Check Out Tyler, The Creator’s Gorgeous Blue & Pink ‘Tiny Desk’ Performance

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Tyler, the Creator stopped by the NPR “Tiny Desk” recording studio—the latest artist to perform for the ongoing series and the first to perform in the evening.

The rapper, whose album Flower Boy dropped this year, sang “Boredom,” “See You Again,” and “Glitter,” accompanied by two incredible backup singers and a full band. As “Tiny Desk” usually takes place during the day, Tyler also brought his own special lighting, bathing his stage in cool pinks and blues.

“See You Again” was actually originally written by Tyler for Zayn, but, as the rapper explained on Twitter earlier this year, he ended up keeping the song due to scheduling conflicts:

Flower Boy is up for Best Rap Album at the 2018 Grammy Awards. Take a look at the artist’s Tiny Desk performance below:

Kesha & Macklemore Announce Joint North American Tour

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People who graduated in high school in 2012 everywhere are rejoicing: Kesha and Macklemore have announced a co-headlining 2018 North American tour.

The pair revealed their big New Year’s plans via a cute video announcement in which Macklemore decides to give up music to become a roller blading coach, before Kesha gently suggests he tour with her instead. Macklemore and Kesha recently collaborated on the song “Good Old Days,” which appears on the rapper’s new album Gemini. 

The tour comes fresh after the news of Kesha’s first two Grammy nominations, for Best Pop Solo Performance and Best Pop Vocal Album. Her new album, Rainbow, is her first since 2012’s Warrior and her return to music after a terrible legal battle with her producer Dr. Luke.

Take a look at the announcement video below, as well as the upcoming tour dates. Then pre-order tickets for “The Adventures of Kesha & Macklemore Tour” here.

06-06 Phoenix, AZ – Ak-Chin Pavilion
06-08 Inglewood, CA – The Forum
06-09 Las Vegas, NV – Mandalay Bay Events Center
06-12 Chula Vista, CA – Mattress Firm Amphitheatre
06-14 Mountain View, CA – Shorline Amphitheatre
06-16 Salt Lake City, UT – USANA Amphitheatre
06-17 Denver, CO – Pepsi Center
06-20 Dallas, TX – Starplex Pavilion
06-22 Austin, TX – Austin360 Amphitheater
06-23 The Woodlands, TX – The Cynthia Woods Mitchell Pavilion
06-25 Rogers, AR – Arkansas Music Pavilion
06-26 Kansas City, MO – Sprint Center
07-10 Maryland Heights, MO – Hollywood Casino Amphitheatre
07-11 Cincinnati, OH – Riverbend Music Center
07-13 Nashville, TN – Bridgestone Arena
07-14 Tinley Park, IL – Hollywood Casino Amphitheatre
07-16 Toronto, Ontario – Budweiser Stage
07-18 Clarkston, MI – DTE Energy Music Theatre
07-19 Noblesville, IN – Ruoff Home Mortgage Music Center
07-21 Hershey, PA – Hersheypark Stadium
07-22 Darien Center, NY – Darien Lake Amphitheater
07-24 Mansfield, MA – Xfinity Center
07-25 Camden, NJ – BB&T Pavilion
07-27 Holmdel, NJ – PNC Bank Arts Center
07-28 Bristow, VA – Jiffy Lube Live
07-30 Wantagh, NY – Northwell Health at Jones Beach Theater
08-01 Charlotte, NC – PNC Music Pavilion Charlotte
08-02 Atlanta, GA – Cellairis Amphitheatre at Lakewood
08-04 Miami, FL – AmericanAirlines Arena
08-05 Tampa, FL – MIDFLORIDA Credit Union Amphitheatre

5 of This Year’s Biggest Golden Globes Snubs

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The Golden Globes nominations have arrived, and overall we’re pretty happy with those honored. Much love was given to Call Me By Your Name, including for Best Actor and Best Supporting Actor for Timotheé Chalamet and Armie Hammer, respectively. The Shape of Water sits at the front of the pack with 7 nominations, and Big Little Lies follows with 6, including Best Actress noms for both Nicole Kidman and Reese Witherspoon.

There were, however, several shocking snubs of fan favorite potential contenders, especially suprising since the Golden Globes typically cater more toward public opinion and media buzz than other awards shows. Below, we highlight the five biggest snubs of the season thus far.

The 75th Annual Golden Globes take place on January 7 and are hosted by Seth Meyers.

1. Greta Gerwig, Lady Bird

Seeing as Lady Bird is perhaps ours, and many critics’, favorite film of the year, currently sitting at 99% on Rotten Tomatoes, it’s a true shocker that Gerwig did not receive a highly-deserved Best Director nomination. Sadly, we instead see five men nominated. Hardly anything new in the highly mysoginistic category, but still, we’d thought maybe more progress had been made.

2. Jordan Peele, Get Out

Similarly to Gerwig’s snub, Jordan Peele was also shut out of the Best Director category for Get Out, even though the film is superbly refined in its vision, not to mention a worldwide box office of over $252 million.

3. Tiffany Hadish, Girls Trip 

Tiffany Hadish far and away stole the show in this summer’s mega blockbuster Girls Trip. She even earned Critics’ Choice nominations for Best Supporting Actress and Best Actress in a Comedy for her part as Dina. We expected the Golden Globes to be eager to continue lauding Hadish with praise. But, sadly, it’s not to be.

4. Best Screenplay, Get Out

As a frontrunner nominee for Best Original Screenplay at the Oscars, Get Out has already racked up 9 Best Screenplay nominations, and won the honor just recently at the Gotham Awards in New York City. So why was it shut out of Best Screenplay at the Golden Globes, while the far less-discussed film Molly’s Game was able to secure a spot?

5. Luca Guadagnino, Call Me By Your Name

We hate to complain—Call Me By Your Name is certainly getting its due praise this season. But at the Golden Globes, that praise stopped short of a Best Director nom for the openly gay Guadagnino, instead continuing to champion the long lineage of straight nominees. It’s shocking, really, since perhaps the greatest strength of the film is its direction and stunning visual impact.

BLACKBOOK PREMIERE: Shadowy INHALT Remix of The Big Pink’s ‘How Far We’ve Come’

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Photo by Vincent Perini

 

When The Big Pink emerged in early 2009, they were the absolute bleeding edge of British cool – the new face of 4AD and an NME Shockwave Awards winner for Best New Band.

Alas, members have come and gone, and they’ve not released a record since 2012’s (ironically titled) Future This. Singer Robbie Furze, in fact, is the only real permanent Big Pinker. But LA label Blank City Records has released two singles by the band, a cover of New Order’s “Blue Monday,” and a new track, “How Far We’ve Come” – also tellingly titled? – featuring Yeah Yeah Yeahs’ Nick Zinner.

A “Dominion Dub” remix of the latter by San Francisco’s INHALT, which BlackBook premieres here, is one of the most exciting things we’ve heard in months. Where the original is a paradigm of resplendent shoegaze-psychedelia, the new mix totally reinvents it as cool, Asian-gothic-inflected post-punk-funk, slightly sexualized, but yet still with a rarefied sense of aesthetics.

“The intention with the remix” explains INHALT’s Matia Simovich, “was to reference the band’s 4AD roots and melt it into the black leather INHALT lens. Heavy LinnDrum, a reworked Sisters bass line, and a strong shot of Sherwood/Fryer dubs and reverbs.”

Furze definitively approves, enthusing, “I love how this has taken a moody, darkwave direction. Hearing me leading the vocals completely changes the meaning for me in a desperate, intense manner – but still holds that flame of hope in the message.”

For our part, we hope this hints at a new Big Pink album for 2018. In the meantime, a limited edition pressing of the single on used medical X-Ray, special edition blue & clear Flexi vinyl will be released on December 15; and they’ll play The Echo in LA on the 17th.

 

alexa BlackBook Interview: Casey Spooner Sings About One-Night Stands and Open Relationships on his New Album

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IN the new year, cult-favorite band Fischerspooner will release Sir, its first album in 10 years. Casey Spooner, the 47-year-old lead singer of the electroclash outfit, is an ongoing force of creative change, using his subversive lyrics and audacious stage performances to challenge social convention.

Tell us about the new record. What inspired you to write it?

I knew very clearly that I wanted to make a record about contemporary homosexuality. At the time, I was in a long-term, open relationship, living this dream come true non-heteronormative life. But through the course of working on the record, my life went through so many crazy, dramatic changes that I could never have anticipated, and they ended up having a huge impact. My relationship unravelled, I lost my home, we had a lot of difficulty releasing the album, trouble with my family and death. So, the record became much more emotional. It’s about fame and pain, adventure and aging, romance and lust — it has a lot going on.

When did Michael Stipe get involved with the project?

I had written eleven songs and called him in to work on the twelfth. Within a couple of hours, he had come up with an amazing idea and completely shifted my perception of how to create musically. After a few months, he started really working on the record with me, dismantling and restructuring everything, and he had a lot of ideas about how he wanted me to sing — less this kind of cool, lower register character that I always played, and way more wild.

What was it like working so closely with another person on Fischerspooner, besides Warren?

Michael really made the songwriting more of a priority than the production. I never set out to be a singer, so it wasn’t something I defined myself by. That gave me a lot of freedom because I felt like I had nothing to lose. But when Michael came in, he really pushed me to develop my voice, and it was a very liberating and encouraging process that really helped me become a better singer. He just created a place where I could take risks and be vulnerable vocally for the first time.

You’ve called this record “your queerest yet.” What does that mean?

While we were working on one of the songs, Warren and I were talking and he wanted me to change the pronouns in the lyrics to make it more universal. I would’ve – and have – done that in the past, but this time, I said no. It occurred to me that when you make something universal, nobody is ever going to assume it’s a queer relationship — they’re always going to assume it’s straight. So, it was kind of a breakthrough for me that the concept ‘universal’ is actually very heteronormative. But it’s almost hard for me to think of making a record any other way. I’m just writing about my experience, singing about one night stands, and different kinds of connections that aren’t boy meets girl and they live happily ever after. More like, boy meets boy, they get married, they get a third boyfriend and have fun.

Did you have any hesitation about making such a personal record?

The thing is, a lot of people don’t want make a so-called gay record, because they feel that it ghetto-izes them, and that’s something I’ve wrestled with. But the reality is, I’ve learned a lot from straight people, so why can’t straight people learn from me? Why can’t they relate to my stories? We’re also living in a post-Trump universe, and I feel like it’s so much more important for us to have aggressively homosexual characters and content in the mainstream right now. There are so many people that are feeling really vulnerable and they need support so they don’t feel not alone, because it feels like the government is working against them. That’s probably the most important part about this record – it’s hopefully going to help other people feel comfortable about themselves in a culture that’s saying it’s okay to be a white supremacist, and to kill people who aren’t straight, white males.

 

Casey Spooner 
(pictured and above) describes his new Fischerspooner record as 
“his queerest yet.”

 

Do you think notions of gender and sexuality have changed in the industry?

What’s happening right now that’s so amazing, is that nothing has to be so clear. Some men are a little bit femme and some women are a little bit butch, some are neither, and they don’t have to go all out one way or the other. There’s a place for everyone, like a garden. There are all different kinds of plants that procreate in different ways and serve different purposes – sexuality functions in the same way.

What was the hardest part of making the album?

The actual recording process was great after Michael got involved. In the beginning, I was feeling a little lost and alone, but when we started working together, everything was fun. But outside of the studio, my whole life was collapsing, and I was clinging to this record as my only outlet. For me, the music was the easy part – it was the living that was hard. I mean, there were days when we were supposed to be recording, but I couldn’t even sing, because I was literally just weeping take after take. After my breakup, I went into my summer of not Eat, Pray, Love but live, tan, fuck.

You were in a really vulnerable space.

For sure. And Michael loved it! Every time we’d take a break, I’d come back to the studio, and he’d ask what happened. My experiences were just going right into the songs.

Is that something you’ve always done?

I always wrote from a similar place, but the editing process was different. And Warren wasn’t allowed to cut any of the vocals. In the past, he would have heavily edited things and pruned the lyrics he connected to. So, everything was a combination of our two perspectives. But these lyrics are from a really personal place, and it’s a more direct line of communication between me and the audience.

What do you want people to take away from Sir?

I want gay men and queer people to feel safe and emotionally connected to each other. Gay men, specifically – there are so many crazy, fucked up things, even as a white gay man, who has the most privilege in the queer realm. Still, gay men are wrestling so much with sex addiction and intimacy, drugs, and body dysmorphia. Those are the things that I’m really trying to talk about and deal with, so I can help people heal.

How do you think you’ve evolved as an artist?

I’m kind of terrified to say it, but I don’t know if I have. My ex-boyfriend actually just sent me a picture of myself from ‘97 – I’m 27-years-old, at a crazy performance in Williamsburg, dressed as a tiger wearing a jockstrap. It’s like, the more things change, the more they stay the same. Literally 20 years later, I’m still in a jockstrap, acting a fool.

 

Photos by Rinaldo Sata

Björk’s Breathtaking ‘Utopia’ Video Has Given Us Vertigo

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Björk’s video for “Utopia,” out today, is as insane and visually gorgeous as you’d expect from the Icelandic musical goddess. It also made me really dizzy and even slightly nauseous from sensory overload, in the best of ways.

It’s for the title track of her new album, and brings her to a fleshy pink, floating oasis, where the she plays a flute and is surrounded by other ethereal flute players. The visuals and audio combined provide something the likes of which has never really been seen before, and which takes a couple of viewings to settle into and to begin to pretend to understand.

“Utopia” follows her videos for “Blissing Me” and “The Gate.” It was directed by Warren Du Preez and Nick Thornton Jones. Take a look below.

 

The ‘Motorsport’ Video Has Us Thinking 2018 is the Year of Cardi & Nicki

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The video for “Motorsport,” a triple collaboration between Nicki Minaj, Cardi B, and Migos, is officially out. It shoes all three alongside very fancy cars in their NASCAR-meets-runway best.

We admit we really only needed Nicki and Cardi for this track – both women deliver incredible verses that scream the question: when will Nicki and Cardi surprise drop a mixtape together?

Nicki most recently jumped on a verse of Lil Uzi Vert’s “The Way Life Goes.” She also congratulated Cardi B on her number 1 hit “Bodak Yellow” back in September. Rumors circulate that the latter’s new album is finished and could be on its way very soon, even featuring a possible guest spot from Beyoncé. She’s also received two Grammy noms for “Bodak.”

Take a look at “Motorsport” below.

 

Scott Michael Foster Talks Mental Health & Musical Numbers on ‘Crazy Ex-Girlfriend’

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Photo by the Riker Brothers

 

Writer, director, and actress Rachel Bloom has made waves with her quirky musical take on mental health, Crazy Ex-Girlfriend. For three seasons, fans have watched her juggle life and love as she unravels at the seams, something all too relatable for the modern viewer. And this season, she’s developed a new love interest that’s only made things more complicated.

Nathaniel Plimpton III was introduced last season, having bought out the law firm where Rachel’s Rebecca works, while creating both professional and personal obstacles for the female antagonist. His dictator-like character has even been compared to Trump. Fitting, since he exudes a corporate sense of toxic masculinity that would make even the mildest feminist cringe.

Scott Michael Foster, the actor who plays Nathaniel, couldn’t be further from the new problematic love interest he portrays. Having originally caught our attention as Cappie, a charming slacker fraternity brother in the ABC Family (now Freeform) comedy Greek, it’s safe to say he falls somewhere between the two extremes. Also a musician, he exudes a charmingly level-headed personality that’s quite refreshing in the male-dominated Hollywood landscape.

We recently caught up with Foster about the new season, the role he originally auditioned for, and the show’s commitment to an important issue.

 

Congrats on becoming a regular. What’s it been like joining the cast?

It’s been great. Thank you. When I joined last season, it was sort of like, “Here’s five episodes, and let’s see how you do.” And I’m just really honored that they asked me back. It’s been a really fun, challenging ride, because it’s not like the projects I usually do. It’s really good to do something outside my comfort zone.

Is it true that you originally auditioned for a different role?

Yeah, I originally auditioned for the role of Greg in the pilot, when it was at Showtime. So, I was aware of the project when they asked me to come into it now.

So, would you say you’re more of a Josh, a Greg, or a Nathaniel?

That’s interesting. (laughs) I don’t know. I’m not really any, I suppose. I’m more of a Darryl.

 

I’m Pete Gardner for Halloween. #crazyexgirlfriend

A post shared by Scott Michael Foster (@scottmfoster) on

 

Good answer. So, how does it feel being part of such a feminist show when so much of Hollywood’s sexism and misogyny is coming to light?

I mean I’m just glad to be part of a show that gets it, you know? They talk about issues that are important, and it’s really great to be part of something that doesn’t just make crude comedy or comedy that doesn’t really have a message, especially with mental health this season. So, I’m glad they’re actually using their voice for good.
Being such a socially conscious show, is there a topic you hope it covers soon?
I haven’t really thought about that. Like I said, they do more with mental health because of the stigma with the word “crazy,” and they cover it really well without giving too much away. They really delve into Rebecca’s mental health and why she acts the way she acts. To say someone’s just crazy is really not fair or accurate. There’s more behind it. So, they really get into diagnosis and stuff like that. There’s a reason she acts that way, and there’s something she can do to get help, which I think is important.

Your character has a lot of toxic masculinity. Is it weird playing a role like that or do you kind of pick up on it from guys you know?

For some reason, I’ve been cast as the kind of corporate asshole before. So, I don’t know if I give that vibe when I audition for things, but I don’t have a problem playing it. I actually think it’s cool to look at that kind of person and make fun of the idiotic things that people like that actually do, you know? So, I like it. I think it’s fun to play a part like that.

What’s it like working with Rachel Bloom, as both your costar and the show’s creator?

I mean, she’s awesome. Not only is she the star of the show, but she helps write the episodes, she writes the music, she produces and edits it, and she has to sing and dance. I mean, that girl doesn’t stop. She literally works all day, every day, and on the weekend when we’re shooting. Even when we’re not shooting, she’s just always working. So, it’s an inspiration for me to see someone who works so hard at something she really cares about, and rightfully so. She’s laying the work for it. So, it’s been inspiring to be close to that.

 

Never a dull moment with this cast. #sagaftrafoundation #crazyexgirlfriend

A post shared by Scott Michael Foster (@scottmfoster) on

 

You already had experience in music, right?

Yeah, I was in a band for a number of years in LA. And I did musical theater in high school. So, I’ve been singing since I was about 12. Not very well, but I’ve been trying.

How does performing the musical numbers on the show compare?

Well, this is actually really great because we get a little bit of time with the song and then we go into the recording booth. They make us sound really good. (laughs) We go in and sing, and they doctor us and fix it. And it’s funny because we don’t have a whole lot of time to record. We go in, and sometimes we’ll do it in half an hour, recording the song. We just go do it a few times, and they’re like, “Great, we got it.” And then they edit it together. So, I’m very thankful for the talented editors.

Is there anything else you have coming up?

I basically funded and produced this short film that my friend wrote and directed and I starred in. Actually, Pete Gardner, who plays Darryl Whitefeather in the show, he’s actually part of it too. We just finished that up and sent that out. Hopefully it will get the sort of reaction we want, and we’ll be making our own content from here on in. So that was sort of my first foray into producing.

 

The mid-season finale of Crazy Ex-Girlfriend airs this Friday, 8/7c on the CW.

First Images: Landmark Takashi Murakami Exhibition Is Coming to Vancouver in 2018

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It makes sense, culturally, that Pop Art’s two most famous progeny were American and Japanese, respectively. But as Keith Haring left this mortal world in 1990, it would be Takashi Murakami alone who would live on and realize the Warhol-like fame that was so much a “strategy” of the original movement (Warhol superstar Ultra Violet told BlackBook in 2011 that Andy’s real goal was “that when he walked down the street, he wanted people to say, ‘Here walks the most famous person down the street.’”)

Murakami is virtually that famous in Japan; but, partly by virtue of his collaborations with Marc Jacobs and Louis Vuitton (which began in 2002) he has come to enjoy such global recognition as to warrant blockbuster exhibitions of his work around the world (Paris, Bilbao, Doha). And the Vancouver Art Gallery will be the first to grant him that honor in Canada, when a spectacular, landmark survey of his oeuvre, charmingly titled The Octopus Eats its Own Leg, opens there on February 3 of next year.

The retrospective will greatly on focus on Murakami as a painter, and feature rarely seen early works from the 80s; it will also explore the influences of Japanese painting and Buddhist folklore on his work. But most excitingly for true devotees, the show will also flaunt a pair of exclusive multi-panel paintings created just for this exhibition.

The Octopus… will run through May 6, a perfect excuse to make a late-winter, early spring weekend excursion to Vancouver.

Here’s a sneak peek at what to expect.