This morning, the band dropped in Big Morning Buzz Live. Performing “Never Go Back,” the first single off of their fantastic The Lion the Beast the Beat. The song, as Potter has explained, was written with The Black Keys‘ Dan Auerbach in 45 minutes and is “one of those great rock and roll moments that I’ll never forget.”And probably neither will we, thanks to Potter’s cooly powerful vocals and those almost dangerous sounding guitars. Alive with rock and roll and glamor, their performance has us amped for the weekend when we will never go back to work no more (until at least Monday).
And tonight, you’ll want not to missVH1 Storytellers: Grace Potter & The Nocturnals when it premiers tonight at 11 p.m. ET/PT. Check out the sneak-peak of them playing “Never Go Back” below and you’ll see why.
Every time Madonna releases a new album and subsequently tours in support of it, the following is sure to happen:
Somewhere in the world, a Madonna video is banned; a political/religious statement made by Madonna is denounced by a political/religious organization; Madonna’s age and/or overly fit arms are critiqued by a blogger who was still in grade school when Ray Of Light was released; and Madonna’s breasts will cause some type of uproar.
In honor of the latter, here are the Top 10 moments when Madonna’s boobs made news:
10. Desperately Seeking Susan (1985)
Just because the film was tamed down to cater towards Madonna’s teenage fan-base doesn’t mean the kids weren’t given a glimpse of Madonna’s soon-to-be-headline-grabbing breasts. While eating cheese curls on the pool-deck, Madonna wears a see-through bra.
9. Body Of Evidence (1993)
Madonna’s breasts star in this erotic rip-off of Basic Instinct as fans uneasily watch their favorite pop-star pour candle wax on William Dafoe’s nether regions.
What’s a Twitter beef when you have the camps of two superstars like Chris Brown and Drake ready to go to battle for their boys? Wednesday night’s brawl in NYC that resulted in Brown’s chin gash, his security guard’s head cut, an innocent bystander hospitalized and a bunch of broken glass is turning out to be one huge messy headache. As details continue to unfold, Drake maintains his innocence claiming he was on his way out of the club when the fight broke loose. Meanwhile, TMZ reports Chris Brown is talking with New York Police Department detectives about the incident. Due to the physical evidence Brown has he very well may have a case against Drizzy Drake. Brown’s attorney, Mark Geragos, presented evidence to the NYPD Thursday night that Meek Mill and Drake were the aggressors. But Brown released Meek Mill of any wrongdoing with a tweet that has since been deleted from Brown’s timeline. According to TMZ, Brown spoke with detectives in an undisclosed location on Thursday. And now the snitching accusations have begun.
A quick search of “Chris Brown snitch” on Twitter yields a range of responses from “Chris Brown Is A Snitch: If I learned anything from The Wire it’s don’t be snitchin’” to “So not only is Chris Brown a woman beater, he’s a snitch too? Yo can we be done w this cat already?” Sigh freaking sigh. The “snitch” label is not surprising considering the “Stop Snitching” campaign that has been popularized by hip-hop. It’s street code ethics. But not really.
Although the media oftentimes inaccurately portrays the “stop snitching” mantra as a code in the black community that protects criminals, it’s a bit more complex. More than anything the anti-snitch notion hails from blacks long turbulent history and rightful mistrust of the police. It’s not that people simply want to protect criminals, it’s moreso that certain communities feel the police cannot protect them and aiding police may be their death sentence.
That begs the question: is Chris Brown a snitch? No, no and no again. Based on the facts—a bottle was thrown by someone in Drake’s entourage and Chris Brown was hit in the chin with said bottle— we can gather Brown was assaulted resulting in an injury. When normal, rationale people are assaulted they tend to call the police and file a police report. It’s really that simple. For those that believe he’s breaking some type of code, what would you have him do? Certainly people don’t believe two rich superstars should take matters in their own hands and perpetuate more violence, right? Right?
Azealia Banks can now add equestrian to her list of skills. Her three day Twitter hiatus resulted in a cowgirl horseback riding Banks in the Rankin directed video for “Liquorice.” Banks is solo as she wanders through the desert with her beautiful horse. Wild Wild West meets Harlem in the scenic backdrop of mountains, grass and woods. Banks owns her inner cowgirl with her pistol, rapping in all black next to her black horse. She plays up just the right amount of sexy yet playfulness to make the guys go gaga over her liquorice. Read more…
The screaming (and crying) fans who spent days camped out in Rockefeller Center were well rewarded this morning when Justin Bieber showed up on the Today Show stage to preform a new favorite, an old favorite, and a soon-to-be favorite. The audience loved it all.
Backed by a swarm of dancers and wearing a baseball tee, a hooded-vest (Bieber staple), and a nice looking pair of black and white high tops, Biebs hit the stage with his current single “Boyfriend.” Like he did at the BET Awards, it looks like he relied pretty heavily on the backing track for some of song’s the harder-to-hit notes. No bother, though, the Bielibing audience was thrilled enough to have their boyfriend there, and for a lucky few in the front row, within arm’s reach.
Have you ever discovered a song that you’re certain you’ve never heard before but, at the same, feels like something that you have loved as long as you can remember? 24-year-old British troubadour Michael Kiwanuka‘s debut album, Home Again, is chock full of gems like this, numbers that are best defined by the word “timeless.” His sound lies somewhere between the mellow soulfulness of Bill Withers and the plaintive, slightly melancholic sound of Nick Drake, and he turned up at Manhattan’s Highline Ballroom for a sold-out show last night, just days removed from a successful appearance at Bonnaroo.
As anyone who has ever attended a concert in the Big Apple will attest, New York City audiences can sometimes be rather standoffish and easily distracted, filled with people standing with their arms crossed and “impress me” expressions on their faces. However, from the very moment that the opening chords of “Always Waiting” played through the sound system last night, the Adele-approved Michael Kiwanuka — he opened for her on tour in the U.K. last year — held the audience’s rapt attention. His music never quite veers into a groove that one would describe as uptempo, but don’t misconstrue the lack of a high BPM for something that’s boring. His voice is the kind that envelops you in a warm embrace, and his skilled backing band often extended songs that hover between three and four minutes on wax into six to eight minute epics, replete with jazzy, jammy sonic flourishes. And to that the richness of his lyrical content, a great deal of which involves pleas directed simultaneously towards both himself and a higher power (“Lord, I need loving” on “Tell Me A Tale”, “Oh Lord, I’m getting ready to believe” on “I’m Getting Ready”), and you have yourself all the ingredients for a mesmerizing and memorable evening.
Michael Kiwanuka may indeed be a brand new artist, but if last night’s moving performance was any indication, his career has a strong chance at being as timeless as his sound.
Shortly after Charlene Kaye took the stage as the opening act of StarKid‘s performance at Roseland Ballroom on Sunday evening —the final date of their “Apocalyptour”— she addressed her audience of 3,500. “It’s the end of the world,” she told them. “And you get to experience it with us.” The crowd erupted as Kaye continued playing her 45-minute set, a loud and buoyant assortment of songs that showcased her powerful voice and magnetic stage presence. Apart from a poorly conceived request for her audience to kneel down and jump in unison (an act that seemed to cause more disgruntlement than enjoyment), she held a tight grip on the crowd. Her set ended with “Animal Love I,” an electrifying anthem (and the best song of the entire evening) that seemed fitting for a theater of people who had been told to expect end of the world.
But was it really the apocalypse? As someone who knew almost nothing about StarKid upon entering the venue that evening, I couldn’t be too sure. The thousands of screaming children, parents who weren’t sure how to deal with the noise, and stage filled with good-looking performers in complimentary costumes featuring varying levels of thigh exposure felt like some kind of terrifying trifecta that could only mean certain death.
Fortunately for the crowd (and to a lesser extent, me), the world did not end after Charlene left the stage, and the Apocalyptour continued as the remaining performers of StarKid began their show. The minimal and vaguely Incan set design was, like every other element of the show’s construction, merely a method of threading disconnected StarKid songs together. The show’s framing device featured them as archeologists who encounter an ancient god of “chaos, death and musical theater” hell-bent on destroying the world. To dissuade him, they perform selections from their repertoire, including pieces from A Very Potter Musical, Me and My Dick, and Starship. A set list that moves from songs about penises to ones about Hermione Granger is objectively weird, but the StarKids (all former students of the University of Michigan’s School of Music, Theater & Dance) have an impressive grip on writing and, though lyrically all over the place, that persistent musical theater tone helped tie every dick and Potter song together. Read more…
Surely you’ve noticed: Best Coast frontwoman and hipster clothierBethany Cosentino loves her some Los Angeles. And in the new video for “The Only Place,” directed by Ace Norton, she and guitarist and Best Coast other-half Bobb Bruno shows us exactly why.
For starters, as she sings in the title-track to Best Coast’s well-received The Only Place, the video contains multiple references to the ocean, babes, the sun and waves. Those things exist on both coasts, though, so it’s the details that make L.A. is the true “Only Place.” Details like the bunny rabbits that roam the remnants of house parties and the outdoor couches; the watermelons and the blenders readily available for blended beverages; the troops of cheerleaders and the pyrotechnic bicycles and guitars. And everyone gets a matching “Best Coast” emblazoned jean jackets. (Just kidding, only Consentino and Bruno get those. But an East Coast girl can dream, can’t she?) It’s to these sun-soaked, oddball adventures that this love song sings.
Earlier this year, Cosentino told us that this song was inspired by a bout of homesickness. As she explained: “‘The Only Place’ is supposed to mean my bedroom, my home, Los Angeles, California. It’s a place where I feel the most comfortable and confident. I wanted to make a record that reflected that this place is my safe place, and all these songs that are written about more darker, kind of lonely feelings, those all go away as I get back to this only place.” And after watching this video, how could you blame her?
If there is one thing that is certain of the ’80s, it’s that we never had to worry about a shortage of hair bands. Big hair, makeup, tight pants — sometimes even tight LEATHER pants — we all know a good hair band when we see one. Jim Florentine, host of That Metal Show, stopped by VH1’s Big Morning Buzz Live today to help sort out the Top 5 Hair Bands of the ’80s. Here is the list that they came up with:
5. Def Leppard. If you had a pulse in the ’80s or have ever been to a strip club (OR maybe even thought about taking up stripping as a profession, we don’t judge) you probably know the chorus of their iconic song “Pour Some Sugar On Me.” Let’s be real, EVERY TIME you hear this song you have to fight the urge to “take a bottle, shake it up” and of course sing “Pour Some Sugar On Me” at the top of your lungs. This iconic song came off their 1987 album Hysteria that sold over 20 million copies to date and spawned six hit singles. The band is still touring and STILL rocks to this day. Read more…