Your Weekend Jams From ‘The Bling Ring’ Soundtrack

Sofia Coppola’s much-hyped upcoming flick The Bling Ring may be the second all-star-cast-plays-teenage-girls-doing-crimes this summer, but it’s the first based on a true story involving terrible reality show alumnae. And, from the tracklist released this week, it looks like the film will have a pretty excellent soundtrack.

Music supervisor Brian Reitzell has worked with Coppola before on other films with excellent soundtracks, including The Virgin Suicides and the Jesus and Mary Chain-tastic Lost in Translation. Joining Reitzell is David Lopatin, better known as Oneohtrix Point Never, who is in charge of the score. The two come together for the “Bling Ring Suite.” The musical stylings and selections of both will certainly have a chance to shine in The Bling Ring.

And, looking at the tracklist as is, the soundtrack includes some excellent weekend party jams, assuming your party really likes Kanye West and krautrock. Which is an entirely possible and workable combination. So let’s kick this Friday off with some key selections from the Bling Ring soundtrack, shall we? Have a good weekend, everybody!

Sleigh Bells – " Crown On The Ground"

Rick Ross (feat. Lil Wayne] "9 Piece"

Rye Rye (feat. M.I.A.) – "Sunshine"

Azealia Banks (feat. Lazy Jay) – "212"

Oneohtrix Point Never – "Ouroboros"

2 Chainz – "Money Machine"

M.I.A. -"Bad Girls"

Kanye West (feat. Rihanna) – “All of the Lights"

Ester Dean (feat. Chris Brown) – "Drop It Low"

Reema Major – "Gucci Bag"

Can -"Halleluwah"

Kanye West – "Power"

Klaus Schulze -"Freeze"

deadmau5 -"FML"

Brian Reitzell and Daniel Lopatin – "Bling Ring Suite"

Phoenix – "Bankrupt!"

Frank Ocean (feat. Earl Sweatshirt) – "Super Rich Kids"

[via Pitchfork]

See the Full Tracklist for Harmony Korine’s ‘Spring Breakers’ Soundtrack

One of the best things about Harmony Korine’s Spring Breakers is the music. And that’s not to say you’ll ever find me dancing alone in my room to Skrillex, but between his throbbing beats and Cliff Martinez’s haunting ambient score, the music works to entrance us into Korine’s hyper-real world in a way that creates a strong cohesion between sight and sound. Dropping March 12th, the soundtrack for the film features Gucci Mane, Waka Flocka Flame, Rick Ross, and Ellie Goulding alongside Martinez and Skrillex. Vibe gives us the full tracklist below that looks to fit the bill for a dirty dubstepping romp through Spring Break. But wait—where’s the Britney Spears?!

1. "Scary Monsters and Nice Sprites" – Skrillex
2. "Rise And Shine Little B***h" – Music by Cliff Martinez & Skrillex
3. "Pretend It’s A Video Game" – Cliff Martinez
4. "With You, Friends (Long Drive)" – Skrillex
5. "Hangin’ With Da Dopeboys" – Dangeruss with James Franco
6. "Bikinis & Big Booties Y’all" – Music by Cliff Martinez & Skrillex
7. "Never Gonna Get This P***y" – Cliff Martinez
8. "Goin’ In (Skrillex Goin’ Down Remix)" – Birdy Nam Nam
9. "F**k This Industry" – Waka Flocka Flame
10. "Smell This Money (Original Mix)" – Skrillex
11. "Park Smoke" – Skrillex
12. "Young N****s" – Gucci Mane (feat. Waka Flocka Flame)
13. "Your Friends Ain’t Gonna Leave With You" – Cliff Martinez
14. "Ride Home" – Skrillex
15. "Big Bank" – Meek Mill, Pill, Torch & Rick Ross (feat. French Montana)
16. "Son Of Scary Monsters" – Music by Cliff Martinez & Skrillex
17. Big ‘Ol Scardy Pants – Cliff Martinez
18. Scary Monsters on Strings – Music by Skrillex
19. Lights – Ellie Goulding

 

Rick Ross in Shooting-Related Rolls Royce Crash

Around 5 a.m. this morning, when everyone out and about is getting an early start or finally winding down a night of absurd revelry, a Rolls Royce that seems to have been carrying Rick Ross crashed into a building in Fort Lauderdale, Florida. Police reported shots in the vicinity at that time; apparently another vehicle “opened fire.”

Ross, a veteran rapper who last year scored a hit with his much-delayed fifth studio album, God Forgives, I Don’t, may be seeking forgiveness himself, as the gunman or gunmen who orchestrated this botched drive-by are still at large. He and the Rolls’ other passenger had asked for their personal information to be withheld from the public, but witnesses were not so cooperative.

The man has no shortage of industry beefs and odd legal troubles, from a running feud with 50 Cent to the discovery in 2009 of a dead body on his property. As recently as this past December, Ross was said to “shrug off” a video of death threats from a Chicago crew called the “Gangster Disciples”—even as he canceled tour dates. Looks like he’ll be laying low awhile longer. 

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Rick Ross, Fiona Apple, and Eight Other Artists Who Deserved a Best Original Song Nomination

The category for Best Original Song is always a bit of a mess. The songs are rarely judged on how they sound; the importance is, of course, how the song fits into the film for which it was written. This year’s nominees are representative of the usual fare. There’s the popular choice (Adele’s "Skyfall," which will likely win, as it should), the new song for the big-budget musical adaptation (the unnecessary "Suddenly" from Les Misérables), and then there are the forgettable tunes (I didn’t even know what Chasing Ice was before today, much less the song from it). It’s a shame, really, because there were plenty of good tracks included in the list of 75 eligible songs. Here are a few that probably will have a longer shelf life than "Pi’s Lullaby."

Karen O – "Strange Love" (from Frankenweenie)

Fiona Apple – "Dull Tool" (from This is 40)

Rick Ross – "100 Black Coffins" (from Django Unchained)

John Legend – "Who Did That To You" (from Django Unchained)

Sunny Levine – "No Other Plans" (from Celeste and Jesse Forever)

Arcade Fire – "Abraham’s Daughter" (from The Hunger Games)

The Bootleggers feat. Emmylou Harris – "Cosmonaut" (from Lawless)

Florence + The Machine – "Breath of Life" (from Snow White and the Huntsman)

Katy Perry – "Wide Awake" (from Katy Perry: Part of Me)

The Black Keys / RZA – "The Baddest Man Alive" (from The Man With the Iron Fists)

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Frank Ocean’s Track For ‘Django Unchained,’ Unsurprisingly, Lovely

Quentin Tarantino’s long-awaited Django Unchained hit theatres yesterday, and some of you may have spent your Christmas at the movies watching Jamie Foxx and Christoph Waltz on their bounty-hunting, wife-rescuing mission. So far, Django has enjoyed a pretty positive reception, four Golden Globe nominations and favorable reviews of its soundtrack, which features a varied bunch, including Rick Ross, Jim Croce, Ennio Morricone and, of all things, a posthumous 2Pac/James Brown mashup. Missing from the musical selection is one last gem, Frank Ocean’s ballad "Wiseman," which was written for the film but ultimately left off the soundtrack. 

As Tarantino explained in a statement on the release of the music from the film: 

"Frank Ocean wrote a fantastic ballad that was truly lovely and poetic in every way, there just wasn’t a scene for it. I could have thrown it in quickly just to have it, but that’s not why he wrote it and not his intention. So I didn’t want to cheapen his effort. But, the song is fantastic, and when Frank decides to unleash it on the public, they’ll realize it then."

And indeed, he was right. The public will. The song is now available for your listening pleasure, and it is indeed a beautiful ballad, with Ocean’s voice, as always, the standout in a sea of guitars and synths. For a movie that explores notions of motivation and action and good and evil and all those things, it would have been a fitting addition, at least thematically. 

Ocean doesn’t seem that upset about his song being left off the soundtrack, though. Over the weekend, he streamed "Wiseman" on his Tumblr, captioning it and Tweeting that "django was ill without it." Based on the rest of the soundtrack, it’s hard to imagine a place for it, but it’s worth a listen with or without the film attached. You can stream it there.

Rick Ross Drops F-Bomb In Tribute To Kids Killed By Newtown Massacre

That was wellmeaning, Rick Ross … but no.

Ross performed at Power 106’s annual Cali Christmas Concert in California last night, despite numerous other performances, premieres and concerts being rescheduled in light of the massacre in Newtown, Connecticut, that left 28 people dead. 

While onstage, Ross said "I wanna send all my prayers out to all the kids who lost their mothefucking lives in Connecticut. Amen. Amen. We will all rap for them. Put your hands in the sky," before performing a song.

I’m not sure that "motherfucking lives" is the best way to refer to six- and seven-year-olds who were shot multiple times each by a murderer.

But maybe I’m just being sensitive. 

Contact the author of this post at Jessica.Wakeman@Gmail.com. Follow me on Twitter.

‘Django, Unchained’: Now With 100% More Rick Ross!

With the holidays comes the time-honored end-of-the-year influx of crazy-hyped movies, and while many will choose to spend their Christmas Day ugly-crying for three hours to Les Misérables (no judgment!), there are other options. One of these is Django Unchained, the all-star Sergio Corbucci-inspired Spaghetti-Western-meets-Deep-South feature from Quentin Tarantino. Today the final trailer was released for the film, which stars Jamie Foxx as the title character, a former slave who joins forces with a bounty hunter (Tarantino favorite Christoph Waltz) to take out a gang and rescue his wife (Kerry Washington) from her brutal master, played by Leonardo DiCaprio with a sinister-looking facial hair arrangement. 

Not only does the new trailer give us a lot more gunfire and whole lot more of Leo DiCaprio looking particularly sinister (and drinking out of a coconut, which I did not know was fashionable in the early-to-mid 19th century) and a new track from rapper Rick Ross, "100 Black Coffins," from which we get much of the refrain (which is, as one might suggest, "I need 100 black coffins."). The rest of the Django Unchained soundtrack includes some gems new and old, including selections from Ennio Morricone, Jim Croce, James Brown, and 2Pac, and the catchy theme tune from Luis Bacalov and Rocky Roberts. Watch. 

Kreayshawn Opens Up About Fame, The Game, And Growing Up Punk

Kreayshawn is no stranger to controversy. The 22-year-old Oaklandite, who rocketed to fame with her 2011 viral smash "Gucci Gucci," has always had more detractors than fans. Whether she’s being celebrated as a sub-genre pioneer, trashed as a phony, championed by girls around the world, or panned by the blogosphere, one things for certain: she’s doing something worth talking about. 

The Group Hug tour, a nation-wide jaunt promoting her first LP, Something ‘Bout Kreay, pulled into Irving Plaza on Thursday. The result: one big room full of excited little girls. The show was fantastic, cute, and fun, like a revival of ‘90s Girl Power with more eyeliner and swearing. 

Having always found her oddly polarizing, I was interested to meet the girl who so famously called out Rick Ross for being a phony and dissed Nicki Minaj on her first mix tape. I was expecting someone brash, loud and opinionated. But who I met was soft spoken, thoughtful, and unaffected. Kreayshawn just knows her audience. The music she makes is for young girls to bounce to, not for Pitchfork to analyze. She has remained in many ways a positive figure for girls who are constantly subjected to the slutty party songs. They’re better off wearing a beanie and hoop earrings than trying to pull off Rihanna-sized shorts. You either get it or you don’t. Kreayshawn doesn’t care either way. 

We spoke with her backstage her before her set on her past, her new album, and everything in-between. 

What was it like growing up in East Oakland, and how “hood” was it?
It’s really ghetto, but at the same time there’s a sense of community. It’s not like everyone’s out to get each other. There’s the dangerous stuff like drugs, like pimps and hoes and gangs and stuff. If you’re trying to get into the wrong stuff it’s really easy to do that. 

Growing up in that setting, do you find it insensitive when people assume you’re a faker because you’re white?
Kind of. They don’t know what I’ve seen. They see a white girl and they say, "Oh she’s rich, her dad probably bought her a car," or some ridiculous shit, and it’s just not true. A lot of people that came from Bosnia look white as hell and over there they have nothing. It’s not fair to condense people into categories like that. 

You’re mom was in The Trashwomen. Was your house a punk house or did she keep it separate?
Oh yeah, it was like leopard-print everything, Elvis posters, Virgin Mary decals….

How do you think that influenced you in the long run?
It made it normal to be weird. Everything that I do is normal to me; anything that comes of weird or quirky to me is just normal. 

How did the transition from directing videos to rapping take place? Did you set out to become a famous rapper?
It just kind of happened. I had been making music forever, but I never made music with the intention of getting a record deal. I never thought of that. When it happened I was just like, woah. People are always like, "So, what did you do to get to this moment?" I don’t even know. It just kind of happened. 

This tour has a great line-up in that it seems to be pure you, like you basically brought your girlfriends on tour. Was this your decision? Was there any pressure to link up with a bigger act to ensure the success the tour?
My main goal was to have it be an all-girl tour. I saw Rye Rye before through watching M.I.A.’s stuff. Me and Chippy have known each other; I directed a video for her and she’s on my album. Honey Cocaine [is someone] I’ve always been a fan of. So yeah, it just happened that way. 

Your album released to less-than-ecstatic reviews, but it seems to me they’re just taking it too seriously. What’s you’re response to them, and how seriously do you take your work?
It’s just for fun. It’s always been my way of having fun. I’m the one who got signed for that kind of music, and Columbia was like, "Do whatever you want." I wasn’t really making the music to impress the blog community, because then all my fans would be like, "You’re boring now." There wouldn’t be lines of thirteen-year-old girls outside my concert; it’d be hip hop-conscious guys or something. 

You broke out really fast through the Internet, and through that you got a record deal. Do you feel popularity on the Internet’s sufficient enough to make it? Do people even need record deals any more?
It’s hard because on the Internet something is forgotten in 24 hours. A video might be cool and get a hundred thousand views, but in two days you’re like, "Complex tweeted my thing! Awesome!" and then, like… that’s it. But it’s all about personal levels. I’ve already exceeded my personal level of success. It’s more about how high you set your goals. 

Do you feel your extremely rapid rise to fame will affect the longevity of your career?
On my own, directing and stuff, I’ve been slowly building and releasing stuff online. I don’t know what my peak is, I don’t know if my peak happened already, or if I’m in it now, you know what I’m saying?

Do you think the total accessibility of your material hurt your album sales?
Yeah, that, and they only stocked the album at Hot Topic…

Yeah, what was up with that?
I don’t know. The label thought it would be a good idea or something. It sucks because my manager, he puts out records for all kinds of Bay Area artists, and he was saying I could have gotten more records sold knowing his connections at Amoeba and Rasputin and stuff—just local stores. So it just sucks because people still hit me, like my mom doesn’t have a copy… I just got a copy. And on top of that they only stocked five every time. So people would be like, "Oh, I finally made it to Hot Topic, but it was sold out." 

Fame now seems to be about dissolving the barrier between you and your fans. Does it ever get tiring, constantly sharing yourself with the world like that?
Yeah, I’ve kind of fallen back from being a constant presence because that’s how I’ve gotten myself in trouble a lot with shit-talking or beef where it’s just misunderstandings on the internet. 

Is the Rick Ross beef still a thing?
No, definitely not. (laughs)

Your new album is more poppy than previous releases. This seems to be an emerging trend in rap in general. Where do you see the intersection of rap and pop laying, and is it dissolving?
For me, every song was supposed to be a popular version of a sub-genre that I like. There’s a New Orleans-inspired track, but it’s, like, the safe version. A lot of my stuff is dancier because I was working with one person at the time and he loves dance breakdowns. I’m all down for the dance breakdown until I’m on stage and I can’t dance and I’m just like, heyyyyyyyy

With this current intersection of hipster culture, pop music, total materialism, and rap, do you think gangsta rap is even being made anymore?
It is somewhere, for sure. Maybe the definition of gangster music might have changed also, but there’s always going to be everything being recorded. 

Being so West Coast, how do you feel about New York? 
I’m a real California girl. It’s really hard for me; I get anxiety in the streets. But driving around right now, it’s super nice, all crispy and wintery. It kind of reminds me of San Francisco, but times a million. 

Photo by Brooke Nipar

BlackBook Tracks #8: Gift Raps

I originally made this for my friend’s mixtape club under the theme “gift raps.” It is exactly what it says it is.

Le1f – “Wut”

Underground rap’s summer anthem of 2012 has been on repeat for weeks.

Iggy Azalea – “Murda Bizness” (ft. T.I.)

The latest party anthem from the Australian upstart shows off her undeniable star power. It’s also accompanied by one of the year’s best music videos so far, a spoof of the child pageant world.

Kanye West – “Monster” (ft. Jay-Z, Rick Ross, Nicki Minaj, Bon Iver)

Remember those days when Nicki Minaj was just doing guest verses and had yet to do anything that people considered disappointing?

Angel Haze – “Werkin’ Girls”

NYC rapper Angel Haze is Universal’s toughest new signee, and this cut from her latest release Reservation shows why.

Das Racist – “You Can Sell Anything”

#RappersThatSpitTheTruth isn’t trending on Twitter any more, but this is still my pick.

M.I.A. – “URAQT”

Have a throwback to 2005 to remember that this bad girl has always done it well.

A-Trak – “Ray Ban Vision” (ft. CyHi The Prynce)

This hilarious/infectious track was a favorite in fall 2010 and still sounds fresh, thanks to the ever-reliable A-Trak’s amped-up production.

Dominique Young Unique – “Gangster Whips”

This Florida-based rapper has remained fairly underground for years now, but she’s slowly but surely going to make her way out.

Yelawolf – “Lick The Cat” (ft. Diamond)

This song contains the line “White boys eat pussy like a sandwich.” That is all you need to know about it.

Azealia Banks – “Fuck Up The Fun”

If you haven’t already, listen to this track from Azealia Banks and Diplo and you’ll immediately know why our friends at Vibe put this dream team on their cover.
 

Kitty Pryde – “Orion’s Belt” (ft. RiFF RAFF)

Resistance is futile. Recent Mad Decent signee RiFF RAFF is one of the most bizarre, compelling figures in pop culture today, and Kitty Pryde’s honesty and self-awareness is inherently likeable.