It’s been a decade since a new No Doubt album and fans got their first real look and listen at what to expect from “Push and Shove” today with the release of the first single and video “Settle Down.”
Directed by Sophie Mueller, who has helmed a number of No Doubt clips previously, was behind the lens for the music video, which features the four members as truck drivers heading to a reunion. That follows the lyrical them of Gwen Stefani carrying on a conversation over a CB radio.
For as forward as Pink’s music can be, she’s often liked a little retro look when it comes to artwork associated with her projects. For the video for “Raise Your Glass” she evoked WW2 cultural icon Rosie the Riveter.
This time, she’s a little more revealing. In the cover art for “The Truth About Love,” a trim Pink adopts a panties straight out of “Mad Men” with garters clipped to thigh highs. She’s also sporting a cropped jacket and blood red, silletto-heeled pumps. No sign that she ever carried a kid for nine months. The font is straight out of a ‘50s horror movie. Sure, the tats and black fingernail polish bring the look screaming in to the 2010s, but there’s still something delightfully retro about it.
“Blow Me (One Last Kiss),” the first single from “The Truth About Love,” is off to a rousing start at radio and was the No. 1 most added song at Pop and Hot Adult Contemporary radio last week, according to her label.
Manhattan played host to the world premiere of Christopher Nolan's "The Dark Knight Rises" today on a hot day in the city (which also served as one of the key locations of the shoot). The Associated Press offered a live stream of the red (make that black) carpet arrivals, which, in addition to principals from the cast and crew of the film, included other such celebrities as Ron Howard and Dennis Haysbert.
"I'm very proud of what we've accomplished with the three movies," star Christian Bale said. "I'm very honored to have played this character and to have recreated it in our own fashion. And I'm very fascinated to see what consequent Batman incarnations will look like."
In many ways, Bale said he was amazed to be there for the premiere of a third and final film. Everyone involved with the production always said they should just assume one movie at a time and "not be arrogant enough" to assume they would have the opportunity to make sequels.
Lil Wayne and Big Sean have moved into a neighborhood straight out of topsy-turvy world for Weezy’s video for “My Homies Still”: A pink elephant, literally, roams the streets, disembodied mannequins take over otherwise well-groomed lawns, and men’s heads get transplanted onto dog’s bodies and vice versa. Did we mention the dancing panda and boa-clad skeletons?
As images of smoking skull heads and folks making out with mannequins weave in and out with Lil Wayne skateboarding and he and Big Sean dancing on the ceiling, the clip is one of Lil Wayne’s trippiest. And that’s before we’ve even gotten to the banquet where Big Sean and Lil Wayne are on the menu.
Leave it to director Hype Williams to suspend color along with reality and disbelief in an action-packed clip for Jack White. "Freedom at 21" is the celebration and dissent of women who do whatever the hell they please, and in this case, it's a hot cop who shirks her regular duties in order to turn. you. on.
White, as is his nature, is looking gaunt and borderline batsh*t in the video, the track culled from his eccentric solo debut "Blunderbuss." It's further evidence of the mystery that you never see the Third Man main man and Johnny Depp in the same room.
And, much like his "Sixteen Saltines" clip, this one leaves viewers on the edge of their seat, without resolve. White seemingly craves a violent death involving his car.
Madonna’s “Turn Up The Radio” video opens with great promise: a shot of her legs in back high heels walking down a hall, but as anyone who saw the teaser released Friday, she’s not headed for “Justify My Love” type hi-jinks. Not this time. Instead, Madge is ready for some PG-rated fresh air.
She leaves her hotel an climbs into a Cadillac convertible, aggrieved by the paparazzi who are in her face. As her driver pulls away, a despondent Madonna is cheered by the site of some street performers displaying contortionist moves even the limber Material Girl could only dream of. She grabs one and he joins her soon-to-grow posse of young, gorgeous men who are soon crowding her car, much to the driver’s dismay.
Watching the third season premiere of TLC's "Strange Sex" (Sundays, 10 p.m. ET), I had a lot of questions -- none of them about sex. Who are these people? Where did TLC find them? Why are they talking about this stuff on national television? Is this willingness to share part of the fetish, too? Do they have jobs to go to? If so, do they have to go to them the day after this airs? Damn, I wonder what that's like!
One of the highlights of my extremely (mercifully) short trip to Comic-Con this year was a big showcase of all the Batmobiles, from the 1966 TV series edition through the Tumbler of Christopher Nolan's latest Batman franchise. I've always wanted to see one of the Anton Furst-designed rigs from the Tim Burton films up close and suddenly, I got my chance. It didn't disappoint.
The Batmobile has always generated awe. It's a signature element of the Dark Knight's arsenal, unique in the world of superheroes. And each iteration on screen has been pretty friggin' cool in its own way.
So with that in mind, the CW will be airing a short documentary tonight creatively called "The Batmobile" that covers the history of Batman's ride. Interviews with Nolan, Burton, Joel Schumacher, Adam West, Dennis O'Neil and Michael Uslan are included.
“My Kinda Party” established Jason Aldean as the next big country superstar. Released in November 2010, the double-platinum set included five hit country tunes and was one of the top-selling albums in all genres in 2011. More significantly, “Party” also moved Aldean from opening act to arena headliner.
So there’s been a lot of speculation about how Aldean will change his sound, if at all, on his next album. We got a hint today with the release of “Take A Little Ride,” the first single from his upcoming fifth studio album.
Mumford & Sons’ second album, “Babel,” will come out Sept. 25. The British folk rock group broke through in 2009 with the wildly successful “Sigh No More,” which spawned such hits as “Little Lion Man” and “The Cave.”
The group began previewing tracks from the new album earlier this year at some radio station events, as well as playing three new tunes at SXSW: “Lovers Eyes,” “Lover of the Light” and “Ghosts That We Knew.”
The transition from touring to recording was a little difficult at first, says the band in a statement. “At first, we peeled ourselves of the road quite reluctantly. WE love playing live, obviously, but it had also become an important part of our creative process. We had been writing and rehearsing in soundchecks and sort of ‘roadtesting’ new songs on our very gracious audiences. But then we fell in love with recording again.”
The group worked with producer Markus Dravs, who also helmed “Sigh No More.”
The track list for "Babel" reveals titles that seem appropriately haunting for the group's melodic, yet sometime melancholy, music: in addition to "Ghosts That We Knew," there are such intriguing titles as "Hopeless Wanderer" and "Whispers In The Dark" and "Broken Crown."
2. Whispers In The Dark
3. I Will Wait
4. Holland Road
5. Ghosts That We Knew
6. Lover Of The Light
7. Lovers' Eyes
9. Hopeless Wanderer
10. Broken Crown
11. Below My Feet
12. Not With Haste
Note: I'm taking much of this week off in between Comic-Con and press tour. This is one of a few posts I wrote in advance that should publish this week. If you're wondering why I didn't cover a particular show or story this week, it's because I'm on vacation.
As I've often said in the last couple of years, HitFix has a terrific (and ever-expanding) collection of film writers, and for the most part I leave it to them to cover the cinema. Every now and then, though, a movie is so in my wheelhouse that I feel like I have no choice but to write something about it.
"Goon" happens to be one of those movies. It fed my weakness for underdog sports fiction something fierce, while also being executed well enough that I imagine I would have taken enormous pleasure from it even without the genre bias. (In support of this theory, Drew liked it a lot, and he's not a sucker for these kinds of movies the way I am.)
Green Day are much more power-pop than pop-punk on the first offering -- "Oh Love" -- from their album trilogy. They're much more Cheap Trick and Big Star than they are Sticky Little Fingers and the Buzzcocks on this mid-tempo rocker, which features frontman Billie Joe Armstrong's "heart in a noose."
But to bassist Mike Dirnt, they had Rolling Stones in mind.
""We were just thinking about making a killer power-pop record – dirtier, back to basics," he told Rolling Stone. "We tapped into our version of 'Exile on Main Street.'"
"We wanted to get back to the simplicity of 'Dookie,'" Armstrong said, "... back to our love of Fifties and Sixties music, close-to-the-bone rock 'n' roll. You don't hear a gazillion parts. The majority of this is drums, bass, two guitars and vocals."
He's referring to "¡Uno!" which is due on Sept. 25, ahead of the Nov. 13 drop of "¡Dos!" and Jan. 15 arrival of -- you guessed it -- "¡Tres!" My hope is that the remainder of the first set shakes off the lethargy that "Love" leaves, or fans lose excitement for a second or third