Wednesday, March 20, 2019

Dig Out Karen O & Danger Mouse’s Explosively Wild "Woman" Performance On Stephen Colbert!

In a Spike Jone's directed live performance. Off their just unleashed album Lux Prima, thee inimitable and incomparable young legend rock n roll queen, Karen-O takes the Stephen Colbert audience hostage for a wild and saucy ride!

Strutting while movin' and groovin' her bones, Karen along with her partner n crime producer Danger Mouse, sent thee late-night viewers on a euphoric musical train ride. Introducing for the very first time live on TV. The duo put together an ambitiously bold and saucy hell of a combo performance of their current single "Woman", showcasing a sour patch filled yummy visual experience.

Set in a black n' white themed backdrop. Karen is supported by an army of retro Ronettes-looking hairstyled dancers. Thee iconic filmmaker Spike Jonze added his unique touch directing a stunning and electrifyingly wild performance for The Late Show.

The production also features intricate choreography while unlocking a swirl of witty manifestations. Including an interactive dance section with the crowd that involved synchronized participation. Even Stephen Colbert was feeling the moment joining along, dipping and doing it like nobody's business. Karen later concludes thee already fiery performance by jumping on top of a beat-up, burned-out vehicle.

“Woman” does, of course, appear on Karen and Danger Mouse’s newly released collaborative album. For O, the new musique follows her 2014 solo record, "Crush Songs," while the Yeah Yeah Yeahs unleashed their last album, "Mosquito," in 2013.

 We're currently working on our own legendary featured blog staple "ItsNotYouItsMe Album Spin" for this brilliant new record Lux Prima. So check back for that. In the meantime strap your boogie boots on and press play with thee immersive and beautifully shot Ed Sullivan Theater LIVE music video for the single 'Woman'.

 Art is alive in us because of the woman right below!

Cardi B, Lili Reinhart, Julia Stiles Join JLO For The Upcoming 'Hustlers' Film!

Cardi B & actress Constance Wu are joining JLO in the new film "Hustler" (@hustlersmovie). Thee STX Entertainment films studio shall also star Riverdale's Lili Reinhart (@lilireinhart) and 90's babe Julia Styles. “Hustlers” centers on a group of exotic dancers who get their revenge on the drunk abusive clients and the overall Richie Rich's of the world, by maxing out their credit cards after they’ve passed out. Dig out the rest of the story right below.

"Cardi B, Lili Reinhart, Keke Palmer and Julia Stiles have joined the stripper story Hustlers from STX Entertainment.

They board the adaptation of the New York magazine article "Hustlers at Scores," about former strip club employees who devised a scheme to steal tens of thousands of dollars from their wealthy Wall Street clients, that already has Constance Wu and Jennifer Lopez in the lineup.

Lorene Scafaria is directing the film and also wrote the script based on the 2015 piece by Jessica Pressler. The cameras will start rolling on Hustlers on Friday in New York City.

Scafaria’s script takes place in the late 2000s in New York City in the wake of the financial crisis and explores the toll it took on the livelihood of the dancers who relied on Wall Street clientele. “We could not have asked for a more exciting or talented lineup of performers to join our cast,” Adam Fogelson, chairman of STXfilms, said in a statement.

STXfilms is producing Hustlers alongside Lopez, Elaine Goldsmith-Thomas, Benny Medina, Adam McKay, Will Ferrell and Jessica Elbaum for Gloria Sanchez Productions.

Kate Vorhoff and Catherine Hagedorn are overseeing the film’s production for the studio. STXinternational is handling international distribution and distributing directly in the U.K. and Ireland.

Cardi B is repped by CAA. Reinhart is reppped by UTA and Anonymous Content. Palmer is repped by 3 Arts and UTA. Stiles is repped by Untitled Entertainment and The Gersh Agency." -

Woodstock 50 Unleashes Entire Lineup!

Back to the future, we go!

"Jay-Z, the Killers, Chance the Rapper, Black Keys, Robert Plant, Halsey and Miley Cyrus are among the artists booked for Woodstock 50 as organizers revealed the Watkins Glen, New York festival’s full lineup.

Dead and Company, John Fogerty, Santana, John Sebastian, Country Joe Mcdonald, Canned Heat and Hot Tuna – all acts that took part in the 1969 festival – are all on the lineup for the festival, which takes place August 16th through 18th, the 50th anniversary of the original Woodstock.

Tickets for Woodstock 50 will go on sale April 22nd. Complete information is available on the festival’s website.

“It’ll be an eclectic bill,” festival organizer Michael Lang previously promised Rolling Stone of Woodstock 50. “It’ll be hip-hop and rock and some pop and some of the legacy bands from the original festival … I want it to be multi-generational. Woodstock ’94 was a nice mix of young and old and that’s kind of what we’re going for here.”

The final lineup lives up to Lang’s promise with hip-hop (Jay-Z, Chance the Rapper, Run the Jewels, Common, Earl Sweatshirt, Vince Staples, Princess Nokia), rock (the Raconteurs, Greta Van Fleet, Black Keys, Cage the Elephant, Courtney Barnett, Boygenius, Gary Clark Jr.), pop (Miley Cyrus, Maggie Rogers, Halsey, Janelle Monae) and country (Anderson East, Sturgill Simpson, Margo Price, Brandi Carlile).

The festival’s official lineup comes just five months before Woodstock 50 opens at Watkins Glen, 150 miles west of the original festival site; the unaffiliated Bethel Woods Music and Culture Festival, with Ringo Starr and Santana, will take place at the site of the Woodstock ’69 on the same dates.

Woodstock 50 previously fought off rumors that organizers were hamstrung by money and production woes. “We are thrilled with all the excitement about Woodstock 50, but we have an obligation to our fans, artists and partners, to do things the right way,” Lang said in an e-mail statement. “We are in the final stages of laying the groundwork and can’t wait to stage this once-in-a-lifetime event. We’ll be officially announcing the lineup and ticket on-sale soon, stay tuned!”

Along with its lineup, Woodstock 50 also announced a wide variety of non-profit partners. The list include environmental groups such as Conservation International and the Dolphin Project, as well as organizations geared towards social issues such as Cyrus’ Happy Hippie Foundation and the March for Our Lives. Other non-profit partners include Hiring America, HeadCount and Reform Alliance.

Woodstock 50 Lineup

Day 1: The Killers, Miley Cyrus, Santana, The Lumineers, The Raconteurs, Robert Plant, John Fogerty, Nathaniel Rateliff and the Night Sweats, Run the Jewels, The Head and the Heart, Maggie Rogers, Michael Franti & Spearhead, Anderson East, Princess Nokia, John Sebastian

Day 2: Dead and Company, Chance the Rapper, Black Keys, Sturgill Simpson, Greta Van Fleet, Portugal. The Man, Leon Bridges, Gary Clark Jr., Edward Sharpe & The Magnetic Zeroes, Dawes, Margo Price, Country Joe and the Fish, Rival Sons, Emily King, Soccer Mommy, Taylor Bennett

Day 3: Jay-Z, Imagine Dragons, Halsey, Cage The Elephant, Brandi Carlile, Janelle Monae, Young The Giant, Courtney Barnett, Common, Vince Staples, Judah and the Lion, Earl Sweatshirt, Boygenius, the Zombies, Canned Heat, Hot Tuna, Pussy Riot, Cherry Glazerr." -

The Number Ones: Billy Paul’s “Me And Mrs. Jones”

According to one of our musical sources:

Billy Paul – “Me And Mrs. Jones”

HIT #1: December 16, 1972

STAYED AT #1: 3 weeks

We’ll never see another story like Motown Records, a regional and black-owned record label that did everything in-house, developed its own sound, and became a long-running and absolutely dominant force within pop music. People talk about Stax Records like it was some kind of competitor to Motown. It was not. Stax produced countless classic records, but it never anywhere near Motown in terms of sheer popularity. But in the early ’70s, a real competitor to Motown did emerge, albeit briefly.

Kenny Gamble and Leon Huff were musicians and songwriters who met each other while they were gigging around Philadelphia’s music scene in the early ’60s. The first record that they got together to produce was the Soul Survivors’ 1967 stomper “Expressway To Your Heart,” and it was a hit. (“Expressway To Your Heart” peaked at #4. It’s an 8.) They kept working together, producing for Jerry Butler and Dusty Springfield and Wilson Pickett. And they gradually thickened their sound, adding strings and baroque horn arrangements and psychedelic guitar effects. Along with fellow production genius Thom Bell, they developed what became the Philadelphia soul sound.

Philadelphia International Records wasn’t the first label that Gamble and Huff founded, but it was the one that stuck. They started the label in 1971, inking a distribution deal with Clive Davis at CBS. By then, they had their approach down: Writing and producing themselves, recording everything at the same studio (Sigma Sound) with the same group of absurdly gifted studio musicians (the band that would become known as MFSB). All of this was straight from the Motown playbook, but with their velvety and extravagant sound, Gamble and Huff tapped into changing trends, following pop music in the softer and more ornate direction that it was traveling.

The hits started arriving right away. In 1972, Gamble and Huff scored with the O’Jays’ “Back Stabbers” (peaked at #3, a 9) and Harold Melvin And The Blue Notes’ “If You Don’t Know Me By Now” (also peaked at #3, a 7). And at the very end of the year, Gamble and Huff scored their first #1 with Billy Paul’s “Me And Mrs. Jones.” It would not be their last.

Billy Paul was a veteran nightclub singer nearly a decade older than Gamble or Huff. A Philadelphia native like Gamble and Huff, Paul had started recording jazz singles in the early ’50s. He’d had a long and spotty career — singing with a few R&B groups, striking up a friendship with Marvin Gaye during their journeyman days, trying to get Elvis to join a band with him with they served in the Army in Germany together. Gamble and Huff had released a 1968 Billy Paul live jazz-standards album on Gamble Records, one of their pre-Philadelphia International labels. By the time “Me And Mrs. Jones” hit #1, Paul was 38.

Gamble and Huff wrote “Me And Mrs. Jones” about a couple they kept seeing in a bar. They’d go drinking everyday at the bar that was downstairs in their label’s office building, and every single day, the same man would meet a woman in this bar. They’d sit together for a few minutes, talking quietly together and playing a few songs on the jukebox, and then they’d go their separate ways. Gamble and Huff came up with a story about the love affair that they imagined this couple was having, and they turned that into a song.

There are a lot of pop songs about infidelity, but they’re usually sung from the point of view of the aggrieved party. That’s not “Me And Mrs. Jones.” Instead, on that one, Billy Paul’s narrator has “a thing going on” with a married woman. It’s an obsessive sort of relationship. They meet up every single day in the same café at the same time. They talk and make plans, but they can’t be together.

“We both know it’s wrong,” Paul sings. But he doesn’t sound like he thinks it’s wrong. Instead, he sings about her with a warm sort of longing, and he doesn’t intend to cut things off: “Tomorrow, we’ll meet the same place, the same time.” Paul implies that he’s cheating on someone, too: “She’s got her own obligations / And so, and so do I.” And Paul never even sings about sex. Instead, he just sings about holding hands and listening to the jukebox together. Maybe it’s not even a physical affair. Maybe it’s just an emotional one. (They’re probably fucking, though.)

It’s a finely observed song, one that never judges its characters or imagines a way out of its situation. But it’s also schmaltz. One of Gamble and Huff’s great strengths was their sense of rhythmic push; it’s what would make them so ideally suited for the early days of disco. But we don’t hear that on “Me And Mrs. Jones.” Instead, it’s a lush and lazy sprawl of a song. It all sounds magnificent, these guitars and pianos and saxophones all luxuriating into each other. But there’s no force to it, no urgency.

Billy Paul made the transition from jazz to soul pretty smoothly, and plenty of his other Philadelphia International singles (like “Am I Black Enough For You?,” the great “Me And Mrs. Jones” follow-up that sadly flopped) were downright funky. But on “Me And Mrs. Jones,” we can hear a nightclub-singer hamminess coming through. The song gives him a lot of space, and he fills it up, hitting showy high notes all over the place. He sells the song’s emotional pull, but he also shows off, using that glacial tempo to vamp hard. And the arrangement fully veers into lite-jazz aesthetics. It’s a sharp and considered track, expertly recorded. But it’s also probably my least favorite of those Gamble & Huff hits, mostly because it stays set on lull.

Billy Paul would never get anywhere near the top 10 again, though he spent the rest of the decade recording for Philadelphia International. A couple of decades later, he sued Gamble and Huff for missing royalties on “Me And Mrs. Jones,” and he won. He made it to the age of 81, when cancer claimed him.

Gamble and Huff, meanwhile, were just getting started.

GRADE: 6/10

BONUS BEATS: Mary J. Blige (who will eventually show up in this column) interpolated “Me And Mrs. Jones” on “Mr. Wrong,” a 2011 collaboration with Drake (who will also eventually show up in this column). It peaked at #87. Here’s the video:" -

Spaccanapoli, Naples, Italy

"Simon and Luca Imbimbo teamed up to create this editorial shot in Naples, for the FW18-19 “NEIGHBORHOOD” issue of Fucking Young! magazine.

Get your copy HERE!

Casting Director: Jacopo Mainini Bandera
Hair & Make-up: Anastasia Coppola
Fashion Coordinator: Pasquale Cangemi
Photo Assistant: Simona Pavan
Fashion Assistants: Corinna Fusco & Marco Bynichakis
Models: Andrea Tarulli, Antonio Emigrato, Ark Muna at Boom The Agency, Federico Ricco at GD Major, Giuseppe Mauriello at Urbn Models, Marco
Ciampi at D’MAN, Pietro Battarra at Next Models
Special thanks to Giuseppe Quaranta, our young guest, who agreed to be shot for the first time in his life." -

Alberto García Cabrera by Joan Crisol for Modus Vivendi

"Alberto García Cabrera by Joan Crisol for Modus Vivendi." -

Paul Hameline & Henry Rausch by Sarah Piantadosi

"It's late but it ain't never" is the title of this editorial by Elin Svahn featuring Paul Hameline and Henry Rausch groomed by Jonathan de Francesco & Laura Dominique and shot by Sarah Piantadosi for British fashion magazine Another Man #28." -

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