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Watch David Letterman on Years Of Living Dangerously Season 2 on National Geographic

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Over a year and half after leaving his Late Show , David Letterman returns to television to host an upcoming episode of National Geographic’s climate change series Years of Living Dangerously. Letterman’s episode features his travels to India to examine how that nation provides energy to its entire population. I know what you’re thinking…Wait…What? Don’t worry, he really hasn’t changed.

The second season of Years of Living Dangerously premieres on National Geographic on October 30th.

David Letterman on YEARS of LIVING DANGEROUSLY from YEARS of LIVING DANGEROUSLY on Vimeo.

Gillian Welch on the changes in Americana music

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Paste: It would be an understatement to say that you pioneered this [new Americana] movement. You’ve been making this music for 20 years and now… this is what’s popular. This isn’t weird.
Gillian Welch: I’m no longer a maritian. Now I’m part of a scene, which is a nice change.

Paste: So how have you witnessed the genre evolve over the years?
Welch: You know, the coolest thing… I feel like this scene has grown out of a lot of the best aspects of the old time music. And a lot of the stuff that drew my partner and I to it in the first place… there was something about a certain kind of folk music that was almost too soft for us. What I’ll call the “pretty folk.” And at the time when we started, that’s what folk meant. Not to put anybody down, but folk was in a very different place in the late ‘80s, early ‘90s, and I didn’t identify very much with folk. Because it was very pretty, very clean in its way. So I always gravitated toward… old time and bluegrass music, and mountain music because the first time I heard the Stanley Brothers, I immediately understood its relationship to the Velvet Underground, and all this other punk stuff that I was listening to. And I think that’s what this entire scene understands and loves, is there was nothing in its way “softer” about this music. It’s sometimes quieter, but it’s not softer. So all the [laughs] angst, and all of the frustration, and all of the strangeness and outsideness that I felt, and that any person growing up in this age might feel, I was able to connect with this music. Also, it’s worth saying… the darkness and the tragedy of the stories that are so commonplace in this type of music that Dave [Rawlings] and I’s music sprung from. I remember feeling really liberated early on, like, “oh there’s nothing I can’t talk about. I wanna talk about morphine addiction? Fine. I wanna talk about rape? Fine. I wanna talk about suicide? Fine. It all comes out of this tradition. I felt total permission to vent anything I wanted to through this tradition… I’m pretty much a shy girl, and didn’t want to talk about what was going on with me, ever, but through the music it was all okay. That’s like everybody. That’s like every artist. There’s a reason why you express yourself through art, because there’s some way which you can’t do it.

Via

The Best TEDx Talk I’ve Seen This Year: “When We Design for Disability We All Benefit”

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“I believe that losing my hearing was one of the greatest gifts I’ve ever received,” says Elise Roy. As a disability rights lawyer and design thinker, she knows that being Deaf gives her a unique way of experiencing and reframing the world — a perspective that could solve some of our largest problems. As she says: “When we design for disability first, you often stumble upon solutions that are better than those when we design for the norm.”

Demetrius Shipp Jr. is perfect as Tupac in “All Eyez On Me” biographical drama film

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All Eyez On Me, originally titled Tupac, is an upcoming American biographical drama film directed by Benny Boom, produced by LT Hutton, David C. Robinson, James G. Robinson and written by Steven Bagatourian, Stephen J. Rivele, Christopher Wilkinson, Ed Gonzalez, and Jeremy Haft. The film stars Demetrius Shipp, Jr. (Tupac Shakur), Danai Gurira (Afeni Shakur), Kat Graham (Jada Pinkett), Dominic L. Santana (Suge Knight), Jamal Woolard (Biggie Smalls), Annie Ilonzeh (Kidada Jones), Lauren Cohan (Lelia Steinberg), Grace Gibson (Faith Evans), Harold House Moore (Dr Dre.)

https://youtu.be/3ZlXHAbX3TY

That Time In 1992 When Tom Jones And David Gilmour Performed Prince’s “Purple Rain”

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Of all the many heartfelt Prince tributes online, this one deserves your time. Performed during his 1992 “The Right Time” tour, singer Tom Jones performed a beautiful and caressed version of the iconic Prince song Purple Rain. And if that wasn’t enough, check out the inventive and inspired David Gilmour on guitar.

Sting’s New Song ‘50,000’ Was Inspired by Deaths Of David Bowie And Prince

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Sting’s new album 57th & 9th is being billed as Sting’s return to rock and roll and will be released on November 11. But one song in particular is classic Sting, based on the lyrics.

‘50,000’ is a tribute to the recent deaths of Prince and David Bowie, although no names are mentioned. “Mortality does sort of rear its head, particularly at my age – I’m 64,” he told Rolling Stone. “It’s really a comment on how shocked we all are when one of our cultural icons dies: Prince, David, Glenn Frey, Lemmy. They are our gods, in a way. So when they die, we have to question our own immortality. Even I, as a rock star, have to question my own. And the sort of bittersweet realization that hubris doesn’t mean anything in the end.”

The title refers to the 50,000 fans lifting their voices and raising their hands at stadium rock concerts as “every word he ever wrote reflected back to him.” By the end of the song, Sting releases he has more time behind him, than in front. Brilliant stuff.

https://youtu.be/T8QWtmW1WUQ

Have The Greatest Day Ever With Ferris Bueller’s Day Off In 8-Bit Graphics

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CineFix presents Ferris Bueller’s Day Off retold via old-school 8-bit. No quarters, controllers or faking sick required.

DJ Shadow Announces Endtroducing 20th Anniversary Endtrospective Edition

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2016 has been a stellar year for experimental hip hop luminary DJ Shadow, aka Josh Davis, with the release of his critically acclaimed studio album, The Mountain Will Fall, – his first release in five years – drawing praise from all corners, from The Guardian who called the record “impressive in its inventiveness” to Mojo who claimed “Shadow is back in the frame” and AV Club who hailed it as “DJ Shadow’s best work since his early-aughts heyday.” DJ Shadow is currently touring the new record and will be hitting North America later this month with two-night stands in Los Angeles and New York and shows in San Francisco, Portland, Philadelphia, Seattle, Boston, DC, Toronto, Montreal, Vancouver and others. Following, he will head to France to perform at Pitchfork Music Festival Paris and Turin, Itay for the Club To Club Festival.

For many, it is Shadow’s 1996 debut album, Endtroducing, that they keep returning to, widely regarded as a groundbreaking release that paved the way for experimental hip hop and changed the shape of electronic music from that point on. Upon its release, The Guardian gave it a 5-star review and called it “One of the most daring and original albums of recent times,” continuing, “This is genius,” while SPIN wrote that the album “practically folds you into its symphonic fantasia, the coming-of-age story of a 24-year-old bunk-bed dreamer.” Almost a decade later Pitchfork awarded Endtroducing a perfect 10 in their review of the 2005 Deluxe Edition, calling the record “deeply spiritual.”

Endtroducing was included in many critical lists of the best albums of 1996, and more recently has been ranked as one of the best albums of the 1990s by the likes of Q, SPIN, Pitchfork and Rolling Stone, who wrote, “The dystopian New Age of Endtroducing sounds like an alien spacecraft touching down on the autobahn late at night, probably to check out Earth’s used-vinyl bins,” adding, “This is DJ culture at its boldest: steeped in the past but zooming into the Space Age future.” TIME magazine went one step further, hailing it as one of the “100 greatest albums of all time.”

This year marks 20 years since that pivotal release, and to mark the occasion the San Francisco-based producer has announced a special deluxe CD/LP 20th Anniversary Endtrospective Edition (Island) featuring the original album, a collection of demos, alternate takes and live versions titled Excessive Ephemera, and Endtroducing Re-Imagined, featuring 12 specially commissioned remixes from some of contemporary electronic music’s leading lights including Hudson Mohawke, Clams Casino, Salva, Prince Paul, Bondax & Karma Kid and more.

A seminal, incredibly influential hip hop release (also regarded as pretty much the last word in instrumental ‘trip hop,’ a term used a lot at the time), Endtroducing is simply one of the defining albums of the ’90s. It is famously also the first record ever made entirely from samples of other people’s records – with a particularly broad array of sources used, many mined from the catacomb-like basement under Davis’s favorite record store in Sacramento, Calif., which has long-since closed its doors. This is the store pictured by photographer B+ on the album cover and in many other shots included in the package.

The CD/LP package will include expanded liner notes from a new interview conducted by Eliot Wilder (author of the lauded 33 1/3 book on the album) and some never-before-published photographs by B+ and Phil Knott to create the 20th anniversary release as Deluxe 3 CD and 6 LP (3 x double LP) sets. The new remixes will also be issued as a standalone digital album.

Speaking about the anniversary edition, DJ Shadow commented, “I’ve had to sort of concede that there is something about the record that took on a life of its own, that probably has very little to do with me. Nobody can plan these sorts of things. I think that everyone aspires to their music being loved and heard and appreciated on some level, but there are a lot of intangibles, and there are a lot of things that even the original artists couldn’t have planned or fully understood at the time. I feel that way about Endtroducing. And I think that’s the main difference between Endtroducing and all the other records I’ve made—it was the first time and it was a kind of a flag in the ground, at least within my body of work.

As a music lover, my favorite records always have some hallmarks of an era, but also sound as if they could have been made almost any time within a 20 year time span. I’ve always felt that as someone who buys a lot of records and sits there and studies them and kind of vibes off them, I also feel like once you put something out into the world, it can be discovered later. That happened so much with Endtroducing – 10 or 15 years down the road, people were discovering it.”

ENDTROSPECTIVE EDITION TRACK LISTING:

CD 1 / LP 1&2 – ENDTRODUCING

1. Best Foot Forward
2. Building Steam With A Grain Of Salt
3. The Number Song
4. Changeling
**Transmission 1
5. What Does Your Soul Look Like Part 4
6. Untitled
7. Stem / Long Stem
**Transmission 2
8. Mutual Slump
9. Organ Donor
10. Why Hip Hop Sucks in ’96
11. Midnight In A Perfect World
12. Napalm Brain / Scatter Brain
13. What Does Your Soul Look Like Part 1 – Blue Sky Revisit
**Transmission 3

CD2 / LP 3&4 – EXCESSIVE EPHEMERA

1. Best Foot Forward – Alternate Version
2. Building Steam With A Grain Of Salt – Alternate Take Without Overdubs
3. The Number Song – Cut Chemist Party Mix
4. Changeling – Original Demo Excerpt
5. Stem – Cops ‘N’ Robbers Mix
6. Soup
7. Red Bus Needs To Leave!
8. Mutual Slump – Alternate Take Without Overdubs
9. Organ Donor – Extended Overhaul
10. Why Hip Hop Sucks In ’96 – Alternate Take
11. Midnight In A Perfect World – Gab Mix
12. Napalm Brain – Original Demo Beat
13. What Does Your Soul Look Like – Peshay Remix
14. DJ Shadow Live In Oxford, England, October 30, 1997

CD3 / LP 5&6 – ENDTRODUCING RE-EMAGINED

1. Best Foot Forward – Teeko Remix
2. Building Steam With A Grain Of Salt – Salva Remix
3. The Number Song – Lee Bannon Remix
4. Transmissions – Kuedo Remix
5. Changeling II – Adrian Younge Remix
6. What Does Your Soul Look Like Part 4 – Teklife Remix
7. Stem / Long Stem – Clams Casino Remix
8. Mutual Slump – Daedelus Remix
9. Organ Donor – UZ Remix
10. Midnight In A Perfect World – Hudson Mohawke Remix
11. What Does Your Soul Look Like Part 1 – Prince Paul Remix
12. Building Steam With A Grain Of Salt – Bondax & Karma Kid Remix

DJ SHADOW ON TOUR
September 27 – San Diego, CA @ House Of Blues
September 28 – Los Angeles, CA @ Teragram Ballroom
September 29 – Los Angeles, CA @ Teragram Ballroom
September 30 – San Francisco, CA @ 1015 Folsom
October 1 – Portland, OR @ Roseland Theater
October 2 – Vancouver, BC @ Commodore Ballroom
October 3 – Seattle, WA @ Showbox at The Market
October 6 – Minneapolis, MN @ Varsity Theater
October 7 – Chicago, IL @ Metro
October 8 – Toronto, ON @ Phoenix Concert Theatre
October 9 – Montreal, QC @ Club Soda
October 10 – Philadelphia, PA @ TLA
October 11 – Boston, MA @ Paradise Rock Hall
October 13 – Washington, DC @ 9:30 Club
October 14 – Brooklyn, NY @ Music Hall Of Williamsburg
October 15 – Brooklyn, NY @ Music Hall Of Williamsburg
October 26 – La Rochelle, FR @ La Sirene
October 27 – Paris, FR @ Pitchfork Music Festival Paris
October 28 – Brussels, BE @ Festival Des Libertes
October 29 – Nancy, FR @ L’Autre Canal
October 31 – Montpellier, FR @ Rockstore
November 2 – Manchester, UK @ Warehouse Project
November 5 – Turin, IT @ Club To Club Festival

Sonic Youth Reissues Experimental Jet Set, Trash and No Star, A Thousand Leaves and NYC Ghosts & Flowers On October 14

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Sonic Youth’s Experimental Jet Set, Trash and No Star (1994), A Thousand Leaves (1998) and NYC Ghosts & Flowers (2000) will be reissued on vinyl October 14, concluding UMe’s yearlong initiative to reissue the pioneering art-punk band’s entire nine-album DGC/Geffen catalog. This third and final batch follows the February release of Goo, Dirty and Washing Machine and the July release of Murray Street, Sonic Nurse and Rather Ripped. Like their predecessors, all albums have been remastered from the original stereo analog master tapes and will be available on both high-grade “back to black” vinyl complete with a digital download card for 320kbps MP4 AAC audio as well as in a variety of HD audio formats (including 192kHz 24-bit, 96kHz 24-bit and Mastered for iTunes). All titles will be made available through all participating online stores and retail outlets, as well as Sonic Youth’s official website.

Experimental Jet Set, Trash and No Star was the band’s eighth studio album and follow-up to Dirty. Buoyed by the anxiety-inducing pop-meets-noise classic, “Bull In The Heather,” the album peaked at No. 34 on the Billboard 200 chart, marking the band’s highest U.S. chart position up until then. Alternative Press noted the album’s anti-commercial aesthetic “doesn’t get much cooler than this,” while Rolling Stone called the record “quietly confident, more ambitious and weirder than Dirty.” The Los Angeles Times concluded Sonic Youth “transcends the confining roles of pretentious art-rock band or palatable alternative group, and instead offers a penetrating album that’s all its own.”

A Thousand Leaves was Sonic Youth’s 10th studio album and the group’s first major effort to be recorded at their own Echo Canyon studio in NYC. Free from the constraints of paying for costly studio time, the band was able to work at their desired pace and experiment at will. The result was an album born out of improvisation, chiefly characterized by the guitar interplay between guitarists Thurston Moore and Lee Ranaldo. The album title was inspired by Walt Whitman as Moore explained, “The same way he improvises with images and words, we improvise with sounds and notes.” Pitchfork praised the epic “Hits of Sunshine (for Allen Ginsberg)” as its centerpiece while the Village Voice’s Robert Christgau remained one of the band’s strongest supporters, calling the album “the music of daydream nation old enough to treasure whatever time it finds on its hands… They wander at will, dazzled by sunshine, greenery, hoarfrost and machines that go squish in the night,” placing it at #3 in his year-end Pazz & Jop “Dean’s List,” and later naming it one of the 10 best records of the 1990s.

NYC Ghosts & Flowers, the band’s 11th studio album, represented a slight stylistic departure, mainly as a creative reaction to the theft of their instruments while on tour the summer before. Instead of using the gear they were intimately familiar with, they unearthed instruments in their studio they hadn’t used in years, resulting in a flood of new inspiration. Salon insisted the album “has a gloomy, unaccommodating tenacity that’s hard to shake,” while Chicago Tribune critic Greg Kot raved, “These noise-rock renegades are once again happily viewing their guitars as hunks of wood, wire and infinite possibility… No rock band makes the avant-garde sound quite this tactile and sensual.”

George Michael To Reissue Listen Without Prejudice for 25th Anniversary

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In celebration of George Michael’s Listen Without Prejudice Vol 1 as Listen Without Prejudice 25, Channel 4, BBC Worldwide and Sony Music have commissioned Freedom: George Michael, a stunning new film, narrated by George. It co-stars Stevie Wonder, Elton John, Mark Ronson, Mary J Blige, Tony Bennett, Liam Gallagher, James Corden, Ricky Gervais, the Freedom! ’90 video supermodels (Naomi Campbell, Christy Turlington, Cindy Crawford, Tatjana Patitz and Linda Evangelista) and more.

International distributor BBC Worldwide will also be making the film available to clients and broadcasters around the world. The US premiere will air on Showtime, broadcast date at a date to be announced shortly.

A remastered version of George’s stunning 1996 MTV Unplugged performance will also be available as an album for the very first time as part of the Deluxe box set and 2CD Edition. The concert took place at the Three Mills Island Studios in East London on Friday 11 October, 1996 and featured George playing ten of his finest songs from the Wham!, Faith, Listen Without Prejudice Vol.1 (Freedom ’90) and Older eras in an intimate setting. Listen Without Prejudice Vol 1 will also be reissued on vinyl and digital.

Listen Without Prejudice Vol 1. was George’s second solo album. Arranged, produced and almost completely written by George himself, it eloquently confirmed him as a pioneering, agenda-setting artist.

The staggering success of George’s first solo album Faith resulted in him becoming one of the few artists who could shift millions of albums worldwide. This, of course, was a dream scenario for the label but George had different plans. Unable and unwilling to be a 24-hour pop star, constantly in the media spotlight, George felt he needed to follow his artistic instincts regarding how his work should be presented. He decided he would not appear on Listen Without Prejudice Vol. 1’s album cover or be available to physically promote the album beyond select interviews, but instead gave the label the David Fincher-directed Freedom! ’90, which featured five of the most recognizable beauties on the planet, lip-syncing in place of George. This resulted in a difference in opinion between George and the label over how the album was promoted.

A multi-platinum-selling worldwide chart-topper which reached Number 1 in the UK (where it outsold Faith and went 4X platinum),Listen Without Prejudice Vol 1 was the sound of a precedent-setting, boundary-pushing global superstar going his own way.

Shortly after the album’s release, George met his great love Anselmo Feleppo. His anger at Anselmo’s tragic early death, together with his frustration over how the US label had marketed his album contributed to his decision to embark on the traumatic court case with Sony. This left him blocked creatively for almost two years, during which time he made a conscious decision to channel all his energy into challenging the standard recording contract and fighting a corner for all artists. George lost the case but gained the personal and artistic freedom he craved.

Twenty-six years on, George and Sony are long reconciled. Listen Without Prejudice Vol 1. remains a remarkable, timeless work, from the beautifully judged protest songs Praying For Time and Mother’s Pride, to the intimate Cowboys & Angels, via the autobiographical Freedom! ’90. This was music George Michael felt truly committed to.

Directed by BAFTA nominee Phillip Smith, Freedom: George Michael, tells the gripping, dramatic story of the making of Listen Without Prejudice Vol 1, the court case which followed and George’s personal struggle and pain as he loses Anselmo. Many have tried and failed, but George succeeded in reuniting the Freedom! ’90 video’s five supermodels. Other contributors include world famous artists such as Stevie Wonder whose They Won’t Go When I Go was Listen Without Prejudice Vol. 1’s only cover; Elton John who describes the album as George’s “masterpiece”; Liam Gallagher who says George has “Lennon in him”; Mary J Blige who reminds us that George “broke all the rules for everybody”; Tony Bennett, Mark Ronson, Tracey Emin, Jean Paul Gaultier, Ricky Gervais, French Vogue editor Emmanuelle Alt and James Corden. There are contributions from some of the record company executives who were so uncomfortable facing one of their major artists in court and from the case lawyers.

And today George still continues to touch people with his words and music. This year alone has seen an unprecedented amount of film, TV, and game sync licenses using his music.