Nicknamed the "Godfather of Punk," Iggy Pop is one of the most revered and influential musicians in the world. With both his proto-punk band The Stooges and his work as a solo artist, Pop has incorporated such genres as punk rock, hard rock, heavy metal, jazz, blues, electronic, and new wave to create a sound that is entirely his own.
Pop has been noted as an influence on such artists as the Sex Pistols, Nirvana, and Nine Inch Nails. He's also had a big impact on some filmmakers, like Danny Boyle and Wes Anderson, who have included Pop's music in their movies.
Although the movie itself has a lot more style than substance, Todd Phillips' War Dogs has a soundtrack to die for: "Sweet Emotion" by Aerosmith , "Wish You Were Here" by Pink Floyd, "Ain't That a Kick in the Head" by Dean Martin — the list goes on.
Iggy Pop's "The Passenger" plays when the movie's gunrunning leads, David and Efraim (played by Miles Teller and Jonah Hill, respectively) arrive in Jordan.
Iggy Pop's "Nightclubbing" provides the perfect soundtrack for a scene in which one of his friends shoots up heroin in the apartment.
One of the wildest horror movies to come out in recent memory is The Cabin in the Woods , a meta gem playing on the genre's most familiar tropes and flipping them on their head.
In one scene, the Jules character flirts with a wolf's head mounted on the wall before making out with it. Iggy Pop's "She's a Business" plays on the soundtrack.
Iggy Pop teamed up with Brian "Danger Mouse" Burton, as well as director Stephen Gaghan and composer Daniel Pemberton, to create a theme song for the movie Gold .
Pop had previously collaborated with Danger Mouse on the song "Pain" from the 2010 album Dark Night of the Soul . The movie itself is nothing special, but Matthew McConaughey gives a great performance.
'Sisters with Transistors' documents history of women in electronic music | amNewYork
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"Sisters with Transistors" conjures nostalgia for a past most of us never knew existed. At this point, most pop music is recorded to computer and made largely, if not entirely, with electronic instruments. Mac laptops come bundled with the digital audio workshop Garage Band. The Fairlight, which was the first sampler to hit the market in 1980, was so expensive that wealthy rock musicians like Yes and Peter Gabriel were its earliest users. (William Gibson's quote "the street finds its own uses for things" applies to hip-hop DJs using turntables to get similar effects around the same time.) Now, free applications offer a level of ability to make music on your phone that makes the synthesizers and samplers available in the '80s look puny.
"Sisters with Transistors" profiles 11 female electronic composers and musicians. They worked in different fields and styles. Éliane Radigue makes austere, abrasive drones whose slow shifting resembles layers of feedback. By contrast, Clara Rockmore relied on the theremin to generate eerie, futuristic sounds, Daphne Oram composed the original theme to "Dr. Who," and Laurie Spiegel's computer-generated music from the '70s follows similar paths to the avant-garde edge of Krautrock. (In some alternate universe, her songs "Drums" and "Appalachian Grove" received an Italo-disco remix and became leftfield dance club hits.)
By the time electronic music became standard pop music, women were shut out, except as singers. (The robotic electronic loops of Donna Summer's "I Feel Love" set the stage for synth-pop and techno, and Cher's "Believe" was the first hit song to use Autotune as a distortion pedal for the voice, but the credit for these songs' innovations has mostly gone to their male producers.) While Oliveros criticizes the racism and sexism of the classical music academy hand in hand, all 11 of the musicians in "Sisters with Transistors" are white and either American or European. The film's time frame ends in the mid '80s, with Laurie Spiegel's creation of a program to make music on the Macintosh.
At only 84 minutes, "Sisters with Transistors" is a brief introduction to a subject that deserves a much longer treatment. (The tendency to blow up documentaries into docu-series for streaming services has rarely served them, but this might have been better as a more comprehensive TV series spanning three hour-long parts.) As such, it occasionally feels contradictory and hesitant at times. Laurie Anderson narrates the film, and contemporary women making electronic music are heard, but they don't get to talk about their own music. Considering that Anderson's "O Superman" samples, pitch-shifts, and loops her own voice to use it as a substitute for percussion in ways that were almost unprecedented in pop/rock music in 1981, one would like to hear her own opinion about her music's place in this history.
The relationship between classical and pop music is never explored, although the film does show the surprising openness TV, movies, and even advertising have often shown towards adventurous music. But it tells an essential story that's been buried: women, including queer and trans women, shaped and even created the technology which is ubiquitous now while rarely reaping the benefits.
"SISTERS WITH TRANSISTORS" | Directed by Lisa Rovner | Metrograph Pictures | Starts streaming April 23 rd
Here's Why People Are Mad at This Viral Pop Punk Band Tramp Stamps
Nashville pop punk trio Tramp Stamps are likely this year’s most reviled band even though they formed last year, have never played a show, and have released just three songs. While they first achieved online virality posting earnest covers of Machine Gun Kelly , Paramore , and Taylor Swift hits, amassing over 400,000 followers on TikTok, the internet backlash for the past week to their latest single “I’d Rather Die” is so severe it eclipses whatever positive momentum the group previously had. “There’s a ‘“punk’” band that everyone on [TikTok] is making fun of because they’re obviously an industry plant and their music has a lame “tumblr edgelord” vibe,” wrote Twitter user @DannyVegito . “[Like] their entire aesthetic is so forced that I almost feel bad for them.”
The controversy has everything: allegations of the Tramp Stamps being “industry plants,” allegedly problematic lyrics that critics say promote rape culture, rumors that the band is affiliated with controversial producer Dr. Luke, and even a notes-app response written by the group that decries “cancel culture.” It’s as confusing as it is bizarre, but the staggering pushback against Tramp Stamps and the band’s very existence is a microcosm into how cynical music marketing can go awry. This is more than just TikTok teens thinking a band is corny and the blowback against these three musicians is proof how easily artist press campaigns can backfire.
That’s all a little corny and ignores the thousands of feminist punk bands who came before Tramp Stamps, as dozens of social media posts roasting their aesthetic and claiming the band is an “industry plant” have pointed out. TikTok user Beccabeean posted a video captioned “It’s so easy to see how not punk this band is when you look at their Instagrams” featuring images of the Tramp Stamps’ members dressed drastically different than their band aesthetic. TikTok videos pointing out singer Marisa Maino and Baker both have pop solo careers making music that sounds nothing like Tramp Stamps claim their newfound musical direction is manufactured .
Though the “industry plant” allegations against Tramp Stamps are dubious considering that phrase is a nebulous term that usually just means “artists whose marketing I find inauthentic,” the controversy shouldn’t be shocking. If a band seems to clumsily and cravenly present itself as punk, countercultural, or DIY, members of those communities like Gen Z TikTok punks who value authenticity and skepticism will undoubtedly call them out on it. If a band co-opts the language of feminism to promote their music as their own public behavior on social media and in their career contradicts that posturing, people have every right to loudly reject them.
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'Sweep It Into Space' by Dinosaur Jr. Review: An '80s Group Keeps Roaring - WSJ
One act from Mr. Azerrad's book, however, is not only active but making some of the best records of its career: Dinosaur Jr., the Amherst, Mass., trio fronted by singer and guitarist J Mascis, returns Friday with its 12th studio LP, "Sweep It Into Space" (Jagjaguwar). The strong new collection continues the group's unlikely second act and holds its own among late-'80s classics.
Oscars 2021: Iceland celebrates best song nomination 'Husavik' that pays tribute to
Rina Sawayama's second album is coming - i-D
She went on to thank the people who made it all possible -- including her label Dirty Hit -- before revealing that she'd started crafting its sequel: "btw I've already started album 2 with [Clarence Clarity] and I love it," she wrote. "put next to SAWAYAMA its gonna cover all musical bases."
Clarence Clarity was the executive producer behind much of Sawayama's debut, so it's good to know she's stuck close to a collaborator who's helped fine-tune some of her biggest tracks so far. At this point, Rina's name has blown up in pop circles globally, so it will be interesting to see if she invites any high profile artists on to it too. As for covering all music bases? Well, considering the eclecticism of SAWAYAMA , we're intrigued to see how this manifests. Fans have replied to the original tweet asking for "another metal song " and " more house " which we wholeheartedly approve of. We're desperate for another megawatt club banger like "Lucid", which was produced by the man behind much of Gaga's Chromatica (though Rina and Bloodpop were pals before that album);
Following her released of the remixed ballad "Chosen Family" with Elton bloody John and news that Rina might make an appearance on a Chromatica remix record and we've got plenty of material to tide us over until RS2 arrives. As for when we should expect it? No word yet. Keep tight and stream "XS".
Verzuz battle set for Method Man and Redman - Chicago Sun-Times
Amid the alleged East Coast-West Coast rivalry, the duo appeared on "Got My Mind Made Up," a track from 2 Pac's double album, "All Eyez on Me."
A "How High 4/20" Verzuz battle between Method Man and Redman — longtime friends, collaborators and well-known cannabis advocates — is slated for 7 p.m. Tuesday via Instagram and the Triller app.
Standout tracks from those albums include "Bring the Pain," "Judgement Day," and "Break Ups 2 Make Ups," featuring past Verzuz guest D'Angelo, and "I'll Be There for You/You're All I Need to Get By , " Method Man's duet — a wildly popular wedding song — with legendary R&B singer Mary J. Blige.
Redman, a Def Squad affiliate (Erick Sermon and Keith Murray) who debuted in 1992 with "Whut? Thee Album," is known for a string of hits including "Time 4 Sum Aksion," "Tonight's da Night," "Can't Wait," "I'll Bee Dat", and "Let's Get Dirty (I Can't Get in da Club)," among many others.
The two joined forces for "How High," a track from the 1995 album "The Show: The Soundtrack," and later parlayed their friendship — and charisma — into a film, movie soundtrack and TV series by the same name, along with other albums including "Blackout!" and "Blackout! 2."
Poet and author Kevin Powell says the friendship between Method Man and Redman is tangible proof of how two highly successful creatives can produce timeless music while staying close.
"Method Man and Redman are not only two of the greatest characters in hip-hop's history, but their deep friendship has endured across styles and eras of culture like, say, Ella Fitzgerald and Louis Armstrong in jazz, or Elton John and Billy Joel in pop music," said Powell in a statement to the Chicago Sun-Times.
Upcoming Verzuz battles include a May 8 Mother's Day edition with R&B groups SWV and Xscape, and a "rematch" of previous contestants scheduled for Memorial Day weekend.
Contreras still is growing as a catcher, but he's no longer the kind who needs a bat to make a difference.
McDonald's partners with BTS on new celebrity meal -- with spicy Korean dipping sauce
McDonald’s is reaching into the pop music stratosphere for its latest celebrity collaboration, teaming up with the BTS superstars on a meal of the South Korean band’s favorites.
That would be 10 Chicken McNuggets — with a new, spicy South Korean-inspired dipping sauce — along with French fries and a Coke.
The BTS Meal will be rolled out in 50 countries around the world, starting May 26 in the United States and May 27 in South Korea. The combination will be available through June 20 in this country.
McDonald’s says the new Sweet Chili dipping sauce was inspired by recipes from its South Korea restaurants. There’s also a new Cajun dipping sauce that comes with the BTS Meal.
“The band has great memories with McDonald’s. We’re excited about this collaboration and can’t wait to share the BTS Meal with the world,” the band’s music label, Big Hit Music, said in a statement.
There’s no word yet on what type of BTS/McDonald’s merchandise will be available during the promotion weeks.
McDonald’s series of branded celebrity meals had previously featured collaborations with rapper Travis Scott and Colombian singer J Balvin. According to Forbes , Scott made $5 million from the endorsement part of his deal and $15 million from related merchandise sales.
Lauran Hibberd On Small Towns and Big Songs
England's Isle of Wight is not exactly known for its musical exports, but Lauran Hibberd is working to change that. After early forays into "really depressing" folk music, her perspective changed when she was introduced to the music of Weezer by a producer. She's since earned acclaim for wry garage rock tunes that have a DIY feel but still pack huge pop hooks.
Working with producer Suzy Shinn (Panic! at the Disco, Fall Out Boy, Weezer), Hibberd is putting the finishing touches on her Goober EP, as well as the debut album she says has been three years in the making.
Here, Hibberd shares her thoughts on the "slacker pop" label frequently applied to her music, the importance of a cheeky song title, as well as the perks and drawbacks of hailing from a small, tight-knit English isle.
You started playing guitar as a teenager and began songwriting not long after that. How long did it take you to hit on the way that you're making music now? Was there a big aha moment or was it more gradual?
The genre label "slacker pop" has been applied to your music in a lot of coverage. What do you think of that term?
I'd never really heard it before when it first got stamped on a press release or whatever. But then everyone started to say it and then people started to ask me, "What does that mean?" And I was like, "Oh yeah, what does it mean?" I came up with this thing in my head where I think it's basically like pop music for people who are afraid to say they like Ariana Grande.
And that's effectively all I've ever done. I didn't have a really cool up-bringing, musically. My mom didn't love The Beatles. I just grew up listening to whatever was on the radio, so I had a super pop upbringing. That's all I really knew until I was maybe like 16, and then I was thrown into all the music of the band world and I was like, "Woah. Mind blown!" I think that's always in me and I love nothing more than a good chorus. I just think I like to disguise that a little bit into something else to make it feel cooler. To me, anyways.
Does the idea of a big, impactful debut album appeal to you? Is there a reason you've been waiting to put that out?
I'm recording my debut album in November this year. I've been working with producer Suzy Shinn, who actually has done all the latest Weezer records. I'm super excited, but it has felt like a long time coming for me. I've sort of been doing this since I was 16 and I'm 23 now. Everybody has been like, "Just wait. One more EP, two more singles." It's been building up to this moment, but I've wanted to do an album for probably three years. It would definitely not have been this album if [the pandemic] hadn't happened, so I'm glad I waited, but I'm so ready to do it now. I definitely am over singles and EPs. I want to be an album artist, for sure.
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