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【新闻】Big Boi加入A3C音乐节表演阵容 Since 2005, the A3C (All Three Coasts) Festival in Atlanta, Georgia has featured up-and-coming names in Hip-Hop music. The jam-packed live performance schedule of over 200 artists spotlights a bevy of emerging artists, legendary rhymesayers, and industry insiders. This year, A3C is expanding to include dozens of panels, along with the first A3C Film Festival presented by Atlanta Film Festival and WonderRoot. The screening will feature the premier of Devin the Dude’s new film, Highway, as well a number of Hip-Hop oriented short films. With a 2012 performance lineup that includes Raekwon, Tech N9ne, Twista, Nipsey Hussle, Devin the Dude, Slum Village, Gunplay, Freeway, and GZA (performing his Liquid Swords album) this year proves to be one of the biggest of the festival’s annual showings yet. As part of the BET Music Matters Series, A3C 2012 will feature a performance by Big Boi, which is scheduled to include a reunion of the Dungeon Family to help kick off the weekend on October 11. “We couldn’t be more excited about partnering with BET and bringing one of our favorite Atlanta artists of all time, Big Boi!” Mike Walbert, Artist Director of A3C posted on the official online announcement. The Dungeon Family is widely-considered to be a foundational influence on the Atlanta Hip-Hop music scene, spawning artists, producers, and classic albums since the early ’90s. The collective features a dozen different acts; however, the exact performers for have not yet been confirmed. Performers featured include Daytona, Skyzoo, Kris Kasanova, and Phil Ade, who will kick off the official A3C weekend on Thursday, October 11 at 8PM at Terminal West in Atlanta. The Dungeon Family Showcase is Friday, Oct 12 at 7 at Star Bar in Atlanta and will feature Cool Breeze, Slimm Calhoun, Big Rube, Witchdoctor, and Sleepy Brown.
【TV-US】两小黑领跑Cee Lo队 In following up our rankings of Team Adam Levine and Team Blake Sheltonon “The Voice,” we are now moving onward to a man in Cee Lo Green who has yet again assembled a group of crazy-talented artists. With that being said, we have to comment on the fact that his team appears on the surface to be a little bit more geared to his own R&B leanings this season than some of what we have seen from him in the past, which has included more rock in the first two installments. Just a preface for those of you who have not seen our other ranking articles yet: we are doing this based largely on the top 4 blind auditions we have seen, and the show has barely featured a few members of each team. Therefore, ranking all 16 of them seems impossible. 4. Domo – It’s actually really interesting that someone like Domo, who is very much a gifted performer in addition to a singer, decided to go on this show rather than “The X Factor.” Our guess of it? She really wanted to prove to people that she had a voice in addition to being the longlost member of the Pussycat Dolls. She is a perfect inclusion on this team, and we think the gears are in motion here for her to go far with the right songs behind her. Plus, we like confident singers on this show who doubt have a sob story and can come across as over-the-top … at least so long as they have the talent to back it up. 3. Mycle Wastman – Anyone who actually attempts to sing “Let’s Stay Together” live should be commended, and we’re not just talking about the few lines of it that President Obama chose to sing live. This is a tough song, and Mycle has probably the best version of it we’ve ever heard on a reality show. 2. Trevin Hunte – We’ve gone back and forth on the top two for a while, and the only reason we have Trevin #2 is that we are a little more unsure on his versatility. Can he absolutely slay a cover of Beyonce’s “Listen” during the blind auditions? Yes, but we also want to see a little bit more of how he can handle some other sorts of songs given that we saw Jermaine Paul slay many a ballad, as well, on the show last season. 1. Avery Wilson – You may as well just call Avery the new Usher already … with a little bit of Wilson Pickett thrown in there for good measure. He’s a pretty genuine pop star, and he’s also young enough to know that the has plenty of room to grow so long as he listens to some of what Cee Lo Green chooses to tell him. We’re looking beyond just this competition, and Avery has the best shot of actually getting albums in consumers’ hands.
【新闻】洛杉矶时报预测channel ORANGE将提名格莱美年专 With October underway it means one thing, Grammy season has begun. September 30th was the cut off for albums and singles to be eligible for the 2013 Grammy Awards being held in February of next year. The LA Times has taken a look at 10 likely candidates to receive nominations for “Album of the Year” with Frank Ocean’s “Channel ORANGE” being one of them. Check out what they had to say about the album and its likely hood to be nominated. Grammy nominees will be announced later this year in December. Frank Ocean The R&B-focused contributor to local hip-hop rabble-rousers Odd Future Wolf Gang Kill Them All, Ocean released his major label debut, “Channel Orange,” in July. It has sold about 324,000 copies in the U.S. Grammy potential Recording Academy voters have tried in recent years to welcome in new artists who put a spin on old traditions, whether it be the turned-to-11 folk rock of Mumford & Sons or the slick, decade-hopping soulful pop of Bruno Mars. Ocean is harder to classifier than either of those Grammy-approved examples, but as much as “Channel Orange” traffics in modestly ambient, electronic-tinged arrangements, it welcomes to the landscape a young artist who emphasizes songwriting. What’s more, Ocean has already worked with Kanye West,Beyonce and Justin Bieber, among others, giving him the mainstream stamp-of-approval voters love, and he raised his profile with appearances on ”Saturday Night Live” and the MTV “Video Music Awards.” Grammy deserving One of the most anticipated debuts of the year, “Channel Orange” was also one of the most ambitious. Songs like the nearly 10-minute “Pyramids” are borderline psychedelic, while “Pink Matter” showcases the fragility in Ocena’s voice. Meanwhile, single “Bad Religion” uses little more than an organ and conversational singing to turn a tale of heartbreak into a nail-biter.
【评论】看法海等新生代如何革新R&B Looking at the landscape of today’s R&B scene, it’s easy to see that something strange is happening. It’s evolving. And while the genre has indeed gone through periods of change in the past, this transition is unique in the sense that the artists leading this charge don’t fit the typical mold of the R&B celebrity. Led by a small circle of artists that include Miguel,Frank Ocean, Jhené Aiko and The Weeknd, over the last two years, the sound of R&B has slowly started to transform. Pegged as “hipster,” “alternative” and even “emo” R&B, today’s new wave of soul vocalists offer more than your traditional love-making and dance records. This isn’t your pop-sounding rhythm and blues of the ‘00s and it’s certainly not your bump n’ grind, quiet storm R&B of the ‘90s. No, this is something different. Take Miguel, for instance. The 25-year-old crooner recently released his sophomore album, Kaleidoscope Dream, this week to rave reviews from both critics and fans alike. His latest single, “Adorn”, currently sits at No. 31 on the Billboard Hot 100 chart and No. 1 on the R&B/Hip-Hop charts. And though “Adorn” is presently seeing mainstream success, the majority of his album is vacant of the traditional, commercial sound that artists like Chris Brown, Beyoncé and Usher have made their names off of. With these new-wave artists, a lot of the production is echo-laden and lofty, often using a lot of synthesizers and filtered drums—sonically giving a nod to Prince’s vintage ‘80s sound. Additionally, for the most part, it doesn’t feel as if these artists are selling sex as their main entrée. Granted, they still sing about the topic, and in explicit detail, but it’s in equal proportion to drugs, spirituality and personal philosophies. You don’t get that same diversity in subject matter from the majority of modern R&B singers. On the hook of Miguel’s next single, ‘Do You…’, he asks his love interest if she likes two things: Drugs and love. ); color: rgb(102, 102, 102); line-height: 21px; background-position: 0px 0px; background-repeat: no-repeat no-repeat; "> But do you like drugs? Do you like drugs? Yup? Well, me too. Well, me too. Me too. Me too. Do you like love? Do you like love? Yup? Well, me too. Well, me too. It’s what we gonna do. He sings the words so effortlessly; one would almost think the two subjects were always meant to be paired together in a love song. This changing of the guard in R&B, from the smooth, cool heartthrobs to these vulnerable, off-kilter personalities comes at such a fitting time. Thanks to social media sites like Facebook, Twitter and Tumblr, people are divulging their private thoughts to others and finding solace in the fact that there are others who can relate. The same thing is happening in R&B. The average person can’t relate to lyrics about popping bottles of expensive champagne and having sex with beautiful models they meet at nightclubs. That’s not what these progressive R&B acts are singing about, which is why people are appreciating their music. It’s relatable. Earlier this year, singer Frank Ocean released his debut album, Channel Orange, with very little promotion from his label, Def Jam. Despite this lack of support, the album earned critical acclaim from publications like Rolling Stone, The New Yorker and Pitchfork while receiving praise from the who’s who of the music industry and Hollywood A-listers. There were no David Guetta-produced dance records nor any Trey Songz-esque panty droppers. He didn’t need them. Ocean earned his high ranks with innovation, a unique sound and emotional honesty. Go figure. Sure, this “R&B Renaissance” could very well be a passing fad, similar to Disco in the ‘70s and the New Jack Swing era of the late ‘80s and early ‘90s. Only time will tell, but with Universal Republic set to release all three of The Weeknd’s 2011 projects (House of Balloons, Thursday and Echoes of Silence) as a trilogy album next month and Jhené Aiko gearing up to make her major label debut on Def Jam, it seems as if label executives are sold on these avant-garde singers. Darwin’s theory of evolution suggests that complex beings evolve from more simplistic predecessors over a period time. Considering how disappointing the majority of mainstream R&B releases have been over the last several years, it would seem that R&B’s theory of evolution works exactly the same way.
【新闻】Janelle Monae, Big Boi - Club Nokia - 9/25/12 Janelle Monáe & Big Boi Club Nokia 9-25-12 Better than: Hearing my mother sing in the shower. A tuxedo-clad man with a top hat approached the stage and started to hype the crowd before Janelle Monáe's set. He got the fans pumped and chanting, and then suggested that folks Instagram him. Little known fact: it's "Social Media Week," which is even Big Boi of OutKast (the evening's not-so-secret "secret guest") was talking up the twitterverse. "Certain new artists, you get to discover their music, and I like that." Finally the lights dimmed, and Monae's ArchOrchestra walked silently to their positions. Suddenly, Monáe frenetically spewed the words to "Dance or Die," her Afrofunk-influenced jam. She whipped off her cloak to reveal her familiar black-and-white getup with black suspenders and a chain wrapped around her thigh. Without a pause, she launched into "Faster," which recalls classic Motown with its horn-driven melody and chunky bassline. For someone so obviously inspired by Prince, it was a bold move to cover "Take Me With U," but Monáe and co. pulled it off with aplomb. They stayed true to the original and she bounced, kicked and shimmied around the stage. Another cover fit her vocal range (if not her robot-freak style) even better: the Jackson 5's "I Want You Back." The string instruments lifted the song and highlighted her vocals. The hit single "Tightrope" from The ArchAndroid (Suites II and III) was a highlight of the evening. Confetti swirled, fans became hysterical, and one kid insisted she "Take off all your clothes and shake it!" Big Boi joined her on stage for part of the track. "Big Boi gave me my first start, and I am forever indebted to him," said Monáe. She segued into "Electric Lady," a funky, beat-driven workout that lasted a bit too long. Her lyrics "Uh shock it, break it baby, electric lady, electric lady," repeated over and over. She concluded her set with "Come Alive (The War of the Roses)," a jazzy neo-soul tune with angular guitar riffs. It sounded like something right out of a horror flick. By the end of the night, the entire band was on the floor, playing their instruments lying down. Monáe jumped off the stage and surfed the crowd, feet first into the audience. Eventually everyone got back and their feet and finished with a full-band flourish."How many cool mother****ers are in the house tonight?" asked rapper BlackOwned C-Bone to the screaming crowd. He's a Dungeon Family member and also featured on OutKast's "Gangsta Shit." Big Boi began rapping over OutKast track "So Fresh, So Clean," which I wasn't a fan of, and by the time he got to "Ms. Jackson" I was missing Andre 3000. C-Bone was consistently trying to get the crowd involved, shouting "Put your hands up!" often. His set was fairly short and, I would say, only semi-sweet. Personal Bias: I have never seen a great show at Club Nokia in three years of covering music in Southern California.
【新闻】Brandy谈与法海合作的歌曲Scared of Beautiful “Dude, you’re special.” Those are the words Brandy had for Frank Ocean years ago before anyone knew about him. In a new interview with Rap-Up, Brandy tells them how the song “Scared of Beautiful” came about and that she always knew Frank Ocean would be a star. It turns out that Frank had written and recorded “Scared of Beautiful” and then later Brandy recorded her version for her new album “Two Eleven” due out Oct. 16. Will we have another “Miss You” on our hands? I know I sure would like to hear Frank’s version of the song. How did the record with Frank Ocean, “Scared of Beautiful,” come together? Well, he had the song for a while and when I heard it, it really just spoke to me. Sometimes you get to a point in your life where you’re scared to be great, you’re scared to be beautiful, you’re scared to be the best version of you and you talk to yourself and you try to get yourself back on track. I just remember feeling like that at a point in my life. I know there are so many people out there that go through that dark time and I felt like it could speak to a lot of people. He’s such a brilliant writer. He’s a poet and I love that about Frank Ocean. For him to write such a beautiful song and me get a chance to sing on it was a plus for me, such a blessing. So glad the world knows about him. Did you always know he was going to be a star? Absolutely. I knew and I always tease him. I tell him all the time that I knew before he knew. I’m telling you that you should sing. I’m telling you that you’re gonna be one of the biggest artists in the world. Like I’m telling him this and he’s looking at me like I’m crazy. I’m like, “Dude, you’re special.” Please know that you’re special. And he’s so meticulous and he needs everything to be on point and that’s when I knew that if he was gonna be an artist, he was gonna do it his own way. He trusted his gut, he trusted his instinct, and I’m just really proud that we are blessed by his talent.
【新闻】法海将携囧妹共同登场SNL Aside from the ridiculous desert-campfire backdrop, Frank Ocean's stirring performance of thechannel ORANGE stunner "Thinkin Bout You" on last week's MTV Video Music Awards took what might be called "the Adele route." Similar to the soulful British belter's appearance at the2011 VMAs, Ocean made himself the traditionalist, music-first standout in an evening of garish costumes and would-be David Guetta dance beats. He even swapped out his accompaniment on the song, usually minimalist electro-R&B, for a lone, smolderingly jazzy electric guitar. This weekend, Ocean will return to NBC, the scene of his much-feted national TV debut a few months ago — this time as the musical guest of this weekend's Saturday Night Live. And he'll be bringing with him the 21st-century guru of traditionalist, music-first, smolderingly jazzy electric guitar that still scans as "pop": John Mayer. As Ocean tweeted today, "SNL this weekend. Me and the bro John Mayer." Mayer is officially credited for a guest appearance on channel ORANGE's spacey, instrumental "White," an alternate take on a track that originally appeared on Odd Future's OF Tape Vol. 2. But he also reportedly plays on sprawling single "Pyramid." And while Mayer's blue-eyed soul-pop, celebrity girlfriends, and, yes, understandably outrage-provoking interviews have made him persona non grata among much of the audience for what SPIN's Barry Walters has calledPBR&B 2.0, well — let's just say it's been clear for some time that he and Ocean share asimilar, storytelling-based songwriting sensibility. Plus, dude could totally rip on "Thinkin Bout You."
【翻译】Try 歌词 I guess it felt a little bit better when we were still arguing about it Cause in the words I could still hear love Somebody still cared And I would rather sleep on the sofa as long as you're still in our bed At least I'm sure that you're at home and you ever left me yet 尽管我们依旧争吵 但足以让我感到安慰 你的话语里还残存有爱 让我知道我们还彼此关心 我愿意一直睡沙发 只要你还留在这里 未离我而去 You said you know my heart is good But you'd hate me if you could If love would allow you to you would You could, you should, but don't 你说我是个好人 但你还是想去恨我 恨就恨吧 但我知道你不会做的 Try to leave me Try to stay Giving up Is harder baby Don't try don't try Don't try to leave girl Try to stay Try, try 不要尝试离开我 试着留下好吗 放弃并不容易 但请你不要离去 试着留在这里 It's breaking my heart to see you there Sickening I hate standing at that station It's a picture that I don't wanna frame Tears in your eyes Luggage at your side 在车站看你离去真让我心碎 你眼里含着泪 身边丢着行李 这画面我永远不想再记起 You ain't gotta work too hard Tryna break my heart But don't try, don't try, don't try You ain't gotta work too hard Trying to move on ohh oh Try to stay Try to think 不要那么用力去伤我的心 想想我们的曾经 不要离去 Don't try to leave me Try to stay Giving up Is harder baby Don't try don't try Don't try to leave girl Try to stay Try Try, try Just try 不要尝试离开我 试着留下好吗 放弃并不容易 但请你不要离去 试着留在这里
【图片】Big Boi在North Coast音乐节表演 Filling a similar position to that helmed by hometown rapper Common at last year's fest, OutKast's Big Boi helmed the time slot that was the runner-up to last night's grand finale. It's a spotlight showcase for the hip-hop star, but competing dance acts Chuckie and Steve Aoki proved stiff competition. Making my way to the main field after taking in some of Maya Jane Coles set, I was amazed to find a crowd in transition. Most seemed largely uninterested in what Sir Luscious Leftfoot had to say. That didn't stop the performance vet from making the best of it. In proper Big Boi style, it was a party onstage. Beyond the DJ, live drummer and hype man joining him, Daddy Fat Stax also had about two dozen friends with him, filling out the stage with bouncing bodies. The great thing about a set from Big Boi is that it's a hit-fest. In a similar style to his Pitchfork set from last year, a music video medley played out on the jumbotron as familiar cuts like "I Like the Way You Move" rubbed elbows with classic OutKast faves like "Player's Ball," "Elevator (Me & You)" and newer Big Boi hits like "Shine Blockas," his George Clinton collabo "For Your Sorrows" and "Shutterbug." The millennial crowd that dominates North Coast has helped bring about a sea change in popular music, one that's seen hip-hop overshadowed in favor throbbing dance beats. North Coast's entire existence stands as a testament to this. No matter how impressive Big Boi might be as major player in hip-hop and pop, I couldn't help but wonder if this music just doesn't hold sway over a crowd like this one anymore. Maybe, but it's just as likely that these sun-soaked and ****ed-up kiddies had nothing left in them but to rave away for a couple more hours with Steve Angello and Pretty Lights, the fest's two final acts, and the ones that they were likely in the process of finding a good spot for.
【图片】Big Boi在North Coast音乐节表演 Filling a similar position to that helmed by hometown rapper Common at last year's fest, OutKast's Big Boi helmed the time slot that was the runner-up to last night's grand finale. It's a spotlight showcase for the hip-hop star, but competing dance acts Chuckie and Steve Aoki proved stiff competition. Making my way to the main field after taking in some of Maya Jane Coles set, I was amazed to find a crowd in transition. Most seemed largely uninterested in what Sir Luscious Leftfoot had to say. That didn't stop the performance vet from making the best of it. In proper Big Boi style, it was a party onstage. Beyond the DJ, live drummer and hype man joining him, Daddy Fat Stax also had about two dozen friends with him, filling out the stage with bouncing bodies. The great thing about a set from Big Boi is that it's a hit-fest. In a similar style to his Pitchfork set from last year, a music video medley played out on the jumbotron as familiar cuts like "I Like the Way You Move" rubbed elbows with classic OutKast faves like "Player's Ball," "Elevator (Me & You)" and newer Big Boi hits like "Shine Blockas," his George Clinton collabo "For Your Sorrows" and "Shutterbug." The millennial crowd that dominates North Coast has helped bring about a sea change in popular music, one that's seen hip-hop overshadowed in favor throbbing dance beats. North Coast's entire existence stands as a testament to this. No matter how impressive Big Boi might be as major player in hip-hop and pop, I couldn't help but wonder if this music just doesn't hold sway over a crowd like this one anymore. Maybe, but it's just as likely that these sun-soaked and ****ed-up kiddies had nothing left in them but to rave away for a couple more hours with Steve Angello and Pretty Lights, the fest's two final acts, and the ones that they were likely in the process of finding a good spot for.
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