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This Is What Zoe Kravitz And Miley Cyrus Do When They’re Bored In A Hotel Room

Ever wondered how Zoë Kravitz and Miley Cyrus would entertain themselves if they were trapped in a hotel room for hours? Well, we have the answer in LOLAWOLF’s video for “Bitch.”

The catchy, rap-infused track is featured on the band’s debut LP Calm Down and the accompanying visual, directed by Trouble Andrew has a very Lo-fi aesthetic. You sort of feel like a friend, filming other friends, who are doing things you wouldn’t necessarily want your parents to see.

The video opens with a half naked Zoë in her hotel bed, then we catch her going through the motions to get (partially) dressed before Miley shows up to hang out.

Once they link up, there are a few activities going down, for example playing Go Fish with a deck of Hannah Montana cards, but the rest, you should probably just watch and see.

When MTV News caught up with Zoë back at SXSW in Austin, Texas, she told us that she’d just filmed a video in her hotel room, so if we’re connecting the dots, this might be the outcome of that shoot.

Below she also chats about going on tour with Twin Shadow and potentially collaborating with Drake or A$AP Rocky in the near future.

Kurt Cobain Influenced Pretty Much All Genres — Just Ask Wiz Khalifa And Fall Out Boy

Kurt Cobain’s Nirvana released just three full-length studio albums from 1989 through 1993, but their music is still inspiring audiences today.

That influence is sure to reach even greater heights when HBO airs its Cobain doc “Montage of Heck” on May 4.

So, how has Nirvana maintained its importance more than 20 years after Cobain’s passing in ’94?Wiz Khalifa might have the answer. As he put it, Cobain’s work continues to inspire because it’s simply timeless.

“I’m only 27 so when they were poppin’, I was really, really young,” Khalifa told MTV News. “But him as a writer, how he put his stuff together, it reaches so many people and so many ages. It’s just timeless.”

Fall Out Boy’s Patrick Stump agrees, but notes that he didn’t fully appreciate Cobain’s greatness until it was almost too late.

“In the era, I remember being like, ‘Eh, I don’t like Nirvana. I don’t like this. This isn’t for me,’” Stump recalled. “Toward the end, I started to realize, this is awesome. I was one of those jerk-little kids that was like, ‘Eh. Whatever’s popular, I don’t like that.’”

“I realized almost too late that that was exactly what Kurt was into,” he continued. “He was like, ‘No, I don’t want us to be this big popular band.’ They came to kill hair metal. He was like the ultimate anti-rock star.”

Over time, Stump saw himself in Cobain because of that “anti-rock star” quality.

“That related to me a lot, and kind of informed a lot,” he said. “It’s hard to relate to musicians who act like gods. You know? It’s way different when they’re real people and you know that and that kind of comes through. And then, they’re kind of amazing in their own way. He’s like the ultimate of that hyper-relatable [star].”

Rock fans weren’t the only ones who could relate to Cobain. DJ Drama also found himself in awe when he first heard Nirvana’s “Smells Like Teen Spirit.”

“[It] was like nothing I had ever heard before,” he said. “I remember it was like the coming of Nirvana was the transition from heavy metal to grunge.

“When you think about the ‘90s, Kurt Cobain is one of those symbols just as [Tupac Shakur] is,” Drama, who’s joining Wiz and Fall Out Boy in their “Boys of Zummer Tour” this June, added. “So outspoken. And just through the music, even the harmonies of Nirvana and his song patterns touched everybody. It crossed genres in so many ways.”

That influence remained strong even after Kurt Cobain’s death in 1994.

“I remember going to school in high school the day after he passed away,” Pete Wentz said. “There were kids who had Ks written on their hands. I remember where I was. Kurt and Nirvana was one of those few moments in music that we got live through where everything was different after Nirvana.”

Here’s How ‘Kurt Cobain: Montage Of Heck’ Made Me Get Over My Love Affair With Dead Rock Stars

Since I was a kid with a stack of records in my room and a turnable I stole from my parents, I’ve been a fan of dead rock stars. I don’t think it was any kind of conscious decision — I wasn’t really a goth or a ghoul.

There was Nick Drake, whose collected discology I painstakingly collected in its entirety (which wasn’t hard since he died when he was 26 of an overdose of antidepressants). I used to listen to one of his final songs, “Black Eyed Dog,” on repeat, wondering if he was trying to tell everyone something, as we read some short story in school once about how black dogs are associated with death.

Then there was Jim Morrison, whose face is still plastered all over my childhood bedroom and who remained an obsession through high school into college. I liked his sad poetry books even though they weren’t really that good. I even declined to visit his gravesite on a school trip to Paris because then I’d have to share him with all the other people who had scrawled across every inch of his memorial.

It was with that predilection that I saw HBO’s luminous and crushing documentary, “Kurt Cobain: Montage of Heck.” If you watched it tonight (May 4), you may be crying. You may be bummed. You may be cursing director Brett Morgen’s name because, as you know by now, the film just ends.

Yup, after watching this man grow up from wild child baby with firecrackers strapped to his chest into a rock star holding his own baby (dazed and confused) — spoilers ahead — the doc leaves you with a few screens and a few scattered pieces of text informing you, the highly invested viewer, that Kurt Cobain is dead.

You may be crying. You may be bummed. You may be cursing. But me? Well, guys, I felt kind of ashamed. Because that’s when I — a girl who has always loved dead rock stars — realized that a person who died long ago isn’t some kind of celestial legend. He’s a guy who died long ago — and he was real. Kind of sad to come to that realization at age 30, but there you go.

These musicians who were separated from me by death — they were safe, I realized later. They couldn’t disappoint me. They couldn’t get older and put out a sh-tty folk record or write a lot of angry autobiographies or become sad, shaded parodies of themselves, rebelling against something that doesn’t need rebelling against anymore. They would always remain young — younger than me, now. They would always remain talented. They would always remain perfect. They were legends because they died young — untouchable like Jesus, or Finny from “A Separate Peace.”

“Montage of Heck” explodes that idea. It makes Kurt Cobain into a man — in part because it ends where a person’s life ends: with his death.

“When I showed the film to Frances Bean [Cobain] for the first time, we were talking afterwards and she said, ’You know what my favorite part of the movie is? The end, when it cuts to black,’” director Brett Morgen told MTV News weeks before the doc aired on Monday. “I was like, ’That was your favorite part of the movie? I don’t know if I should be offended or not.’”

For those who didn’t watch the film tonight, “Montage of Heck” does not end with a funeral. It does not end with that famous recording of Courtney Love reading Kurt’s suicide note or her interview with MTV News following his death. It ends with a black screen.

If this were a fictional film, this is where the audience would rise to their feet, shouting about wanting their price of admission back. When I saw the film in a screening room filled with rock journalists who had — hours before — been chatting loudly about their latest interviews and career coupes, this is where we all sat in the silence and the darkness and thought.

“[Frances told me] ’That’s how it is. That’s how life is. And that’s how death was. And it’s so honest,’” Morgen told MTV. “At some point, it became clear that you couldn’t wrap it up with the bow, like a stupid Hollywood ending. You know, ’Well, Kurt, he’s not here anymore, but you know he’s brought so much comfort and joy in the world!’ No. It was tragic and we needed to sort of show this.”

And they did. They needed to. Kurt Cobain is a very easy dead rock star to fall in love with. He’s an angel-faced man who, as Love says in the film, doesn’t know how attractive he is. He is, as you can see in the film, a misfit from a tumultuous home who just doesn’t fit in — you know, like the skater/stoner/loner in your high school class that you know would understand you if you ever mustered up the guts to talk to him.

To be honest, I was never a Nirvana fan as a kid. I knew all the hits from the radio, sure, and I had burned a live CD from the library and listened to “Lake of Fire” on repeat for a while (kind of similar to “Black Eyed Dog,” no?). I became a real fan pretty recently — when I saw the remaining members of Nirvana play onstage at the Rock And Roll Hall of Fame induction ceremony. When I saw Michael Stipe tearfully say, “And that voice … that voice.”

Here was another dead rock star. Another perfect ghost to add to the portrait gallery of icons in my head (where I found my friends, like Kurt did in “Lithium”). He was safe. He was gone. He couldn’t disappoint me by putting out a Christian rock album or launching his own line of shoes or just, you know, putting out a mediocre record that was like “Nevermind 2.0″ without all the angst. He couldn’t grow up.

And then I saw “Montage of Heck.” I sat in the dark and I watched that Peter Pan of the Afterlife growing up strange and sad and angry and talented. I read his journals and saw his angry scrawl. I heard about how he lost his virginity to the girl everyone teased and then almost lay down on the railroad tracks. I saw him playing with his baby and his wife and his family who have to live with the fact that he’s gone — reminded constantly of his golden youth every day by the radio and the TV and fans in shirts with X’d-out eyes and smiley faces.

Then, it all ended, as Morgen said, like life does. There was no one there to tell me that it was all right. No one to tell me that Kurt would go on to be a hero even in death and lead generations of disaffected youth into the knowledge that they are not alone. Because it wasn’t all right. Cobain didn’t die to save us all. He died because — well, we don’t know why. Because it’s not really our business.

Although Morgen told me later that he never felt like he was trespassing on Kurt’s life — that Cobain kept his journals out in the open and talked for hours with journalists even though he said he hated the press — “Montage of Heck” made me feel like I was was spying. I began to fully experience Kurt Cobain as a person — a real person. And I slowly started taking down the portrait gallery of ghosts in my head.

So, this is a “thank you” letter to director Brett Morgen. This is a “thank you” for being a major bummer. This thank you for bringing me to tears. This is a “thank you” for making me feel like kind of an a–hole. This is a “thank you” for the decision to end your documentary the way you did — at the end. In doing so, you made a movie not about a dead rock star — but about a man.

20 photos that illustrate the awesomeness of the New Orleans Jazz Fest

the first day of the 2015 New Orleans Jazz & Heritage Festival was one that had great music, amazing food, lots of shopping, and unfortunately…some horrible weather. While the rain usually comes every year to New Orleans at this time, this was the year it got really bad…but it didn’t soak out any of the fun or the spirits of the festival-goers.

Lightning strikes and tornado watches actually caused Jazz Fest to stop the music and shut the gates early on Friday night. It was just an hour early and fans hated to miss out on any time, but the rest of the day certainly didn’t disappoint.

Keith Urban sadly had his set cut short, but he still got through 11 songs in 52 minutes of play-time.

While the music paved the way with Wilco, Tedeschi Trucks Band, Hozier, and more; it was still the food and drink that made Jazz Fest so awesome on day one. Crawfish were flowing in full force as po-boys were being carried around the festival and enjoyed to their fullest content.

The music played on and the rain came down, but nothing dampened the spirits of any of the festival-goers.

It’s like you were here: Elton John, The Who, Ed Sheeran, Pitbull highlight Jazz Fest coverage on AXS TV

‘Such Jubilee’ by Mandolin Orange is filled with pretty songs

Sometimes in music – as in life in general – simplicity can go a long way. Take Mandolin Orange for instance. This band is a duo whose music is rooted in bluegrass. While the melodies may be comparatively simple with only two instruments and vocals, the playing is anything but simple. Andrew Marlin and Emily Frantz show real skill on their instruments from the first notes of the new album. “Old Ties and Companions" certainly sounds like it features more than two instrumentalists. When you listen to this song, you’ll probably wish you could play anything with the same skill as these two.

Mandolin Orange specializes in making strikingly pretty songs. “Settled Down" is a particularly good example. The harmonies in this song are amazing, as is the instrumentation. The fiddle brings a sort of lonesome sound to the song. Perhaps the best way to describe this song is to say that it’s one of those songs where you want your surroundings quiet so you can focus on the song. Frankly, you can pick any song on this album and you’ll find a very pretty song. However long the two members have been making music together, they are so polished that it sounds like they’ve been making music together for a long time.

Frantz takes the lead vocals on “From Now On" and does a splendid job of it. She sounds a bit like Lucinda Williams – but not quite as rough. Her sweet voice is a great compliment to the fiddle and mandolin in this song.

This is a tremendously crafted album filled with good songs that will get you thinking and singing along. The skill of Marlin and Frantz comes through in all of the songs, but you know that the real treat would be to see this band live so you can witness just how good they are at what they do. The roots of the music are definitely in bluegrass, but you can’t call this a strictly bluegrass album. It’s a combination of bluegrass and folk. No matter how you classify it, it’s just a really good album. This is an album that you’ll want to listen to repeatedly. The thing is that if you do listen to it repeatedly, you’ll probably hear something new every time. Other bands would do well to take a lesson from Mandolin Orange about how to do more with fewer members. Such Jubilee will be available from Yep Roc Records on May 5.

Ryan Adams plays the Arlington Theatre in Santa Barbara

Late Show with David Letterman

Ryan Adams has made a career of being a sort of

modern-day Gram Parsons. His music has always shaded toward country in one way or another. His songs have a tendency to be beautiful and a little dark – even to the point of being brooding. He has been grasped enough by the mainstream to end up on late-night talk shows and even the movie “This Is 40″. However, he has always remained kind of on the edges to the point that maybe he’s not a household name.

Earlier this year, Adams released his self-titled album, and it’s a lot of what you’d expect from a Ryan Adams album. It kicks off with “Gimme Something Good" an alt-country song that would be a great introduction for someone to whom he is not a household name. The guitar in this song sounds a lot like the guitar in a Drive-By Truckers song. It tells a good story, and it’s easy to sing along with. Also like Drive-By Truckers, the song is well-polished, but manages to maintain a little grit.

The next song “Kim" is a great example of how Adams has followed in the footsteps of Gram Parsons. This is a song filled that is filled with a lot of raw emotion. Despite being a sad song, it is not only well-done, but also incredibly beautiful. Adams is just one of those rare artists that can take pained emotions and turn them into something amazingly beautiful.

Adams is currently touring to support his new album, and will play the Arlington Theatre in Santa Barbara on Wednesday, October 3. You’re probably thinking “Yeah, but it’s Santa Barbara. That’s kind of a long way to go for a show – especially on a Wednesday night." While it’s true that this gig is a good drive from Los Angeles. However, this is his only date in southern California on his current tour. If you really want to see him, you’ll have to make the drive. Besides, if you know southern California well enough, you know what time you’ll need to leave to prevent this from being an odyssey. Furthermore, is there a bad time to visit Santa Barbara? It seems like any excuse to get to that coastal town is a good one. You could even make this into a mini-vacation in the middle of the week if you don’t want to drive back to Los Angeles after the show. Tickets for this show range from $25 to $55, plus fees.

沙西米 – 三角情慾篇




類  型:劇情

片  長:1時26分

導  演:潘志遠

演  員:李康生、波多野結衣、紀培慧、拓也哥、周孝安、蘇達、浩角翔起





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心穎BB慘變大嘥鬼 網民轟TVB狂掟蛋糕谷新節目




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今日抵台宣傳《沙西米》。 (台灣蘋果) 紀培慧、李康生、波多野、拓也哥 (台灣蘋果)
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