How does one scrape together $2 million at the last minute? If you're Rick Ross that means coming up with $500,000 in cash, $500,000 from a bail bondsman, and $1 million in equity from the Holyfield mansion he owns, as TMZ reports.
Luckily, Ross purchased the mansion from boxer Evander Holyfield for $5.8 million back in February of 2014. It's reportedly the largest single family home in all of Georgia. If Ross wants to keep it, he'll have to avoid intimidating or threatening any witnesses--which his lawyer promised. At the hearing, the jurors were reminded of how "vicious" Ross was when he "dragged the groundskeeper back into the house and beat him multiple times" and "threatened to 'pop a cap'" if he told anyone.
Ross will be spending a lot of time in his Holyfield mansion now, as he's on house arrest with an ankle monitor. Read more here.
Martin, who nobody even knew was in India, surprised the room when he suddenly broke into song. According to Buzzfeed India, Martin gave an impromptu acoustic renditions of 'Vida la Vida," 'Fix You," and 'Paradise."
Even wilder, he wasn't the only celebrity in attendance. Slumdog Millionaire star Freida Pinto, who's been promoting her "Girl Rising" campaign in India over the past week, was also in the crowd. Plus, before Martin went on stage, he was introduced by comedy collective All India Bakchod. Indian musicians Dadlani Raghu Dixit were also in the room.
Martin's low-key performance, however, didn't stay a secret long. Soon after his name became a trending topic in India, thanks to all of the fans who found out about the show too late.
Check out videos and tweets from the pop-up event here.
Literally, as in, they are lighting fires and burning tires. There are also blaring red lights, smoking drum sets, shiny black leather and plenty of sultry, over-the-shoulder, could-kill-you-if-you're-not-careful glances. It's a big, bold visual statement, and it perfectly matches the dramatic energy and emotion the trio (Hillary Scott, Charles Kelley, Dave Haywood) bring to the song itself, which appears on the band's most recent album 747.
In other words, this ain't your mama's Lady Antebellum.Written by all three bandmates along with collaborator Josh Kear, "Long Stretch of Love" is about facing the challenge of keeping fires burning during the long haul of an extended relationship.
As Kelley told Radio.com, the song is the most "honest" on the album. 'We're all married. True love is ups and downs. You hit, you miss. You're fire and ice," he said. 'But at the end of the day we're not going anywhere. We feel that way in our personal lives and as a band. We're going to have our ups and downs. We've been through a lot. We just have this long stretch of love. This long view of the group."
The song has a bold melodic hook that captures your attention immediately. As Haywood explains, the song began with an idea that Kear brought in that he had conceived on "this little tiny Appalachian instrument called a woodrow." As Haywood explains, Kear had this riff for the song that "kinda had this Fleetwood Mac feel" with "huge drums kind of behind it, and that's kind of the way we envisioned it when we went in to record. It really articulates the energy that we wanted for the record." And when the band plays it live, he says, "it makes you wanna jump out of your skin" because "it just has this freight-train-coming-at-you" feeling. Read more and watch the video here.
"There's something about being able to call Hayley my wife and say that it's official!" Hubbard told People. "Marriage is forever and we're just so happy to share our love forever."
According to People, Strommel wore a lace Monique Lhuillier gown. "I just wanted to be comfortable and have a timeless, classic dress," she said. Hubbard's bandmate Brian Kelley was his best man on the special day. Read more here.
According to country artist Rodney Crowell, Hiddleston spent last September at Crowell's home in Tennessee to study the life of the late singer. In a lengthy Facebook post, Crowell spoke of Hiddleston's hard work ethic in studying the life of mannerisms of Williams.
"After nearly a month spent collaborating with this gifted artist, I'm as respectful of the man's work ethic as I'm mystified by his transformational skills," Crowell wrote. "Without a doubt, the filmmakers chose the right actor for the job."
Previously, Hank III has been outspoken about the film and has shown his distaste for the lead actor on multiple occasions in the role of his grandfather.
'The main point that I will still stand by no matter what happens in the future, I still think for an Americana icon, an American needs to play that role," he told Saving Country Music. Read more here.
An anonymous source confirmed with Billboard that the site will begin presenting music videos in users' main feeds. The videos will be selected by labels.
Similarly to how newspapers like the New York Times will begin presenting articles directly on Facebook, the videos will be hosted directly on the social media site. Facebook wants to position itself as a new home for content creation, instead of a secondary aggregation site. Read more here.
Now, the mouse-headed producer has Diplo and Skrillex super-group, Jack Ü, in his sights, taking aim at their Justin Bieber-featuring hit, "Where Are Ü Now."
Deadmau5 used his Soundcloud account to release "where im at," an obvious swipe at the Jack Ü track. Utilizing a similar bass sound and trap beat, Deadmau5 emulates the warped flute hook of "Where Are Ü Now" with what sounds like a kiddie harmonica wheezing out of key.
The producer's only commentary on his parody remix? "Still needs mastering." Yes, he's also a comedian. Check it out here.
The song, off his 2014 album, Andrew McMahon In The Wilderness, has McMahon giving his little baby girl Cecilia a taste of who he was before she came into this world with lines about "loving girls he barely knew" and traveling "around the world with a punk rock band."
"I wanted to be really candid," McMahon tells Radio.com over the phone from Michigan. "I wanted her to be able to look back and know who her dad was before she was born, the successes and the failures, and for her to know I'd be there for her through the same highs and lows."
McMahon has lived more in his 32 years than most others. He's cafe-crawled around Amsterdam and played Japan over the course of his 15 years making music, first with his high school pop-punk band Something Corporate and then later with his band Jack's Mannequin. He's also a cancer survivor, who was diagnosed in 2005 with acute lymphoblastic leukemia and battled back.
McMahon started writing the song during his wife Kelly's pregnancy as a way to connect with his little one, who he says was an unexpected blessing after going through chemotherapy. But, it wasn't until after Ceclia's birth in February 2014, that lines like "For all the places I have been/ I'm no place without you" began to take on new meaning.
It's something McMahon admits has happened throughout his first year of being a dad, changing the way he makes music--specifically, what time he's making it.
"You're sort of required to be at their disposable. It's a positive effect," McMahon says. "Everything comes back into focus because you're completely focused on this one little person." Read more here.
The new eight-episode Netflix series is actually a prequel to the 2001 movie Wet Hot American Summer (which was set on the last day of camp). The series is created by Michael Showalter and David Wain (two producers from the original film), and in a twisted but brilliant move, not only are the place (Maine) and the time (1981) the same as the original movie, but so is the cast.
Yes, that's right, the original actors are back in their same roles, including Elizabeth Banks, H. Jon Benjamin, Michael Ian Black, Bradley Cooper, Janeane Garofalo, Nina Hellman, David Hyde Pierce, Joe Lo Truglio, Ken Marino, AD Miles, Christopher Meloni, Marguerite Moreau, Zak Orth, Amy Poehler, Paul Rudd, Marisa Ryan, Molly Shannon and Michael Showalter. There are some new folks, too, including Jon Hamm.
All eight episodes of Wet Hot American Summer: First Day at Camp premiere July 31 on Netflix. Watch the trailer here.
Living in Sudbury Ontario, one is hard pressed to find a place free from the sounds of trains. The rails criss-cross the city, going from the mines and smelters right through the centre of town on their way to buyers down in Southern Ontario and the US. Downtown is flanked by a large train yard, tunnels under and bridges over it, traversed daily by most Sudburians. The train goes through many of our backyards, shaking windows, screeching breaks, and rumbling steadily through the night. Everyone in the city is used to the occasional latecomer, stuck in front of checker-board bars and flashing lights for five or even ten minutes, often in the middle of the day. Coming from a musical style steeped in folk roots, it was inevitable that we would try our hand at that storied tradition of writing the rails.
The entity that is the "train song" is as old as those rails themselves and as strong as the steel they're made from. From it's inception, the train has endlessly provided a wealth of inspiration and grand story telling.
The stories must be grand. Even to this day there is nothing to us as breath taking as the experience of being a few feet from a speeding freight train. It's clear where the fascination stems from - the rails have worked as a ribbon to tie together countries and bridge the gap between great land masses. None more vast and varied than the Canadian landscape. Railways have been the veins that pump life into our communities, and that have served as a trusted form of transportation, both legitimate and otherwise. The latter brings forth it's own tradition, as well as the exchange of culture and information, even community. Murder Murder's logo is based on a hobo symbol used by many who rode the rails. We saw the stylized WW that represents "barking dogs here" and flipped it upside down for ourselves.
Even more than all of that, the train contains it's own unmistakable musical language. From the pulsing rhythm of early chain gang chants, to the excitement of Guy Clark's "Texas 1947", to the "Orange Blossom Special", or anything recorded in early Johnny Cash sessions, these sounds have been utilized by artists for generations.
In Sweet Revenge, we take a stab at the "train song", as we attempt to have every moment mimic those undeniable sounds. In the intro we try to bring forth the feeling of an oncoming train, and then build the intensity until it seems like the wheels are gonna fall off.
The lyrics are simple and tell a story of a dark desire for vengeance, as the narrator dreams of hopping a south bound freight train in search of those who have done him wrong. It never is made clear what the deed is that he is reckoning for, and truthfully, we don't even know ourselves. It's only clear the his lust for blood is an all-consuming one, and that justice is inevitable.
In the breakdown-style bridge we skip a beat, the way your heart does when a train passes meters from your face, and as we bring the song to a close, we return to a steady rhythmic pace as we attempt to bring back that feeling of approach. We again build intensity as two trains hurtle towards each other down the tracks, whistles blaring, and culminating in the twisted chaos of a train wreck.
This is our submission, albeit a modest one, to that time honoured tradition. Does it stand up to the legendary standards? Maybe not. But nonetheless we are proud of it, and hope that you enjoy it.
From all of us in Murder Murder, thanks and see you soon!
Hearing is believing. Now that you know the story behind the song, listen for yourself and learn more about the album right here!
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