The Who’s Pete Townshend will only smash a guitar again to raise money for charity

The 74-year-old guitarist and his band mates – comprised of Roger Daltrey, John Entwistle, and drummer Keith Moon – were known for their hedonistic behaviour which included smashing their instruments and wrecking their stages, but now that he’s older, Pete has said he’ll only cause damage to another guitar if it helps to raise money for charity.

He said: “I haven’t smashed guitars for a long time, for me it was an expression of youth. I smashed a guitar on David Letterman and it auctioned for $168,000. I am prepared to smash a guitar for charity.”

As well as instruments, The Who were no strangers to destroying hotel rooms at the height of their career.

Pete also spoke about the longevity of his career, as he said he’s “shocked” that his music has remained meaningful for decades.

He added: “For Roger Daltrey and me, we are both shocked that our music has lasted so long and still has consequence and meaning. Roger wanted to use an orchestra on the tour, which I was suspicious of.”

The ‘Pinball Wizard’ hitmaker reflected on the music industry today, and said that whilst music these days seems to be “two polarised strands”, The Who were one of the first bands to “straddle both” sections.

Speaking to BBC Radio 2, he said: “Music seems to have gone into two polarised strands. One of which is music that is recorded with synthesisers and what you can do on a computer. The other is from bands like The 1975 using more traditional rock and roll methods. Our stuff straddled both, we were one of the first rock artists to use synthesisers.”

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Joker is the most profitable comic book movie of all time

Put on a happy face, because Joaquin Phoenix’s Joker is the most profitable comic book movie of all time.

The villainous origin story had a modest (by studio standards) budget of $62.5 million, and a global gross of $957 million as of Friday evening, according to Forbes. That means it has made more than 15-times its budget, surpassing the record previously held by Jim Carrey’s The Mask ($351 million from a $23 million budget). Currently, the third-most profitable comic book movie is Venom, the fourth is Batman, and the fifth is Deadpool. 

Of course, this news somewhat depends on how you define ‘profitable.’ For instance, the highest-grossing comic book movie of all time is Avengers: Endgame. But with a bloated budget of $356 million, and a mere $2.798 billion in box office, Endgame only made 7.9-times as much as it cost. According to the way Forbes defines ‘profitable’ — in terms of return on investment — that makes Endgame only about half as profitable as Joker. The Avengers will no doubt be crying into their billions.

(Read: Who’s the Better Joker: Heath Ledger or Joaquin Phoenix?)

During its record-breaking run, Joker has had the kind of wild promotional cycle that would make Kanye West proud. From Joaquin Phoenix’s stormy interview, the concerned letter to Warner Bros. written by the families of school shooting survivors, director Todd Phillips lashing out at the “far left” and “woke culture”, the revelation that Jared Leto tried to kill the movie, and the news that the fictional villain would be paying royalties to real-life pedophile Gary GlitterJoker has scarcely been out of the headlines. It’s popularity even extended to pornography, where it was one of the most-searched genres on Pornhub. In spite of — or more likely, because of — these controversies, Joker is laughing all the way to the bank.

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Jasta unleashes new songs featuring Trivium’s Matt Heafy and Killswitch Engage’s Jesse Leach: Stream

Jamey Jasta is set to drop The Lost Chapters – Volume 2, his third solo album under the Jasta moniker. The Hatebreed frontman has unveiled tracks from the collaborative LP — “When the Contagion Is You” featuring Trivium singer Matt Heafy, and “Strength to Draw the Line” featuring Killswitch Engage vocalist Jesse Leach.

Like he did with his previous solo albums, Jasta recruited a cast of heavy metal stalwarts to guest on Volume 2, including Max Cavalera of Soulfly, George “Corpsegrinder” Fisher of Cannibal Corpse, and Kirk Windstein of Crowbar, among others. It also marks the first new music from Jasta’s solo project since its prequel, 2017’s The Lost Chapters.

As he did on the first Lost Chapters album, which closed with the Dio-era Black Sabbath song “Buried Alive”, Jasta closes Volume 2 with another metal cover, taking on Megadeth’s classic “Holy Wars… The Punishment Due”.

(Read: Jamey Jasta Feuds with CHVRCHES Over Festival Lineup)

“It was overdue for another solo release since the last one had come out in 2017,” Jasta said in a press release. “The timing for new music is perfect. It was important to me for this new collection to have the compilation feel of the first one while maintaining its catchiness and dynamics.”

Check out the tracklist for the full list of collaborators and listen to “When the Contagion Is You” and “Strength to Draw the Line” below.

The Lost Chapters – Volume 2 arrives December 13th, with pre-orders available via Jasta’s online store.

The Lost Chapters – Volume 2 Artwork:

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Chanel West Coast ‘surprised and disappointed’ by Sharon Stone’s lawsuit

Rapper Chanel West Coast has responded after Sharon Stone sued her over her 2018 track Sharon Stoned.

According to a lawsuit obtained by The Hollywood Reporter, the Casino actress alleged the rapper is trying to capitalise on her “extraordinary level of popularity and fame” by repeatedly mentioning her name in the lyrics.

Her complaint alleged Chanel, real name Chelsea Dudley, “gratuitously repeats the name ‘Sharon Stone’ 33 times and the name ‘Sharon’ 99 times,” during its lyrics.

Following news of the lawsuit, Chanel released a statement admitting she was “surprised and disappointed” that Stone had decided to take legal action.

“Sharon pulled out of participating in the music video the day of the shoot after months of conversations, in-person meetings with myself and the director, two dance rehearsals and even had her own ideas that she shared with myself and my team for the collaborative on the video,” she said. “To be frank, the entire production team and myself were surprised when she walked off. Nonetheless, the shoot proceeded. I am an artist who was expressing myself through music by making a song and video about someone whom I greatly admire. I only had the best intentions to create something visually amazing that highlights Sharon Stone as well as myself and for that I have done nothing wrong.”

She also responded on her Instagram Stories, sharing a screenshot of Rolling Stone’s article about the legal drama and writing: “Lmao (laugh my a*s off) just another day in my life.”

Stone is seeking an injunction preventing Dudley, who first found fame in the MTV reality series Rob Dyrdek’s Fantasy Factory, from using her name or image and is demanding punitive damages and any profits the rapper earned as a result of the song and video.

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Modestep – Evolution Theory

The late 00s saw everyone – clued-up, layman or otherwise – form an opinion on dubstep. A genre turned gimmick, many said, replicated by everyone from Britney Spears to what’s left of the Sugababes.

Such mainstream focus often heralds the winding-down of a genre, but Modestep are ready to test that theory. The London quartet is stood with fists clenched, brandishing a brave new approach that not only breathes life into the concept, but carries an element of auteurship: a Modestep song always and only sounds like a Modestep song.

The live facet that Modestep pride themselves on isn’t consigned to just the stage itself. From the outset, instrumentation and performance plays a crucial role in debut album Evolution Theory.

Dubstep doesn’t even feel like the foundation of their sound – it’s almost a by-product of such intensive experimentation. Somehow, if an element of every genre is thrown into the mix, its presence is an inevitability.

For those looking for it, the fundamental chestnuts of the genre are present. But the discordant, hiccupping squelch thankfully isn’t left to its own devices too often – for the most part, it plays bed to a selection of gritty riffs, engrossing vocal melodies, or quirky synth runs.

And it’s a pretty effective mix. The emergent, adventurous Another Day proves the point nicely. The title track begins as a sparse, piano-led pseudo-ballad, before swelling into atmospheric RnB, overtaken by a metal crunch and ending life as a rapid, industrial thumper.

Such tracks are testament to Modestep’s unique give-away-the-farm approach – why stick with one idea when 11 will do? But even within that, there’s a remarkable restraint. They allow tracks to gather momentum organically, each song carving out a journey all of its own.

The broad, stuttering beats do fatigue the listening experience eventually, but music this animated and unrelenting demands a very specific ear in a very specific setting. And the vivacious musicality of Evolution Theory points towards that setting being the live arena.

The stage is where Modestep come to life, and Evolution Theory sets them up to do that with some considerable aptitude.

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Joe Pesci Announces New Album Still Singing

Joe Pesci appears in the new Martin Scorsese film The Irishman, which comes to Netflix on November 27. More importantly, Joe Pesci has announced a new album called Pesci…Still Singing. The album arrives two days after the film’s release (on November 29), and it features Maroon 5’s Adam Levine. At the midpoint of the album, Pesci and Levine cover “My Cherie Amour.” If you want to hear what Pesci’s voice sounds like, listen to “Baby Girl”—which features Levine and Arturo Sandoval—below.

Still Singing arrives 21 years after his previous album, 1998’s Vincent Laguardia Gambini Sings Just For You. It’s been 51 years since he released his debut album, 1968’s perfectly titled Little Joe Sure Can Sing!.

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David Gray announces White Ladder 20th anniversary tour

David Gray will mark the 20th anniversary of his album White Ladder by embarking on a 2020 North American summer tour.

The 24-date outing takes place July and August, including stops at Budweiser Stage in Toronto; Red Rocks Amphitheatre in Morrison, CO; and Greek Theatre in Los Angeles. Each show will feature a full performance of White Ladder along with greatest hits.

Tickets to the upcoming dates can be found here.

Along with the tour, Gray will release a 20th anniversary edition of White Ladder on February 14th. The 2xCD or 4xLP set will include a new remaster of the album, plus previously unreleased rarities, B-sides, and demos. Pre-orders are now ongoing.

David Gray 2020 Tour Dates:
03/20 – Liverpool, UK @ M&S Bank Arena
03/21 – Glasgow, UK @ SSE Hydro
03/22 – Cardiff, UK @ Motorpoint Arena
03/24 – Bournemouth, UK @ Bournemouth International Centre
03/26 – London, UK @ O2 Arena
03/27 – Leeds, UK @ First Direct Arena
03/28 – Birmingham, UK @ Resorts World Arena
03/31 – Belfast, UK @ SSE Arena
04/03 – Dublin, IE @ 3Arena
04/04 – Dublin, IE @ 3Arena
03/07 – Antwerp, BE @ Lotto Arena
04/08 – Amsterdam, NL @ AFAS Live
04/09 – Cologne, DE @ Palladium
07/13 – Lewiston, NY @ Artpark Mainstage Theater
07/14 – Cleveland, OH @ Jacobs Pavilion at Nautica
07/16 – Toronto, ON @ Budweiser Stage
07/17 – Rochester Hills, MI @ Meadow Brook Amphitheatre
07/18 – Chicago, IL @ Huntington Bank Pavilion at Northerly Island
07/20 – Milwaukee, WI @ BMO Harris Pavilion
07/23 – Morrison, CO @ Red Rocks Amphitheatre
07/24 – Salt Lake City, UT @ Sandy Amphitheatre
07/25 – Boise, ID @ Ford Idaho Center Amphitheater
07/28 – Troutdale, OR @ McMenamins Edgefield
07/31 – Los Angeles, CA @ Greek Theatre
08/01 – Berkeley, CA @ Greek Theatre
08/02 – San Diego, CA @ Cal Coast Credit Union Open Air Theatre at SDSU
08/06 – Austin, TX @ ACL Live at The Moody Theatre
08/07 – Irving, TX @ The Pavilion at Toyota Music Factory
08/08 – Kansas City, MO @ Starlight Theatre
08/10 – Nashville, TN @ Ascend Amphitheatre
08/11 – Atlanta, GA @ Cadence Bank Amphitheatre at Chastain Park
08/13 – Charlotte, NC @ Charlotte Metro Credit Union Amphitheatre
08/14 – Raleigh, NC @ Red Hat Amphitheater
08/15 – Vienna, VA @ Wolf Trap
08/18 – Brooklyn, NY @ BRIC Celebrate Brooklyn! Festival at Prospect Park Bandshell
08/20 – Philadelphia, PA @ TD Pavilion at the Mann
08/21 – Boston, MA @ Rockland Trust Bank Pavilion

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The Who’s Pete Townshend says his ‘rock and roll’ antics made him feel like a ‘prat’

The ‘Baba O’ Riley’ guitarist – who was notorious for smashing his instrument to pieces on stage – has admitted he could be “pretty snobby” when it came to his and his bandmates’ wild ways, and he actually felt that when he and late drummer Keith Moon used to throw television out of hotel windows, it was a real “waste of time”.

In an interview with The Big Issue magazine, the 74-year-old musician confessed: “I was always pretty snobby about rock and roll.

“As the television went through the window, I would look at Keith Moon and go, ‘what a f***** prat. What a waste of time’.

“Then, two or three times I did the same thing and I would think, ‘what a f****** prat’.”

However, the former arts student – who is one of the two only surviving members of the iconic rock band, along with frontman Roger Daltrey – admitted that he wouldn’t have changed their instrument-thrashing days, because it’s how he made people “listen” to him.

He added: “I was in it for the art.

“I felt we should confine our antics to the stage.

“Getting into auto-destruction was straight out of art college.

“People still say that I should never have smashed instruments.

“F*** off. It is how I got you to listen to me.”

The ‘My Generation’ hitmaker also admitted that he feels like his “generation”, of “the hippy era” in the 60s, could have used their “power” to achieve greater social changes, but instead they turned to psychedelic drugs to block out feeling like they “had nothing to live for”.

He explained: “My generation felt disenfranchised.

“That is a complex word for feeling like we had nothing to live for.

“It made us not so much angry as loose.

“We were loose-living. And when psychedelic drugs and more importantly the pill came along, away we went.

“Then we took power. But I think we misused the power to a great extent. The hippy era could have turned into something much better than it did.”

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Boards of Canada – Music Has the Right to Children

Music Has the Right to Children is the moment when Boards of Canada – Scottish brothers Marcus Eoin and Mike Sandison – stepped free of the electronic underground and began their relationship with wider audiences.

The 1998 album wasn’t the duo’s first – 1996’s Boc Maxima, a super-limited release through their own Music70 label, ran to over 60 minutes. But it saw such a restricted physical run that Music Has… is deemed the group’s de facto debut.

Boc Maxima and its surrounding EPs, 1995’s Twoism and 1996’s Hi Scores, heavily inform this 17-tracker (expanded to 18 on subsequent reissues). Music Has… features no shortage of older material brought up to date – Smokes Quantity first appeared on Twoism.

But Music Has… is better than a mere summary-to-date of Boards of Canada’s music. It works as a brilliant album in its own right, past work reshaped to suit the pair’s (then) present creative mindsets. It doesn’t hurry its way through an hour-plus run time, but never does a track outstay its welcome.

These are deliciously down-tempo arrangements, which, when allowed to stretch to six minutes (An Eagle in Your Mind, Pete Standing Alone), lock the listener into a deep and fantastical daydream.

Appealingly analogue tones caress clinical circuit-board beats; vocal samples slip between bars, beckoning one to journey deeper into the mix. At its most enveloping – Turquoise Hexagon Sun is a chiming delight; Open the Light an ambient amalgam of twinkles and drones – one may hope the dream never ends.

Music Has… occasionally shows its age, exhibiting a handful of trite trip-hop motifs. These skittering, scratchy moments, like the jittery turntables of Sixtyten, are still very accomplished affairs. But they don’t transcend the era of their inception.

Overall, though, Music Has… is a vital piece of electronica history. Its makers sat easily beside Warp stable-mates Squarepusher and Aphex Twin on cursory evaluation; but their approach has always been more oddball than most peers.

A critical hit – nostalgic and at one with nature, yet resolutely future-facing – Music Has… set the scene for Boards of Canada’s later successes. 2002’s Geogaddi reached 21 on the UK album chart, a tremendous result for music that, in the grand scheme, orbits planet pop at a considerable distance.

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Rivers Cuomo and Andrew Yang sing “Say It Ain’t So” at campaign rally: Watch

On Friday, Weezer frontman Rivers Cuomo played an Andrew Yang political rally in Des Moines, Iowa. For the event, dubbed Yangapalooza!, Cuomo was joined by Weezer bassist Scott Shriner. Together with a drummer, they performed a set divided between old Weezer favorites and covers from 2019’s The Teal Album (via Pitchfork).

Cellphone footage captured snippets of “No Scrubs”, “Africa”, “Take on Me”, as well as Weezer classics like “Buddy Holly”, “Island in the Sun”, “Undone – The Sweater Song” and “Beverly Hills”. For “Say It Ain’t So”, Weezer was joined by Andrew Yang himself. The presidential hopeful, a self-identified “ex-goth,” danced in place and sang along with the band. Check out some clips below.

At one point, Rivers Cuomo said, “Yang gang in the house,” but otherwise offered no explicit endorsement (the implicit endorsement, of course, is just showing up). Cuomo previously donated money to the Yang campaign.

Yang is hardly the first candidate to pick up a celebrity endorsement. By our subjective count, the leader in that category is Bernie Sanders. Just last week Jack White came out in support of Sanders, joining Cardi B and Killer Mike in endorsing the Vermont Senator.

The same day that Cuomo played Yangaplooza!, he shared “Backflip”, the theme song to Netflix’s Green Eggs and Ham. Next spring, Weezer is expected to drop their newest album Van Weezer, and next summer they’re embarking on the “Hella Mega” tour with Green Day and Fall Out Boy. Tickets are available here.

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