Jon B’s official music video for ‘Don’t Talk’. Click to listen to Jon B on Spotify:
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Lyrics:
Baby I had to stop for a second on the balcony
Scopin’ you down, you’re lookin’ fly to me
All dressed up, and buying your own drinks
And that ain’t right
Not that you can’t handle it on your own
But you’re too damn fly to drink all alone
Can I come bubble with you?
To you – I’mma make a toast, come on
Don’t talk
Baby just move with me
Take a sip
Kind of got you feelin’ fizzy
It’s alright, so rock with me
If it’s alright with you, oh baby
Marvel Reveals New Stills From The Falcon and the Winter Soldier
The Falcon and the Winter Soldier’s premiere date is fast approaching, and Marvel continues to pull back the curtain on Sam and Bucky’s next adventure in the MCU. The studio (via ComicBook.com) has just released 10 new photos from the upcoming series. You can check them out for yourself in the gallery below.
Not surprisingly, most of these shots highlight the title characters (sometimes together, sometimes on their own). Among these are better looks at Bucky’s new cybernetic arm, which trades in the sterling silver of previous MCU escapades in favor of a black and gold motif. We also see new stills of Sam Wilson with Captain America’s shield, one of which features him wearing a suit and tie (which, admittedly, isn’t the best outfit to practice shield-throwing with).
However, other images feature some of the series’ supporting players. One shot in particular shows Sam and Bucky fighting alongside Emily VanCamp’s Sharon Carter, who returns to the Marvel Cinematic Universe for the first time since Captain America: Civil War bowed in 2016. Additionally, there’s a new behind-the-scenes candid of Anthony Mackie, director Kari Skogland, and actress Adepero Oduye. Until now, Oduye’s role on the series has been a mystery. But the photo’s description indicates that she’s playing Sarah Wilson, Sam’s sister from the comics. Unfortunately, this new batch doesn’t include any additional shots of Daniel Brühl’s Baron Zemo or Wyatt Russell’s U.S. Agent.
The Falcon and the Winter Soldier hits Disney+ on March 19.
What do you think of these latest images from the series? Share your thoughts in the comment section below!
Recommended Reading: Captain America Vol. 1: Winter Soldier Ultimate Collection
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Industrial/doomcore outfit known as Post Death Soundtrack released their epic, politically charged and genre-pushing LP It Will Come Out of Nowehere in 2019. For the Canadian duo, it represented an expansion of their sound into even more obscure electronic territory. with lashings of halftime trap, breakbeat and trip hop. Now they’re expanding even more, having plucked once of the most intense tracks from that album, “Pathless Land” and commissioned two remixes that not only change the style of the dramatic track, but create entirely differetn tracks themselves.
The original of “Pathless Land” seems like quite a sparse track, with its vintage rave intro and nine-note piano accompaniment but it’s sound designed to create anticipation and a definite mood as the track builds slowly but never quite peaks.. It’s pretty much all mood, in fact, as it cuts off with not so much as a build or drop and leaves most listeners wanting more. Listening to this. most EDM fans can easily see why “Pathless Land” was just aching to be remixed.
By contrast to the original, original, both remixes of “Pathless Land” are designed to be songs in the more traditional sense, though both still capture the mood and intent of the track. The “Lit Beacon” mix is by PDS producer Jon Ireson himself and teases a little more rock out of the track. The original has some campfire sound effects and it seems Ireson expanded on this with a sort of country/folk meld of guitars. At first it seems like the track is meant to have of old west vibes but once Steve Moore’s vocals come in, the song once again seems stuck out of time; it’s archaic, arcane and would fit in around any campfire: ancient Nordic Viking, aboriginal, old west…it doesn’t matter. With a completely different musical arrangement, that timeless, tribal and intense vibe is still there.
The “Sovereign” mix, done by Portland doom artist Casey Braunger of Alltar and He Is Me fame, is more in line with dance music. Its intro starts out very ravey, indeed, and then brings in a distorted version of the original mix’s synth as the rave sample helicopters over the rest of the bars. The drop, as it were, is long and sobering as the track launches into an industrial breakbeat which gets more and more complex the deeper the listener gets into the track.
The vox on this mix is done mainly as a break to really give Moore’s vocals the space they deserve. The build into the next set of beats takes over two minutes but when they finally launch in all their doomcore glory, it’s worth it. A cacophony of distorted synths’ and near constant bass drops, it becomes clear with this mix that while more than adept production-wise, PDS and friends will only be dipping a toe into mainstream EDM. For now.
While multiple remixes are pretty prevalent in most EDM genres, when it comes to industrial and doom crossover projects like Post Death Soundtrack, it’s new and novel to get this many remixes on one track, especially remixes that are so different in style and genre. To a band that has an album like It Will Come Out of Nowhere under its belt and who have recently covered Tom Waits, however, it seems to be all part of the plan. It will be interesting to see where the duo take their ever-expanding style next.
The “Pathless Land” remixes are out now and can be streamed on Spotify or Bandcamp.
Provided to YouTube by Universal Music Group
Fire And Desire · Rick James · Teena Marie
Street Songs
℗ A Motown Records Release; ℗ 1981 UMG Recordings, Inc.
Released on: 1981-04-07
Producer, Associated Performer, String Arranger, Recording Arranger: Rick James
Associated Performer, String Arranger: Reggie Andrews
Associated Performer, String Arranger, Recording Arranger: Daniel LeMelle
Composer Lyricist: Rick James
Auto-generated by YouTube.
Música
Nesse Inverno
Artista
Tony Bizarro
Licenciado para o YouTube por
SME; Warner Chappell e 2 associações de direitos musicais
Música
Warm Summer Nights (Album Version)
Artista
The Isley Brothers
Compositores
Bernard Edwards, Nile Rodgers
Licenciado para o YouTube por
UMG (em nome de DreamWorks Urban); LatinAutorPerf, BMI – Broadcast Music Inc., LatinAutor – SonyATV, PEDL, LatinAutor – Warner Chappell, Warner Chappell, Sony ATV Publishing, SOLAR Music Rights Management, CMRRA e 6 associações de direitos musicais
Música
Está Difícil De Esquecer
Artista
Tim Maia
Licenciado para o YouTube por
UMG (em nome de Universal Music); UNIAO BRASILEIRA DE EDITORAS DE MUSICA – UBEM, Warner Chappell, LatinAutor – Warner Chappell, LatinAutorPerf e 4 associações de direitos musicais
On Monday morning, Thomas Bangalter and Guy-Manuel de Homem-Christo, better known as the iconic French dance duo Daft Punk, released a cryptic eight-minute video on their YouTube channel titled “Epilogue.” The short film depicted one member of the masked band detonating the other, followed by “1993-2021” text indicating that the group’s run has come to an end. Daft Punk’s longtime publicist Kathryn Frazier subsequently confirmed the band’s breakup to several news outlets, including SPIN.
Daft Punk always did things their own way and kept their fans guessing, giving few interviews and never showing their faces in public, only appearing in videos or in concert in robot costumes. In 28 years, they only released four proper studio albums and mounted two large-scale tours. But thanks to memorable videos, creative stage shows, and output that included film scores, remixes, and collaborations with major pop stars, Daft Punk’s uncompromising approach to dance music made them enormously successful, winning the Grammy for Album of the Year for 2013’s Random Access Memories. It’s hard not to wonder if this is all an elaborate setup for their next triumph, but if this is indeed the end of Daft Punk, here’s a look back at their best work:
10. “Teachers”
Most Daft Punk songs without a guest vocalist are either instrumental or feature minimal lyrics repeating one or a handful of phrases, usually run through a vocoder or other effects. But the ninth track on Daft Punk’s 1997 debut Homework shed some light on the album’s title, offering a litany of shout-outs to over 40 musicians that the duo considered themselves students of. The overwhelming majority of names on “Teachers” are pioneering house DJs and producers, but namechecks of Brian Wilson, George Clinton and Dr. Dre foreshadowed the wider array of influences from outside dance music that Daft Punk would channel on later records. And two producers referenced back to back, Todd Edwards and Romanthony, would turn up on the next Daft Punk album.
9. “Fragments of Time” featuring Todd Edwards
Following Daft Punk’s shout-out to Todd Edwards on their debut, the New Jersey-based house producer worked with the group twice, co-writing and singing on “Face To Face” from 2001’s Discovery and again on “Fragments of Time” from 2013’s Random Access Memories. The latter heavily featured session musicians to achieve an early ‘80s soft rock sound, with guitarist Greg Leisz’s pedal steel work giving “Fragments” a surprising country vibe.
8. “Digital Love”
The third single from Discovery epitomized Daft Punk’s knack for channeling the music of the past both with samples and with original instrumentation. “Digital Love” was primarily built on a funky jazz fusion track by George Duke, but the bridge evokes Supertramp hits because Daft Punk’s extensive collection of vintage keyboards included the same Wurlitzer electric piano that Supertramp used on hits like “The Logical Song.”
7. “I Feel It Coming” by The Weeknd
Daft Punk had long flirted with the pop mainstream via remixes and samples, and their mutual admiration with several major stars began to blossom in to frequent collaborations first on Random Access Memories as well as several tracks on Kanye West’s Yeezus. But Daft Punk made their biggest impact on the pop charts when they collaborated with Canadian R&B star The Weeknd on two tracks that bookended his 2016 album Starboy, both of which peaked in the top 5 of the Hot 100. “I Feel It Coming” was a surprisingly smooth track from two acts that often indulged in edgy sonics, with Michael Jackson acolyte Abel Tesfaye coming as close as he ever has to an Off The Wall ballad thanks to Daft Punk’s vintage synths.
6. “Disc Wars”
Daft Punk’s retrofuturistic aesthetic was an inspired choice to soundtrack Tron: Legacy, the 2010 sequel to the 1982 cult classic sci-fi film Tron. For their score, Daft Punk took cues from Wendy Carlos’s groundbreaking work on the original Tron, while bolstering their synth-driven soundscapes for the first time with an 85-piece orchestra.
5. “Prime Time Of Your Life”
2005’s Human After All featured a harsh minimalist sound that, for the first time in their career, didn’t resonate with critics: In our review, writer Adrienne Day derided much of the album as “half-hearted stabs at their former glories.”But the album’s reputation started to lift in subsequent years, particularly when they remixed and reinterpreted tracks from the album on tour. And “Prime Time of Your Life” didn’t truly reach its full potential until the live album Alive 2007, where its catchy chorus is the predominant theme throughout an epic 10-minute suite comprised of four different Daft Punk songs.
4. “One More Time” featuring Romanthony
Anthony Wayne Moore, better known as Romanthony, sang two standout tracks on Discovery. And one of them was the lead single “One More Time,” a filter house masterpiece that sampled a few nonconsecutive bars from the Eddie Johns disco obscurity “More Spell On You” and reconfigured them into an unforgettable horn riff. Romanthony died of kidney disease complications in 2013 at the age of 45.
3. “Get Lucky” featuring Pharrell Williams and Nile Rodgers
Although the Neptunes had remixed “Harder, Better, Faster Stronger” in 2001, Pharrell Williams didn’t collaborate directly with Daft Punk until a decade later, when he sang two songs on Random Access Memories. Williams came to the duo’s Paris studio and told them “I’m kind of in this Nile Rodgers place right now,” not knowing that they already had works in progress with the Chic guitarist. The result was the summer jam of 2013 and the biggest song of Daft Punk’s career.
2. “Da Funk”
Although Thomas Bangalter and Guy-Manuel de Homem-Christo had been friends and collaborators for eight years by the time they made “Da Funk,” it was their first commercially successful track, the one that landed them a deal with Virgin Records and kicked off their unlikely adventures in the mainstream. Inspired by the G-funk grooves of west coast rap, “Da Funk” rode a catchy 303 bassline and an entertaining Spike Jonze video into MTV rotation alongside Prodigy and Fatboy Slim clips amidst America’s newfound love of “electronica” in 1997.
1. “Harder, Better, Faster, Stronger”
The vocals from “Harder, Better, Faster, Stronger” are best known for being sampled on Kanye West’s chart-topping 2007 single “Stronger.” But there are few sounds in the Daft Punk catalog more deliriously fun and joyously silly than the way they endlessly riff with vocoders over a bouncy Edwin Birdsong sample on the original track from 2001’s Discovery. The sound of a robotic voice intoning mantras like “Hour after hour, work is never over” would be depressing and dystopian in anyone else’s hands, but Daft Punk’s ebullient spirit managed to shine through anyway: they took their work seriously, but it always felt like they got as much of a kick out of it as we did it.
Marco Canora, at his restaurant Hearth. Photo: Scott Heins
On the day that New York City’s restaurants were once again allowed to serve diners indoors, the veteran big-city chef Marco Canora posted an Instagram story blasting the community of “remote working food journalists who’ve suffered no pain” over a whole list of sins and transgressions. Instead of grousing about inequitable working conditions in the industry (of which there are many) and advising readers not to participate in the indoor reopening for all sorts of reasons (including the very good one that it might be hazardous to their health), Canora suggested that members of the cosseted, shut-in food press “employ more empathy towards those you claim to want to protect, the cook, the server, the porter,” and asked for a few more “encouraging” love letters to an industry that’s been “kicked in the face over and over again.” Our restaurant critic Adam Platt (from the warm, semi-comfortable confines of his own study, for the record) called Canora to discuss his views on the changing food-media landscape, the challenges of keeping his East Village restaurant Hearth alive during the pandemic, and to ask if there was anything else he felt like getting off his chest.
Obviously we have many things to discuss, but the topic I’d like to explore first is why you woke up one morning and decided to put the food media on blast. [Laughs.] Is that what I did? I literally woke up that morning. It was the date of the reopening, and I just put it out there. I’ve watched and I’ve listened pretty intently during my career to the murmurs out there, and I felt people were really missing something. What people were writing wasn’t very empathetic to our industry. On the one hand, you think there are a lot of people rooting for us — media and customers — and on the other hand, I don’t see encouraging words being written about the future, about the present, really about anything to do with our industry right now during this crisis.
So you were being a cheerleader? I wanted to infuse a little bit of optimism and excitement and to give a little bit of our perspective. I’m a chef and I’m an owner, but I’m also a working guy. I’ve worked alongside these people since the mid ’90s in New York City as a line cook, and to this day, I’m working alongside my team. I bought some of my staff back after they’d been gone for a while — not all of the staff by any stretch of the imagination — you could see that they were struggling. I could see the pain in their eyes. Some of them have children. Some of them have partners who don’t work. It’s been hard for all of them, and they don’t have the luxury of remote work, so I wrote what I did. I tried to be as concise and articulate as I could. I put it out to the world, and I stand by it. It’s something I felt needed to be said, and I’m happy to be the one who said it.
Of course, the counter argument would be, and it’s one that many of my colleagues are making, that many of these workers in the restaurant industry have no choice. Their options are limited, and most have to put themselves in potentially dangerous situations. They certainly have a choice with me. They could say, “Marco, I don’t feel comfortable coming back to work.” That’s fine. It’s absolutely their choice. None of them said that. Everyone seemed to be ecstatic to come back. They were excited on many levels, not just about having their job back. They missed the culture of the restaurant. They missed our restaurant family. They missed all those things that go on when you work with a tight, close-knit group of people. They missed being hospitable to guests. They missed the community of people that have been coming to dine at our restaurant for the last 17 years.
In everything we do, there’s a level of risk. Whether we fly on an airplane or ride the subways, or whether we eat poorly or don’t exercise — in all the things we do, it all equates to some level of risk. I guess my point was that these folks have been out of work for the last 12 months and are struggling, and if New York State says we’re allowed to open 25 percent, they are more than happy to engage in some level of risk to get a semblance of their life back, to feed their family, and start to feel human again. In a perfect world, sure, it would be great if the government gave us a ton of money to sit tight until this goes away, but that hasn’t been happening. So what’s the alternative? You can’t work from home as a professional cook. You can’t work from home as a server.
Tell me a little bit about your own restaurant and the struggle to survive. Hearth employed how many people pre-pandemic? We have about 55 to 60, but with the first round of layoffs, the staff went down to 6 people. My core managers, thankfully, stuck around. We had the Brodo window selling out beef broth, thank God. Restaurants are like living organisms, I think. You need to keep some level of blood flowing. To shut it down completely and turn everything off is a difficult thing to do for a restaurant that has been operating seven days a week for 17 years. Thankfully, I had the Brodo window, which was a little window of commerce that I could keep alive.
What else did you do? Well, I had to turn my inventory into salable things. We looked at everything we had sitting around, and we made anything we could. We made a bunch of sauces and a bunch of soups. We froze them and created a menu and called it Hearth at Home, and we sold frozen food out of the Brodo window. We were making 20 percent of what we used to, but still that was great. It was way better than nothing. It kept the blood flowing. It served us really well. I liquidated my wine cellar. We were holding tens of thousands of dollars of wine revenue. We discounted the bottles by 50 percent and customers came by the Brodo window to pick up their wine. We sold, like, $65,000 dollars worth of wine, which was phenomenal. The cash flow issue was what all of us small restaurant owners were struggling with. We had payables north of $150,000. When you turn off the faucet of revenue, you go under water very quickly.
The team of people I have are very devoted, and the customer base we’ve developed over 17 years has also been incredibly devoted. Those are the two things that allowed us to survive, which some of the larger, destination-based places don’t have, the small team and the local customer base.
We’ve done a million fucking things and we’ve done them really well, and it’s all because of my team. Hearth had the best Thanksgiving it’s had in 17 years in 2020. We sold over 200 Thanksgiving boxes. It was extraordinary.
The point I want to make is that all of us in this industry have needed to learn things that most of us didn’t know anything about: Logistics. Branding. Packaging. Building online stores. We did this shit on the fly with very limited resources.
It almost sounds exciting. I’ve put my foot in my mouth way too many times in these kinds of interviews, but one of the things I wanted to say is that these kinds of challenges bring out the best in me, and they bring out the best in this industry. I have never felt so engaged and motivated.
Has anyone gotten sick on your staff? We had one person who worked one day a week in the Brodo window. It was the only case we had, but she found out during her six days off, so there was little to no risk to the staff who all got tested. But, knock on wood, because we are not out of the woods yet, for sure.
What’s your view on the city’s COVID dining policy? Oh lord. I think everybody across the board did a pretty awful job. The fact that our mayor and our governor were having their little spats — oh my God. Before you get in front of the public, you can’t come out with one consistent message?! I learned that at my first management job at Gramercy Tavern in 1997. Make sure you’re speaking with a common voice: That’s a basic tenet of managing people and obviously they haven’t managed to do it. These are the people at the highest position of state and city government. You’ve got to be fucking kidding me. We’re all trying to get by, but I sort of equate it with the chaotic vaccine situation now. The whole thing’s been an embarrassment.
You’ve been around for a long time. You’ve been around longer than I have, in fact. How has the relationship between the press and restaurants changed over the years. How have things changed now versus five or ten years ago? I think restaurants are realizing more and more that it’s really about cultivating your own little community and the people who love you, and that the notion of getting the press or the restaurant critic to write something wonderful about you and drive business isn’t really how it works anymore. The way to drive business today is to build local community, and I think that’s a wonderful change. It might be the harder path, but it lasts longer and it serves you better. Hearth is the perfect example. We were never one of these rainbow love-child darlings of the press by any stretch of the imagination. We did it the hard, old-fashioned way, and its serving us now because we have customers who will buy pretty much anything that we sell because they don’t want us to go away. That’s a meaningful and powerful thing, especially on the scale that we’re all operating these days. It used to be that everyone went the PR route and the let’s-get-the-love-of-the-press route because if the press loves you then the sheep will follow. I think that’s changing. The sheep are getting smarter. The diners are doing their own research and finding the places they want to support, and I think that’s fucking fantastic.
For the record, I am indeed sitting now in my warm little study, but I’ve also been freezing my very large ass off walking the avenues, and I know more than a few food writers who’ve gotten sick; so in fairness, we are out in the world. I want to be really clear about this. It’s tough times for everybody, and I think the press is facing some tough times too. I don’t think they’re living some easy life. I think the environment out there now is a very difficult one. I would hate to be in your business now. The kind of stories that create the clicks you all need is not exactly the most heartwarming content. It’s a tough time to be a writer. It’s a tough time to be in food media, or any media, I think. I don’t wish ill on anybody, food media included.
Look, every choice I’ve made as a chef these past 17 years hasn’t really been driven by commercial viability. I did it because it’s meaningful stuff that matters to me. I just wish there was more of that in the media. It just seems like everybody’s chasing the clicks, and the stories that get the clicks these days are all bad news. I don’t blame anybody. It’s just unfortunate. After these dark fucking 12 months, Adam, we need some leadership, we need some encouragement, and we need some positivity. We need people to get excited! I’m trying to build my team back, but it’s just a very tough environment right now. I’m optimistic. I think we’re going to get out of this. I just think we could use a little more positivity in the world.
Do you think it’s safe to dine indoors in New York City now? That’s a difficult question, and in the end, I think it’s a personal question. What I said on my Instagram post, I do believe it, although I’m sure there’s some epidemiologist out there who will tell me I don’t know what the fuck I’m talking about. Most of the risk is on the diner, not on my staff. So it’s up to the diners whether they want to take on that risk.
The thing that no one ever talks about is our resilience as humans. I’ve been taking care of myself like crazy. I feel healthier and stronger than I ever have. Am I comfortable going out and unmasking and having a quick meal with my wife at a restaurant? Yes, we’re actually trying to figure out where to go because it’s been so long. I think risk is a personal thing. If I were sick and unhealthy, no, I don’t think it’s healthy. If I were a certain age, I don’t think it’s healthy. But if I’m young and I’m healthy and I take care of myself, then yes, and if I’m a server who’s tables keep their masks on my entire shift, and if I’m aching to get back, psychologically and economically, to my job, then I’d say yes to that too.
This interview has been edited for length and clarity.
Naqab – Hindi Full Movie – Rishi Kapoor, Farah – Best Movie
Imran is a professional freelance photographer. He accepts an assignment from wealthy Nawab Dada Sarkar from Alipur, and travels there by train. When he alights at Alipur, he has problems getting a ride, and decides to walk. On the way there he comes across a mysterious singing woman, when he goes towards her, she disappears. Disturbed by this turn of events, he arrives at the Nawab’s house, and is met by a young woman named Asiya, who looks exactly like the mysterious woman, but denies being her. Then the mystery deepens even more as time passes by. Will Imran be able to uncover this mystery?
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“I wanna see this nation smile again. And I want to see it before I leave to travel to move to Ghana because I’m going to do that,” said Wonder.
RELATED: Stevie Wonder Is Leaving Motown After Nearly 60 Years, Reveals Kidney Transplant
“You’re going to permanently move to Ghana?” asked Oprah.
“I am,” he replied. “I don’t want to see my children’s children’s children have to say, ‘Oh please like me. Please respect me, please know that I am important, please value me.’ What is that?”
This isn’t the first time Wonder considered moving to Ghana. In 1994, he said he felt there was “more of a sense of community” in the African nation than in the US.
