesaid email would have been enough to sway voters, as she articulates in her statement: "No matter how well-intentioned the communication, using one's position as a former governor and current executive committee member to personally promote one's own Oscar submission creates the appearance of an unfair advantage."
Unsurprisingly, Broughton has responded with dismay, affirming that his intentions were never to use his professional history to sway voters, but only to ensure their awareness of the film and song, a practice he asserts is within the parameters of traditional Oscar campaining.
So... who's right?
An even more pressing question might be if there were any additional factors that went into the decision to oust the Alone Yet Not Alone title song from the running. Although the above mentioned private investigation was conducted, presumably, by a third party (Cinemablend writer Sean O'Connell jokes — or hypothesizes? — that "it's got to be the people behind Inside Llewyn Davis"), it indicates the overarching suspicion associated with Alone But Not Alone's nomination from the beginning.
When you take a look at the film itself, you might understand the contentious feelings. Alone Yet Not Alone is a self-decreed "faith-based" film that has garnered criticism for manipulative religious viewpoints and racist depictions of Native Americans. Before even stirring unrest over its eligibility, the new publicity for Alone Yet Not Alone stirred allegations of prejudice. And we've got to wonder if the public response to the film being considered for an Oscar in any way influenced the Academy's decision to pull the plug.
Already the nature of the debate is shaky. Some are defending the legality of Broughton's actions (like Hitfix columnist Kristopher Tapley) and highlighting arbitrariness in the Academy's decision. And considering the holes in the organization's defense of the nomination removal as well as the private investigation and the Alone But Not Alone outcry that preceded this new development, we're left to question just what factors pushed the Academy into such a rare action, and to ask ourselves if whatever feelings we may have about Alone But Not Alone should in fact impact our outlook on its disqualification.
Again: who's right?
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Despite being designed to award artists for the greatest achievements in music, the Grammy Awards have become more about the performances than the actual prizes in recent years, and 2014 was no exception. Although they only gave out 10 trophies on air, the show ran an hour and a half over, filled with performers from every genre of music, featuring legends and newcomers alike. From Beyonce to Macklemore to Pink, everyone tried to have the biggest, the best, or the most spectacular performance of the night, and so we thought it only fair to reward their efforts with some awards of our own.
Best Indicator of What the 2015 Grammys Will Look Like - Beyonce and Jay ZDon't pretend that you haven't already learned this routine. Her surprise, self-titled album came out too late to be eligible for this year's awards, but Beyonce still had the honors of kicking the night off, and she did so with a performance of "Drunk In Love" with a performance the blended Flashdance with the "Cell Block Tango," and served as an excellent preview of what to expect from next year's show, when she will likely be nominated in every category she's eligible for (and probably a few she's not). If this is what the future holds for the Grammys, we're completely on board.
Most Likely to Be Your Dad's Favorite Performance - Paul McCartney and Ringo StarrLast night's awards spent a lot of time celebrating the legacy of The Beatles and their influence on music, including two separate performances by the group's two living alumni, Paul McCartney and Ringo Starr. First Starr busted out his best "dad at a wedding" dance moves for a rendition of his latest single, "Photograph," and then, after a long-winded intro from Julia Roberts, he joined McCartney and his technicolor piano for "Queenie Eye." We're all for honoring musical legends, but it seemed pretty clear that these two performances were aimed squarely at the middle-aged father demographic. On the bright side, though, we're glad to have found out that we have a lot of the same dance moves as Yoko Ono.
The "Pay Attention, Gentlemen" Award - John LegendJohn Legend busted out all of his smoothest moves to perform his latest single "All of Me," including several meaning ful camera pans to where his wife, Chrissy Teigen was sitting in the audience. Teigen was conveniently the only person sat under a spotlight, which allowed him to ensure that the entire world knew exactly who inspired his heartfelt ballad. That sound you heard in the middle of the song last night? That was women all around the world, smacking their boyfriends and husbands in the arm, and demanding to know why they can't be as romantic as Legend.
Most Likely to Make You Dance Around Your Bedroom - Daft Punk, Nile Rogers, Pharrell Williams, and Stevie WonderIt's a testament to "Get Lucky" that even when Pharrell swapped out his absurd, giant Mountie hat for one that was somehow bigger and weirder, everyone was too busy getting down to notice. And we do mean everyone: from Beyonce and Jay Z to Steven Tyler to Yoko Ono to Bruno Mars, everyone stopped what they were doing the second that bass line kicked in and danced, and for five minutes, the Grammys stopped being a long slog of commercials and piano ballads and felt like a proper celebration.
Best Tribute to a Previous Performance - PinkIn 2010, Pink gave one of the most memorable Grammy performances of all time, when she sang "Glitter in the Air" while in midair, performing tricks on aerial silks. This year, she decided to pay tribute to to that performance by busting out the aerial tricks on more time to sing "Try." Unfortunately, all of the incredible flips and spins only served as a reminder of how much the previous instance blew everyone away, and left most people feeling as if they were experiencing deja vu. However, she did help guilt everyone watching into renewing their gym membership, so she still comes out on top.
Bonus: Best Supporting Moustache - Nate Ruess. We don't know what possessed the lead singer of fun. to grow that facial hair, but it only served to distract everyone from the powerhouse vocal competition that was happening between him and Pink when they duetted on "Just Give Me a Reason."
Performance of the Night That Nobody Saw Coming - Kendrick Lamar and Imagine DragonsWhen it was first announced that Kendrick Lamar would be performing with Imagine Dragons, everyone was skeptical of what would result. Sure, the Grammys are all about surprising collaborations, but it seemed impossible for these two artists to mesh well. Turns out that we were all wrong: once they hit the stage, the audience both at home and in the arena woke up, and their mash up of "Radioactive" and "MAAD City" was the most exciting, addicting, memorable performance of the night. For five minutes, it seemed like the Grammys finally lived up to their promise and delivered something worthy of "the biggest night in music."
Most Unfortunate Performance Slot - Kacey MusgravesBeing the next big country star wasn't enough to save Kacey Musgraves from the thankless task of attempting to follow Kendrick Lamar and Imagine Dragons. Before anyone had the chance to recover from having the roof blown off the Staple Center, everything immediately shifted to Musgraves, who performed her hit single "Follow Your Arrow." If she had performed at any other point in the evening, everyone would have been able to appreciate the song's clever lyrics and sweet message, but the abrupt tonal shift didn't accommodate her charm and left everyone feeling slightly underwhelmed. At least she has two shiny Grammy awards to take comfort in.
Best Guest Appearance - Queen LatifahWhen it came time for them to perform their hit song, "Same Love," Macklemore and Ryan Lewis decided to make some history by marrying 32 couples, both straight and gay, on air at the Grammys. Unfortunately for them, their touching performance was overshadowed by the presence of Queen Latifah as the officiant. She didn't do much other than invite the couples to exchange rings, and then pronounce them to be married, but somehow, in that short period of time, she managed to steal the show with nothing but sheer enthusiasm and a great dress. Not even Madonna could drag anyone's attention from the Queen, and couples all around the world put in requests to have her officiate their weddings as well.
Runner Up: Ryan Lewis, the silent, mysterious counterpoint to Macklemore, who popped up at random points throughout the performance to help guide people to their mark. Part producer, part choreographer, all enigma.
Most Cathartic Head-Banging - Taylor SwiftTaylor Swift won the Battle of the Melancholy Piano Ballads with a performance of "All Too Well," arguably the best song on her album Red, and the exact moment of victory came when she started whipping her hair back and forth as the song build up the the bridge. Swift gets a lot of flack for her dancing, but her head banging may be her best move of all - at once cathartic, ridiculous and a little bit melodramatic, it embodies everything that a good break up song should.
Most Likely to Remind You to Catch Up on Sleepy Hollow - Katy Perry and Juicy J Well, now we know what's on Katy Perry's DVR. The pop star took her new song "Dark Horse" in a distinctly witchier direction last night, with a performance that included skeletal trees, wishing wells, and a pole dancing routine performed on oversized broomsticks, all of which served to answer that eternal question: how do 18th century witches feel about hip hop beats? It might have seemed like an odd aesthetic choice at first, but it was one of the most visually stunning performances of the night. However, we do feel like she missed a trick by not having Juicy J dress up as Ichabod Crane. If anyone can pull off those giant gold buttons, it's him.
Biggest Middle Finger From CBS - Nine Inch Nails, Queens of the Stone Age, Lindsey Buckingham, and Dave Grohl One of the most hyped performances of this year's Grammys featured Trent Reznor of Nine Inch Nails and Queens of the Stone Age teaming up with Fleetwood Mac's Lindsey Buckingham and Dave Grohl to close out the night and bring the house down. Unfortunately for fans who sat through the entire evening in anticipation, the performance was interrupted by random ads and the credits started rolling halfway through Queens of the Stone Age's song. That the Grammys decided to cut everyone off halfway through was surprising, considering the amount of press the collaboration had gotten in the run up to the awards, but interrupting one of the few exciting, energetic performances really added insult to injury. We're not the only ones upset, either - Reznor tweeted about being upset later in the night.
Reality series in which professional songwriters help viewers tweak previously released songs to dedicate to their loved ones. In one episode, Brian McKnight helps Cheryl write and perform a song for her special loved one.