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Ciara Added 'Wilson' To Son Future's Last Name Years Ago
Music

Ciara Added ‘Wilson’ To Son Future’s Last Name Years Ago

by jummy84 September 6, 2025
written by jummy84

Ciara is one of many celebrities to take in the US Open in New York City this week, bringing along her two eldest children, Future, 11, and Sienna, 8, for the festivities.

Husband Russell Wilson was sure to show love to his wife and kids on social media Thursday (Sept 4), reposting an Instagram story from Vogue‘s account of the family taking in a tennis match.

“Mrs. @ciara Wilson, Future Wilson, and Sienna Wilson [3 heart-eye emojis],” the NFL star captioned the repost. While most took it as nothing more than a sign of affection, others began to question son Future’s last name, as Wilson is his step father while rapper Nayvadius “Future” Wilburn is his biological father.

“Russ calling him ‘Future Wilson’ was petty and nobody can tell me different,” wrote @waymoflydenu on X/Twitter. “If you’re present in a child’s life, you don’t have compete. Your actions will show the child who’s really involved and who’s not. That post was corny.”

This also led many to believe that Ciara legally changed young Future’s last name from Wilburn to Wilson.

“The only ones agreeing with this is bitter BMs,” wrote @inezalbright2, who disagrees with the idea. “My child also had a stepfather but she carried her biological father’s name. I got married to that man, not my child.”

It turns out, however, that the CiCi singer, 39, did amend her eldest son’s last name years ago, adding Wilson onto Wilburn, but not replacing his born surname, TMZ reports. This would make his full name Future Zahir Wilburn Wilson.

This allows for young Future to share the same last name as his household while retaining a connection to his biological father.

NEW YORK, NEW YORK – AUGUST 30: Russell Wilson, Ciara and their children attend day seven of the 2025 US Open Tennis Championships at USTA Billie Jean King National Tennis Center on August 30, 2025 in Flushing Meadows, Queens, New York City. (Photo by Jean Catuffe/GC Images)

Russell, 36, spoke on stepping in to be a father to young Future on a February 2024 episode of the I AM ATHLETE podcast, saying he knew it was his duty once he feel in love with his R&B star mother.

“Stepping in to raise a child with [Ciara] and realizing that, ‘Okay God, I know she’s the one for me.’ But also too, I’m gonna take this responsibility as well.” Wilson said of raising baby Future. “I was ready for that… What a gift. That’s been the greatest gift of raising Future [Jr.], Sienna, Win and now Amora. It’s like, man, God gave me that opportunity to raise them and to love them and to care for them… And there’s no difference.”

September 6, 2025 0 comments
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Sigur Rós Announce 20th Anniversary Reissue of Takk..., Share Rarities: Listen
Music

Sigur Rós Announce 20th Anniversary Reissue of Takk…, Share Rarities: Listen

by jummy84 September 6, 2025
written by jummy84

Sigur Rós have reissued their landmark album Takk… for its 20th anniversary. Today’s digital release precedes sets of 5×10″ and 3×12″ and a CD version, all coming on September 26, via Krunk. Takk… (20th Anniversary Remaster) comes with five rarities, two of which are officially out now for the first time: “Melrakki” and “Elfur,” both recorded in the lead-up to Takk…. Listen to those below.

Three more B-sides—“Refur,” “Ó Friður,” and “Kafari”—have been remastered for the reissue. Scroll down for the tracklist. The band brings the final leg of its orchestral tour to North America next month.

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Sigur Rós: Takk… (20th Anniversary Remaster)

Takk… (20th Anniversary Remaster):

01 Takk… (2025 Remaster)
02 Glósóli (2025 Remaster)
03 Hoppípolla (2025 Remaster)
04 Me∂ bló∂nasir (2025 Remaster)
05 Sé last (2025 Remaster)
06 Sæglópur (2025 Remaster)
07 Mílanó (2025 Remaster)
08 Gong (2025 Remaster)
09 Andvari (2025 Remaster)
10 Svo hljótt (2025 Remaster)
11 Heysátan (2025 Remaster)
12 Melrakki
13 Refur (2025 Remaster)
14 Ó Fri∂ur (2025 Remaster)
15 Kafari (2025 Remaster)
16 Elfur

September 6, 2025 0 comments
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Sydney Sweeney sheds light on training regime for boxing biopic ‘Christy’
Music

Sydney Sweeney sheds light on training regime for boxing biopic ‘Christy’

by jummy84 September 6, 2025
written by jummy84

Sydney Sweeney has shed light on the prep she did to embody boxer Christy Martin in the new biopic Christy.

  • READ MORE: Sydney Sweeney doesn’t get why you’re obsessed with her: “I’m just being me”

The film charts the career of American boxer Martin, who rose to prominence as one of the most successful female athletes in the sport in the ‘90s and ‘00s, later enduring and surviving domestic violence and an attempt on her life by her husband and former trainer, who is portrayed by Ben Foster in the film.

Speaking at the film’s premiere at the Toronto Film Festival on Friday (September 5),  Sweeney touched on her much-discussed transformation into the film’s titular boxer, which has seen her gain over 30 pounds in preparation for the role.

Sweeney told the crowd that she trained for around three months with a boxing coach before filming, and also worked with weight trainers and a nutritionist. “I trained two to three times a day, every day, and then while I was filming, I trained, as well,” said Sweeney.

New look at Sydney Sweeney as professional boxer Christy Martin in the upcoming biopic ‘CHRISTY’

(via @VanityFair) pic.twitter.com/Tm24RfFfOR

— Lights, Camera, Barstool (@LightsCameraPod) September 4, 2025

As for packing on muscle, director David Michôd said there was “a lot of Chick-fil-A” involved. Sweeney agreed, adding: “A lot of Smuckers, a lot of milkshakes, a lot of protein shakes. But it was incredible being able to completely embody such a powerful woman.”

Martin, who consulted on the film, said her boxing persona felt very separate from her genuine personality, which she felt Sweeney did an “awesome job” balancing.

“Christy the boxer was just the persona, very bombastic and very egotistical, but that is not who I am. I am actually very shy and reserved,” she explained. “I have these two different parts of my personality, which I think is why Sydney Sweeney does this awesome job.

“She got to be this totally different person that none of you expected. She wasn’t the beautiful, sexy Sydney. She was the tough, rugged Christy in this movie.”

Scheduled for a November 7 release in the US, there is no UK release date announced as yet for Christy, although it will be one of the gala screenings at this year’s London Film Festival on October 17.

Elsewhere at the film festival, the actor made headlines after emphasising that she would not be talking about the recent American Eagle controversy, saying: “The movie’s about Christy, and that’s what I’ll be there to talk about.”

It comes after the Euphoria star drew criticism for her involvement in the brand’s jeans campaign, which many online have accused of having racially charged undertones. Both Lizzo and Doja Cat have criticised the campaign, while Sweeney was heckled at a separate film premiere recently, with an onlooker shouting: “Stop the ad, that is being racist!”

American Eagle released a statement in early August, saying: “Sydney Sweeney Has Great Jeans is and always was about the jeans. Her jeans. Her story”. The commercial received praise from US President Donald Trump, who also expressed delight at the news that Sweeney was registered as a Republican supporter at the last election.

Recently, Sweeney hit back at critics of another of her endorsements, pointing out what she perceives as the hypocrisy of people criticising her for selling soap infused with her own bathwater.

September 6, 2025 0 comments
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Justin Bieber Swag 2' Review
Music

Justin Bieber Swag 2′ Review

by jummy84 September 6, 2025
written by jummy84

Sometimes in life we all overswag. Two months ago, Justin Bieber shocked the world with his excellent Swag, his first album in four years. It was the artistic comeback he needed—sweet validation after all his celebrity meltdowns, troubling headlines, paparazzi battles, and social-media disasters. So there’s something perfect about Swag II — after catching everyone off guard before, he’s immediately back with the lame album everyone expected last time. He could have called it Swag And It’s Completely Different And Not Very Good But Also Still Swag.

The first one was a deeply weird personal statement, from an artist going through six kinds of it. But Swag II is everything the original wasn’t: slick, anonymous, half-assed, playing depressingly safe. Out of 23 songs, there’s maybe 5 or 6 keepers, buried in way too many duds that drag on forever at 3 minutes. Who knows — maybe Swag 3 will be the remix album where God joins him for a surprise Lorde-style duet on “Story of God.” (“No no, Justin—YOUR voice is the foundation of everything!”)

Bieber just announced Swag II yesterday, promising it would drop at midnight. Except it ended up getting delayed for four hours — so it’s intriguing to guess which last-minute details Bieber was still working out at deadline time. Maybe he spent the extra hours trying to think up rhymes for “You look so good”? If so, what he came up with was “If you gave me the rights, you know I would.” (So probably not.)

Swag II the kind of sequel that just reminds you how great the first one was. On the surface, it sounds like the same formula, with a loose groove between R&B and indie rock. He brings back the same collaborators — Carter Lang, Dijon, Mk.gee — and even two of the same duet partners, Lil B and Eddie Benjamin. The guests include Nigerian Afrobeats star Tems, London indie songwriter Bakar, 2000s Louisiana rapper Hurricane Chris. But it’s a whole lotta less of the same. There aren’t even any therapy sessions with Druski — you keep hoping he’ll show up to offer Justin one of his Black and Milds.

Editor’s picks

Swag II is deep in his Nineties R&B bag, but with a fatal lack of melodies, giving his voice nothing to do. The producers don’t put out like last time, so the whole thing sounds totally generic. When it’s bad, Swag II sinks into self-parody, as in “Need It,” “Speed Demon,” or “I Think You’re Special,” where Tems is completely wasted. As on the first album, Lil B appears in an uplifting moment, “Safe Space.” Yet this time he doesn’t give the Based God any room to say anything, beyond a few hype-man hollers. The occasional squeak of guitar strings is an old cliche of folkie authenticity, but in songs like “Mother In You,” it sounds like the acoustic guitar is just there to cram in as many intentional squeaks as possible, which feels phony.

But there are a few worthy tunes that live up to the original’s adventurous spirit. “Love Song” is clearly the peak, with a distorted piano loop — the one moment here where Mk.gee steps out. Bieber turns on the charm, crooning, “I wanna write you a love song, baby/I wanna write a good one you can’t stop singing to me.” He cruises around with the top down, as his lover’s hair whips in the wind, serenading her with poetic images like “An aesthetic happening on the radio station/Your eyebrows down in contemplation.” 

“Witchya” flows on another breezy groove, with hippie-country guitar twang. In “Moving Fast,” Bieber testifies about his struggles over blues guitar (“I was speeding towards the fall, I was 25”), until a disco drum loop kicks in. “Everything Hallelujah” is the flip side — stripped-down Bieber gospel-soul, with shout-outs to his wife Hailey, his son Jack, his parents, and his dogs. (“Oscar, Piggy, hallelujah!”) 

“Ear Candy” is a clever mix of Nineties Britpop shimmer and Eighties beatbox rap. But it’s also got the album’s most humiliatingly awful moment when Bieber sings, “You could spread your wings and open up,” which is straight from the Rod Stewart school of ornithology metaphors.

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The nadir might be “Petting Zoo,” an utterly blah guitar loop where Bieber vents about marital conflict without any hint of the real-life emotional turmoil he’s already bared in public. It sounds like one of his dodgiest social-media rants. “I told you that you fighting with a man!,” Bieb informs the lucky lady. “I told you I don’t play that shit, no cap / Bitch, I told you I ain’t doing tit-for-tat.” (At least it would be kinda funny if the rhyming line was “Mother’s Day sucks ass.”)

But then there’s “Story of God,” easily the most bizarre moment in a discography full of bizarre. Bieber goes off the deep end with an eight-minute spoken-word sermon about the Bible story of Adam and Eve in the Garden of Eden. He’s always been fond of ending his albums with overbaked religious fluff, but wow. Over church organ, Bieber explains how awesome it was living in Eden. “There was no fear here—fear hadn’t even been INVENTED yet!” But wait, there’s more: “It’s a feast, right? Everywhere you look, taste the explosion in your mouth!” 

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Spoiler: there’s a snake, so things don’t end well for Adam and Eve. “We lost paradise,” Bieber laments at the end. “We lost an unbroken connection. We broke the world.” Jeepers creepers, so to speak. If you hear “Story of God” this weekend, it means you’ve stayed at the party too long and your host is going nuclear to drive the damn guests out the door. But what the hell — you have to admire the chutzpah of this thing. On an album where he’s playing it dismally safe, it’s far better to hear him drop a totally unhinged monstrosity on this scale. It would have been even cooler if he’d brought back Druski to play the role of God. But you can’t accuse him of half-assing it, and there’s real emotion in his voice, more than you can say for “Forgiveness” or “Pray.” Remixers, get busy on this one.

Swag II doesn’t kill the buzz of the original, which still sounds great. Rather, the failures here just highlight everything that makes Swag sound so fresh and off-the-wall. Will Bieber stretch it out into a trilogy with Swag 3: I’m Still Standing on Business, Yeah Yeah Yeah? Don’t put it past him. But either way, Swag II already sounds like a minor footnote.

September 6, 2025 0 comments
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SoundExchange Appeals SiriusXM Royalties Lawsuit Dismissal
Music

SoundExchange Appeals SiriusXM Royalties Lawsuit Dismissal

by jummy84 September 6, 2025
written by jummy84

A major court ruling last month found that SoundExchange doesn’t have the power to collect royalties through litigation. Now, the organization has launched an appeal in hopes of preserving this enforcement strategy.

SoundExchange’s notice of appeal on Friday (Sept. 5) challenges an August federal court ruling that dismissed its $400 million lawsuit against SiriusXM. Judge Naomi Reice Buchwald held in her decision that SoundExchange, a nonprofit designated by the Copyright Royalty Board to collect performance royalties for artists, does not actually have the right to sue anybody under federal law.

Related

This ruling was the first to weigh in on SoundExchange’s standing to collect recorded royalties via lawsuits, and the implications are big. For more than a decade, the organization has regularly used litigation to secure hundreds of millions of dollars in royalties from radio broadcasters like SiriusXM and music streamers such as Slacker and Napster.

Already, music companies are trying to use Judge Buchwald’s ruling in their favor. Just weeks after the decision came down, Sonos told a court that it will file a motion to dismiss its own pending SoundExchange royalties lawsuit based on the rationale in the SiriusXM case.  

Faced with the possibility of losing a key enforcement strategy, SoundExchange is standing firm and using an appeal to go on the offensive. The group wants the Second Circuit Court of Appeals to reverse Judge Buchwald, calling the decision an “erroneous ruling and flawed interpretation” of the Copyright Act in a statement on Friday.

“As Congress surely realized in creating the statutory license, some licensees will seek any available means to avoid paying artists for the full value of their work to maximize profitability,” said SoundExchange in the statement. “For the statutory license to function properly, SoundExchange fully believes Congress intended that the ‘enforcement’ power clearly granted in the statute must necessarily include the ability of its administrator to bring litigation claims when digital music services fail to meet their obligations under the law.”

“In the meantime,” continues the statement, “SoundExchange will continue in its mission of securing fair compensation for artists and rights owners and looks forward to arguing its case in court.”

A rep for SiriusXM did not immediately return a request for comment on the appeal.

The SoundExchange lawsuit against SiriusXM, brought in 2023, accused the satellite radio giant of “gaming the system” with manipulative bundling to withhold more than $150 million in performance royalties up to that point.

SoundExchange says SiriusXM has continued to apply this “faulty methodology” in the years since and now owes more than $400 million to artists and labels. SiriusXM denies all of SoundExchange’s claims.

September 6, 2025 0 comments
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Pulp Announce 30th Anniversary Reissue of Different Class
Music

Pulp Announce 30th Anniversary Reissue of Different Class

by jummy84 September 6, 2025
written by jummy84

Pulp have announced a 30th anniversary reissue of Different Class, long considered one of the defining Britpop albums. Out October 24th via Island Records/UMe, the expanded edition will feature a recording of their full set at Glastonbury Festival 1995.

Available in either 4xLP or 2xCD formats, the anniversary release was remastered by Geoff Pesche at Abbey Road, a process overseen by Pulp’s frontman Jarvis Cocker and guitarist Mark Webber. It comes with a 28-page booklet featuring previously unseen images and an essay based on new interviews with the band. Pre-orders are ongoing.

Get Pulp Tickets Here

In a statement, Cocker explained why this new release will feature uncompromised audio quality compared to the original record:

“We were obsessed with the fact that this was our ‘Pop’ album (we had finally achieved some ‘popularity’ when ‘Common People’ was a hit) and, as everyone knows, all pop albums have 12 songs on them: 6 tracks per side. Only problem: this took the running time of the record to 53 minutes. We were told this would compromise the audio quality of the vinyl record — but we were more bothered about not compromising the quality of our Pop Dream. Now, 30 years later, we are finally ready for Different Class to be heard in all its glory. Different Class indeed.”

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Released in October 1995, Different Class debuted atop the UK Album chart and spawned four Top 10 hits, including “Common People” and the double single “Mis-Shapes/Sorted for E’s & Wizz.”

Four months before the album’s arrival, Pulp headlined the Pyramid Stage at Glastonbury Festival, filling in for The Stone Roses on short notice. The Different Class 30th anniversary edition marks the first time that the audio from that performance has been released.

Earlier this year, Pulp returned with More, their first album of new material in almost 24 years. They’re currently on a supporting North American tour. See the full schedule below, and get tickets here.

Different Class (30th Anniversary) Artwork:

Different Class (30th Anniversary) Tracklist:
Original Album Remastered
01. Mis-Shapes
02. Pencil Skirt
03. Common People
04. I Spy
05. Disco 2000
06. Live Bed Show
07. Something Changed
08. Sorted for E’s & Wizz
09. F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.
10. Underwear
11. Monday Morning
12. Bar Italia

Live at Glastonbury, 1995
01. ‘Common People Drone Intro’
02. Do You Remember the First Time
03. Razzmatazz
04. Monday Morning
05. Underwear
06. Sorted for E’s & Wizz
07. Disco 2000
08. Joyriders
09. Acrylic Afternoons
10. Mis-Shapes
11. Pink Glove
12. Babies
13. Common People

Pulp 2025 Tour Dates:
09/06 — Washington, DC @ Anthem
09/09 — Philadelphia, PA @ The Met Philadelphia
09/11 — Queens, NY @ Forest Hills Stadium
09/13 — Boston, MA @ The Stage at Suffolk Downs
09/16 — Toronto, ON @ Budweiser Stage
09/17 — Detroit, MI @ Masonic Temple
09/20 — Minneapolis, MN @ The Armory
09/22 — Denver, CO @ Red Rocks Amphitheatre
09/25 — Los Angeles, CA @ Hollywood Bowl *
09/26 — Los Angeles, CA @ Hollywood Bowl *

* = w/ LCD Soundsystem

September 6, 2025 0 comments
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Da Baby, Jadakiss Tapped For Newark 24 Hrs Of Peace 2025 Concert
Music

Da Baby, Jadakiss Tapped For Newark 24 Hrs Of Peace 2025 Concert

by jummy84 September 6, 2025
written by jummy84

Newark, NJ is gearing up for one of its most anticipated musical events of the year as Mayor Ras J. Baraka announced the annual 24 Hrs. of Peace festival — set to begin tonight (Sep. 5) at 6:00 P.M. and run until Saturday (Sep. 6) 6:00 P.M.

The free event, staged at South 10th Street and Central Avenue in the city’s West Ward this year, will once again use Hip-Hop’s long history as a force for unity, nonviolence, and a good time.

“Non-violence and peace are critical elements of city life that can always be plumbed to deeper levels, every day, in every neighborhood,” said Mayor Baraka in a press release. “This annual 24-hour event merges Newark’s vibe with the vibrations of Hip-Hop, creating a synergy that yields powerful transformation and celebration. It is a highlight in our year’s long, daily efforts toward harmony and care for one another.”

This year’s lineup is stacked with heavy-hitters across generations, including Allure, Kool G Rap, Jacquees, RL, Case, DaBaby, Jadakiss, Scarlip, Zeddy Will, 41, NJ’s DJ Taj and more.

Instagram/HakimGreen screenshot

Mayor Baraka first launched the festival 15 years ago while serving as South Ward Council Member and expanded it citywide upon becoming mayor. What began as a neighborhood call for peace has grown into a major annual tradition that brings together family, neighbors, artists, business owners, and faith leaders for a full day of music, food, resources, and community connection.

Over the years, the festival has attracted some of the culture’s biggest names, including Queen Latifah — who hosted the event in 2022, praising it as “Newark at its best, Jersey at its best.”

Past lineups have featured stars like Fabolous, Faith Evans and Mya, along with notable Newark figures including Jersey Club pioneers Unicorn151, DJ Uniiqu3 and others.

Tosin Thompson

But the event is more than just a block party, it’s part of Newark’s larger Peace Week initiative, tackling violence through community outreach and cultural engagement as the streets of Brick City transform into hubs of food, fashion, art, and fun.

Mayor Baraka explained it plainly to VIBE in 2022, saying, “We say crime and violence is a public health issue. So if you treat it like public health, then there are different ways you deal with it… To change culture, to tell kids that it’s okay to love, to be peaceful, to shake each other’s hands, to say, ‘I’m sorry’… If we make that okay, the kids make different decisions.”

Co-founder and Hip-Hop icon Hakim Green echoed that sentiment, calling the festival “the true meaning of Hip-Hop: peace, love, unity, safety, and having fun.”

September 6, 2025 0 comments
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Slipknot: Slipknot (25th Anniversary Edition) Album Review
Music

Slipknot: Slipknot (25th Anniversary Edition) Album Review

by jummy84 September 6, 2025
written by jummy84

Those two were accomplices more than enemies, though; Robinson amplified the demands Jordison made of his bandmates as nu-metal’s first master technician. Slipknot had sheared off most of the instrumental excess that came with coming up in Des Moines’ death metal scene (home to band names like Modifidious, Vexx, and Inveigh Catharsis), but not Jordison. His kick drum could replicate the sound of a jet engine or an industrial thresher. And then it gets punctuated by the sound of a guy bashing a steel shipping container or a beer keg, a perfect merger of virtuosity and dumb violence; I imagine this is what Lars Ulrich thought he was hearing during the St. Anger recording.

Though Slipknot is a nearly flawless execution of a single idea, Slipknot, the band, were still figuring some things out. “Tattered & Torn” and especially “Prosthetics” are Slipknot’s “experimental tracks,” showcases for Jones and turntablist Sid Wilson that argue for an alternate history living out their earliest dreams of signing to Ipecac and touring with Fantômas or Mr. Bungle. “Spit It Out” lives on the complete opposite end; this is the song that got the interest of Robinson and Roadrunner Records and sounds like Static-X in a Spirit Halloween. When Taylor remembers that Slipknot are a metal band, they sound like the subject of a congressional investigation. When he raps, he sounds like the backpacker you’d avoid in the school cafeteria.

The most revealing document of Slipknot figuring it all out comes not from the bounty of demos and live cuts, but the official video for “Wait and Bleed.” Though Slipknot are playing in front of a dazed, crazed crowd of thousands, it doesn’t look glamorous, because it’s not; the footage is from Mancow’s Lazer Luau II, a 1999 shock-jock radio festival at Ankeny Airfield in Des Moines. The video is overlain by a hazy scrim, like the camera was sitting on the tarmac in the oppressive Iowa summer. Compare that to the live clip for “People = Shit,” off their 2001 follow-up, Iowa. In “Wait and Bleed,” Taylor mutters, “This song is called ‘Wait and Bleed.’” Before the beat drops in “People = Shit” he hollers, “Let me see your fucking hands in the air, London!” They now have higher-end, custom-made gear, they do crowdwork, they headbang in unison instead of flopping all over the stage. Even if you still get them confused with Insane Clown Posse, there’s no denying how incredible it looks.

Yet by 2001, there was a lingering sense that this style of music was on its way out. Korn’s Issues, Limp Bizkit’s Chocolate Starfish and the Hot Dog Flavored Water, “Back to School,” all of it was still doing numbers, but the returns were diminishing; Linkin Park proved that nu-metal was more likely to merge with their TRL competitors than vanquish them. I distinctly remember leafing through an issue of Rolling Stone with Slipknot on the cover and a four-star review of the Strokes’ Is This It, and thinking it could be a cultural turning point à la Guns N’ Roses and Nirvana duking it out at the Video Music Awards. The next issue was their 9/11 tribute; Clear Channel stations banned songs ranging from 311’s “Down” to Drowning Pool’s “Bodies” and Jimmy Eat World had to temporarily self-title their breakthrough album. No one knew what America needed to heal at that time, but it probably wasn’t “People = Shit.”

September 6, 2025 0 comments
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"We’ve whittled it down to about 70 songs"
Music

We’ve whittled it down to about 70 songs

by jummy84 September 6, 2025
written by jummy84

Radiohead are set to embark on a UK and European tour later this year, with Colin Greenwood shedding light on their “busking approach” to the setlist.

  • READ MORE: Colin Greenwood on capturing “the middle era” of Radiohead – and what’s next for the band

The band are due to make their long-awaited return to the stage this November for a run of 20 arena concerts across five cities. It’ll mark their first performances together since 2018.

Kicking off in Madrid, the upcoming trek will also include concerts in Bologna, Copenhagen, Berlin and London. Thom Yorke and co’s return to the UK capital will see them host a four-night residency at The O2 in Greenwich on November 21, 22, 24 and 25.

Now, bassist Colin Greenwood has given a hint as to the setlist for the upcoming shows. Speaking in a new interview on the Adam Buxton Podcast about their live undertaking, he said: “Oh, I think it’s going to be a mix set. I think we’ve like whittled it down to about 70 songs. And me and my brother [guitarist Jonny Greenwood] are not on the setlist committee, we’re not allowed, because we’re too indecisive.”

“So we’ll play anything in any order, at any time. We sort of take a busking attitude to the Radiohead setlist,” he added. “It’s going to be the first time I think we’ve done shows where we haven’t got new material to play as work in progress. But you never know, some stuff might come up or not or whatever, so.”

Greenwood previously revealed last year that Radiohead “did some rehearsals” over the summer. However, he later told NME that “it doesn’t mean a tour is imminent”. He added: “I think we’re still a band where people might want to know what might happen next. We’re very lucky to have that.”

The band’s most recent live performance was held on August 1, 2018 at the Wells Fargo Center in Philadelphia. It marked the end of their ‘A Moon Shaped Pool’ tour in support of their 2017 album of the same name – which they have yet to follow up.

The band began teasing their 2025 shows earlier this week, when a series of flyers popped up in the cities they’ll be visiting.

This March, it was reported that they had “placed holds in select European cities for a run of residency gigs” this year. This came shortly after Radiohead sparked rumours of new music after forming a new legal entity called RHEUK25 LLP.

Elsewhere, Jonny Greenwood told us that the rehearsals were “fun and natural”, but explained that there were “no plans” for new material. “We’ve [got] lots of individual projects going on at the moment,” he explained.

Frontman Yorke, meanwhile, said around the same time that he “really doesn’t give a fuck” if fans wanted Radiohead to return. The singer, who has been busy with The Smile in recent years, admitted in August that he was “still struggling” to be creative following the COVID-19 pandemic. He was speaking upon the launch of Radiohead’s new exhibition, ‘This Is What You Get’.

In other news, the band have revisited some “archive” recordings from the ‘Hail To The Thief’ era for a new live album. This year, Yorke brought the 2003 record to the stage with his Hamlet Hail To The Thief production.

Meanwhile, the pro-Palestine BDS (Boycott, Divestment, Sanctions) movement has called for a boycott of Radiohead’s 2025 tour. The campaign group have said the group have “yet to apologise” for a show in Tel Aviv in 2017, and has criticised Jonny Greenwood’s past performances with Israeli musician Dudu Tassa.

September 6, 2025 0 comments
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Mark Volman, the Turtles Co-Founder and 'Happy Together' Singer, Dead
Music

Mark Volman, the Turtles Co-Founder and ‘Happy Together’ Singer, Dead

by jummy84 September 6, 2025
written by jummy84

Mark Volman, the singer and co-founder of the Sixties pop-rock group the Turtles, best known for their 1967 hit “Happy Together,” died Friday, Sept. 5. He was 78.

Reps for Volman confirmed his death to Rolling Stone, saying he died in Nashville after a “brief, unexpected illness.” Volman was also battling Lewy body dementia, which he was diagnosed with in 2020. However, he continued to tour and did not publicly reveal his diagnosis until 2023.

For much of his career, Volman worked closely with his friend Howard Kaylan, another co-founder of the Turtles and the band’s lead vocalist. After the Turtles disbanded, Volman and Kaylan linked up with Frank Zappa and the Mothers of Invention, where they began to perform under the name Flo and Eddie. (Volman was “Flo,” which was short for “The Phlorescent Leech.”) 

Along with their work with Zappa, Flo and Eddie released numerous albums of their own and scored a handful of films and TV shows. They also provided backing vocals for some of the biggest artists of the Seventies and Eighties, including John Lennon and Yoko Ono, T.Rex, Alice Cooper, Bruce Springsteen, Blondie, Stephen Stills, David Cassidy, Ray Manzarek, and Roger McGuinn. 

Volman was born April 19, 1947, in Los Angeles and began playing music as a teenager. In junior high (per an old band bio), he took up the clarinet and happened to take lessons with the same teacher who was teaching Kaylan the same instrument. It wasn’t until high school, however, that the pair would meet in an a cappella group (both sang tenor). 

Volman, Kaylan, and several friends — guitarist Al Nichol, drummer Don Murray, and bassist Chuck Portz — played in a band called the Crossfires during high school before forming the Turtles after graduation. (Jim Tucker, another guitarist, rounded out the band’s original lineup.) The Turtles cut their teeth playing clubs and college parties around Southern California before embarking on lengthier tours. They released their first recordings in 1965, scoring a Top 10 hit with their debut single, a rendition of Bob Dylan’s “It Ain’t Me Babe.” 

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After releasing two albums (1965’s It Ain’t Me, Babe and 1966’s You Baby), the Turtles scored their signature hit with “Happy Together” — a peppy blast of lovestruck flower-power pop defined by its rousing refrain of ba-ba-baaaahh’s. The song enjoyed a three-week stand at Number One on the Billboard Hot 100 in 1967 and has remained one of the defining songs of the era.

While “Happy Together” anchored the Turtles’ 1967 album of the same name, it wasn’t their only hit. The duo that penned the title track — Alan Gordon and Garry Bonner — also wrote “She’d Rather Be With Me,” which peaked at Number Three on the Hot 100. The pair would write some of the Turtles’ other big hits in the coming years, too, including “She’s My Girl” and “You Know What I Mean.” 

In a 2023 interview with Goldmine, Volman said that “Happy Together” “held up so well that it became the record of our career.” But, he continued, “musically I think ‘She’s My Girl,’ ‘You Know What I Mean,’ ‘Me About You,’ ‘The Story of Rock & Roll,’ and a few others are even better records. But every group hopes to have a ‘Happy Together’ and that makes us very fortunate.”

The Turtles would release two more albums — 1968’s The Turtles Present the Battle of the Bands and 1969’s Turtle Soup — before disbanding in 1970. Volman, Kaylan, and Jim Pons (who’d become the Turtles’ bassist in 1967) went on to join Zappa and the Mothers of Invention, with whom they played regularly over the next several decades. (As Flo and Eddie, they sang a wonkier version of “Happy Together” on Zappa’s live album, Fillmore East – June 1971.) 

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“Frank opened the door for us to explore and be involved with a lot of really grown up music,” Volman told the Recording Academy. “I say ‘grown up’ because it had guitar changes and singing parts that we created for Frank. We couldn’t create those for any other place.” He added that Zappa “really turned us loose. He turned us loose to sing what we could bring to the different songs.”

Over the next few decades, Volman and Kaylan were almost always busy. On top of their work with Zappa, they became in-demand session vocalists, and wrote and recorded several Flo and Eddie albums of their own (the first, The Phlorescent Leech & Eddie, arrived in 1972). In the Eighties, they started composing music more regularly for film and TV, doing both children’s projects like The Care Bears TV series and the Zucker-Abrams-Zucker spoof comedy Top Secret! 

While he stayed busy as a musician into the Nineties, Volman also went back to college and got his bachelor’s degree at Loyola Marymount University. He went on to earn a Master’s degree and eventually started teaching college-level music business courses, enjoying a lengthy stint at Belmont University in Nashville (which is famous for its music and music business programs). 

Volman and Kaylan were also part of several major music copyright cases. In 1991, they sued De La Soul over a sample of the Turtles’ “You Showed Me” in “Transmitting Live From Mars.” The case was settled out of court, but many in the hip-hop world criticized the outcome, saying it set a dangerous precedent that could bankrupt artists with licensing and/or legal fees. 

Then, in 2013 they filed a class action lawsuit against SiriusXM, accusing the satellite radio company of broadcasting songs recorded before 1972 without compensating labels or artists. (New sound recordings didn’t receive federal copyright protection until 1972, but the law wasn’t clear on what protections should be given to pre-72 recordings.) 

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The case led to a groundswell of similar suits brought by major and independent labels. The courts repeatedly ruled in favor of the labels, and eventually Sirius began to settle the suits, including a $99 million settlement with the Turtles in 2016. The case helped pave the way for the CLASSICS (Compensating Legacy Artists for their Songs, Service, and Important Contributions to Society) Act, a component of the 2019 Music Modernization Act, that finally extends federal copyright protections to pre-1972 recordings. 

In 2015, Volman and Kaylan celebrated their 50th anniversary together with a massive North American tour. While Kaylan retired from the road in 2018 because of health issues, Volman continued to perform regularly. In 2023, he published his memoir, Happy Forever: My Musical Adventures With The Turtles, Frank Zappa, T. Rex, Flo & Eddie, and More. 

September 6, 2025 0 comments
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