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TLC Unveil Album Release Date, Request Fans’ Title Ideas

TLC have set a release date for their “last and final album,” but it’s without a title and they’re looking for assistance with naming it, as Billboard points out. The Kickstarter-funded LP will be their first since 2002’s 3D.

In a recent post on TLC’s Kickstarter page, manager Bill Diggins revealed the album will be released on June 30th. “Tionne and Chilli have been working night and day to hit this date,” he wrote, adding that they will be shooting a video and doing photo shoots later this month.

“One more thing,” he continued. “We need your help… let’s hear your suggestions for the album title! Tionne and Chilli are still undecided so looking to you for inspiration.” Those who want to contribute suggestions may do so in the comment section of the post.

Since launching their Kickstarter in January 2015, TLC have received more than $430,000 to fund the album. It will be the group’s first LP solely featuring T-Boz and Chilli. Member Lisa “Left Eye” Lopes died in 2002, seven months before 3D was released.

“Our final album will stay true to the TLC sound, always confronting the real issues and life experiences that we all must face every single day, everywhere,” the duo wrote of their forthcoming album. “We write music that people relate to … timeless music. No matter the trends, we feel like our music is always relevant.”

TLC will embark on the I Love the ’90s – The Party Continues Tour with Naughty by Nature, Biz Markie and others beginning July 7th in Everett, WA. Last December, TLC’s T-Boz and Chilli appeared on Taraji P. Henson’s Taraji White Hot Holidays with Missy Elliott to perform their remix of “Sleigh Ride.” Elliott covered Lopes’ verse from the song.

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Khloe Kardashian to Caitlyn Jenner: Losing Bruce Was a “Huge Blow” – Wetpaint


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Inside Pierce Brosnan’s Heartbreaking Loss of His Wife and Daughter to Cancer: ‘I Was in a Helpless State’ – PEOPLE.com


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Ryan Gosling Look-Alike Asks Emma Stone to Prom in Remake of La La Land’s Opening Scene and Wins All … – E! Online


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Nivea pulls its ‘White Is Purity’ ad campaign after outcry – Charlotte Observer


Toronto Star

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Chance The Rapper Should Be Mayor Of Chicago, According To Fans & Drake – Bustle


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Watch John Mayer Dance Through Colorful ‘Still Feel Like Your Man’ Video

John Mayer grooves his way though a vividly colored scene he previously described as a “disco dojo” in his bold video for “Still Feel Like Your Man.” Director Mister Whitmore fills the eye-popping clip with butterflies, kimonos, giant panda bear costumes and group choreography from Lisa Eaton.

The singer, who recently told The New York Times that his sleek soul-pop single reminded him of the non-existent musical style “ancient Japanese R&B,” anticipated a backlash for the video. “Do I think that someone is going to tweet that this is cultural appropriation? Yes,” he told the publication, while preemptively defending himself against the charge.

“Part of cultural appropriation is blindness,” he continued. “I’m on the right side of the line because it’s an idea for the video that has a very multiethnic casting, and nobody who is white or non-Asian is playing an Asian person … I think we were as sensitive as we could possibly be. We discussed it at every juncture.”

Mister Whitmore said he and Mayer “thought long and hard about how to approach” the clip’s “fantasy element” without offending anyone. “I hope there’s an understanding that we were sensitive to it,” he added.

In a playful tweet announcing the video release, Mayer focused not on potential criticism but on his long-suppressed dancing: “Fans have asked me for *years*, ‘John Mayer, when are you going to dance in a music video?’ I did this for them.”

“Still Feel Like Your Man” will be included on Mayer’s upcoming seventh LP, The Search for Everything, out April 14th.

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Alec Baldwin and producer Dana Brunetti have Twitter war – New York Daily News


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Pepsi’s Idiotic Kendall Jenner Ad Highlights Pop Music’s Protest Problem

The “Lions” that inspire the recent single released by Skip Marley, grandson of the legendary protest singer and self-described “sufferah” Bob Marley, can be found on what was once the flag of Ethiopia. In Rastafari ideology, the Lion of Judah was Emperor Haile Selassie I, the foretold messiah who would save Africans and the diaspora from the excesses of the colonial powers.

Kendall Jenner — Marley’s partner on a new Pepsi advertisement featuring “Lions” that hit the web yesterday and was swiftly pulled today — has her own connection to Africa: She’s the face of fashion line Mango’s Tribal Spirit collection, a line “inspired by the African savannah with an ethnic air.” According to Forbes, she made $17 million from modeling deals like this in 2016.

This juxtaposition is at the heart of the controversy surrounding the new Pepsi commercial, which features Jenner – a Kardashian – the first family of American entrepreneurial celebrity. In the clip, Jenner leaves behind her modeling shoot and blond wig, breaking ranks on a vague protest march by handing a handsome white police officer a Pepsi and singlehandedly solving racially motivated police brutality, at least for the moment. It’s the kind of milquetoast multiculturalism that only exists in ad-exec boardrooms.

The critiques of the commercial are obvious. It’s gallingly tone-deaf — a disrespect to the real injustices that drive people to the streets to argue that their black lives matter. It co-opts the image of Ieshia Evans, the 35-year-old nurse whose dignity and calm as she was arrested this past summer during a protest crystallized racial conflict in America for many. And it aligns the Number 44 company on the Fortune 500 with protests that took root protesting Wall Street,  and the massive inequities of the global capitalist system.

When political action is subsumed by the mainstream, we lose track of its target and purpose

We are in a moment when protest is being recognized as a collective social activity that fills the void left by sharp declines in things like union membership, church attendance, and bowling league participation. With one out of every 100 Americans to have reportedly participated in Women’s March, per Quartz, protest is part of our contemporary vernacular.

Given that, this Pepsi advertisement is very much in line with how advertising works — what’s in the zeitgeist is where the ad buys go. McDonald’s and Burger King began targeting ads towards African Americans in the post-Civil Rights 1970s; Coca-Cola won accolades for featuring a gay couple three years ago. The Fearless Girl statue inspired plenty of glowing thinkpieces—at least until she was revealed to be a prop installed by a fund, State Street, with more than $2.45 trillion in assets under management.

While it’s somewhat commendable that these types of advertisements acknowledge the existence of the people they portray, they do so with the caveat that they are now consumers. “We see you,” Pepsi is telling protesters enraged by a system that endangers and ignores them. “And have you tried our new zero-calorie Pepsi Max? It’s outstanding!”

That is how capitalism takes protest and blunts its potential. When political action is subsumed by the mainstream, we lose track of its target and purpose. We see this when Republican politicians blindly use Bruce Springsteen’s Vietnam-protest anthem “Born in the USA” in their campaign stops. We see it when Speaker of the House and “young, prickish, over-coiffed, anal-retentive deficit Robespierre” says he’s a fan of Rage Against the Machine. “Paul Ryan’s love of Rage Against the Machine is amusing, because he is the embodiment of the machine that our music has been raging against for two decades,” Tom Morello once wrote. It’s a cognitive dissonance where music’s universal appeal sometimes prompts us to overlook its sometimes-specific political agenda.

And inevitably, music winds up caught in the middle of a battle between capital and protest. While protesters trot out old warhorses like “We Shall Overcome” and “Respect,” the idea of a protest song in 2017 — when the mainstream music business is so wrapped up with large-scale corporate culture — is complicated. Writing a song like “Lions” and then selling it to a multi-billion-dollar company is both a way to tap into the cultural moment and a way to marginalize the critiques people who might’ve inspired you in the first place.

The advertisement was mercifully pulled, but that does not eliminate the blindness that led to its creation in the first place

The Pepsi advertisement tagline — Live bolder. Live louder. Live for Now — is particularly outrageous given the circumstances at play. Philando Castile cannot buy a Pepsi. Sandra Bland cannot buy a Pepsi. Trayvon Martin was carrying a soft drink when he was murdered in cold blood by George Zimmerman. The advertisement was mercifully pulled. “Clearly we missed the mark,” Pepsi said in a public apology after yanking the commercial. But that does not eliminate the blindness that led to its creation in the first place. How are people supposed to “live for now” when they can’t breathe?

Another of Skip Marley’s grandfather’s most significant metaphors was the “Babylon System,” a Rastafari reference to the decadent civilization of the ancient Middle East that was used to critique modern global empires, where capital accumulation was prioritized over the suffering of slaves and the global poor. “Babylon system is the vampire,” he sang. “Sucking the blood of the sufferers.” As the cop sucked down his Pepsi and Kendall smirked, I could only wonder how it tasted.

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