Latest news with #CherryBomb
Yahoo
6 days ago
- Entertainment
- Yahoo
Tyler, the Creator on Backlash to ‘Cherry Bomb': One of ‘the Greatest Things' That Happened to Him
Tyler, the Creator reflected on his career and offered creative advice to a room full of artists for Instagram's Ask It Anyway, a new series of conversations with prominent artists. Designer and The Cutting Room Floor podcaster Recho Omondi moderated the inaugural edition with Tyler, who was characteristically irreverent during the career-spanning talk; he began the conversation joking, '[Omondi] was like 'Do you have the jitters right now, are you nervous?' And I was like, 'Why the fuck would I be? Nobody here has a gun.'' More from Rolling Stone Rapper Silentó Sentenced to 30 Years in Prison for Cousin's Shooting Death De La Soul Dig Into Their Long Island Roots in 'The Sixth Borough' Doc Clip Lil Wayne's First 'Tha Carter VI' Track Featured in an NBA Finals Campaign Beyond the laughs, Tyler got serious about several pivotal moments in his career, including what he perceived as backlash to his 2015 Cherry Bomb album. He said the project was a consequence of trying a bit too hard. 'My goal was to prove to myself that I am the most diverse producer at the time,' he said. 'People were just shitting on it… it made me say, oh shit – these songs aren't good. Because of [the backlash], I was like, I need to reteach myself how to write songs. What is a chorus, hook, structure? That happening to me was one of the greatest things that could happen, because it made me dive into my skill and craft more.' Two years after Cherry Bomb, Tyler released Flower Boy, a soulful project heavily regarded as a demarcation point of his career. He told Omondi and the room of artists that Flower Boy 'was the first album I put on the cover to let people know: all songs written, produced and arranged by me.' He added, 'You have to tell people who you are. And I remember, the conversation started changing a bit… Now people are subconsciously listening to the production in a different way now, because I let them know that.' Elsewhere, Tyler talked about the importance of artists shifting their sound over time, pushing his career despite having minimal resources, and his music-making ethos: 'Create like a child and edit like a scientist.' Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
USA Today
6 days ago
- Entertainment
- USA Today
Joan Jett pays tribute to Sly Stone, Brian Wilson at Las Vegas residency opener: Review
Joan Jett pays tribute to Sly Stone, Brian Wilson at Las Vegas residency opener: Review Show Caption Hide Caption 2025 Rock & Roll Hall of Fame inductees announced The Rock & Roll Hall of Fame has announced its 2025 inductees, which include hip-hop pioneers Outkast and '80s icon Cyndi Lauper. unbranded - Entertainment LAS VEGAS – If Joan Jett needs to peek at a lyric, she doesn't rely on a teleprompter. Instead, she glances down at the binder opened to a printed page. At 66, she's still rockin' the shag hair and tough chick sleeveless vest, both in her preferred black, and delivering the signature "ch-ch-ch-ch" of "Cherry Bomb" with a snarl and a smile. It is notable that Jett remains unchanged after 50 years in a business that was notoriously bitter toward strong women fronting rock bands. That she's doing it sounding as vocally robust and looking as effortlessly cool as she has for decades is ovation worthy. On Friday, June 13, Jett and her reliable Blackhearts - Dougie Needles on guitar, Hal B. Selzer on bass and Michael McDermott on drums – played the first of a five-show stint through June 21 at the House of Blues Las Vegas. Jett is also an opener on Billy Idol's current tour and will resume her slot Aug. 14. For her Vegas christening, Jett and her band – which also included longtime producer, business partner and confidante Kenny Laguna on keyboards – unpacked a 75-minute chest of hits and deep cuts. The tracks included the industry side-eye singalong "Fake Friends" and "Coney Island Whitefish," both from 1983's "Album." That record also contained Jett's faithful rendition of Sly & The Family Stone's "Everyday People," a song that espouses her lifelong belief in equality. "This one's for you, Sly!" Jett said before diving into the airy guitar chords. Prior to taking the stage, the Beach Boys' carefree "Fun, Fun, Fun" filled the venue, an obvious nod to cofounder Brian Wilson, who died two days after Stone on June 11. Jett knows that casual fans are thrilled to relish in her swaying hit cover of Tommy James and the Shondells' "Crimson & Clover" and the foot stomper "Do You Wanna Touch Me (Oh Yeah)." But the Rock & Roll Hall of Famer is also a savvy veteran who understands that her dedicated, multi-generational audience will appreciate a throwback to the Bruce Springsteen-penned "Light of Day," which featured drummer McDermott rolling through a cascade of tom tom beats. Fans will also happily finger snap along with her to The Replacements' "Androgynous." A wallop of a trifecta – "I Love Rock 'N' Roll," "I Hate Myself For Loving You" and "Bad Reputation" – showcased Jett's brawny pop-rock salted with a dash of punk, at least in attitude. In a recent interview with USA TODAY, Jett shared that she wanted to include some acoustic songs in her Vegas shows and she did. At the end of the concert, she detoured with tunes including "Oh Woe is Me," a bonus track from her 1981 breakthrough album "I Love Rock 'N' Roll." Jett is a steadfast rocker — a musician and songwriter whose continued success is rooted in being untrendy but unshakably cool. For that alone, she should take many bows.
USA Today
12-06-2025
- Entertainment
- USA Today
Joan Jett remains an unapologetic rocker: 'I'm happy with who I am'
Joan Jett remains an unapologetic rocker: 'I'm happy with who I am' Show Caption Hide Caption AMA winners include SZA, Gracie Abrams, Eminem and Billie Eilish This year's American Music Awards in Las Vegas honored both music legends and service members, who were recognized for Memorial Day. She's part of a dwindling species, an unapologetic rock chick more focused on the tone of her guitar than the cut of her hair. Joan Jett's fierceness has been splayed across stages for 50 years, first with the all-girl glam-punk pioneers The Runaways and then through her own 40-plus years of solo stardom with her band, the Blackhearts. Her ingrained fist pumpers – 'Cherry Bomb,' 'I Hate Myself for Loving You,' 'Bad Reputation' and the cover song that changed her life, 'I Love Rock 'n' Roll' – were sonic wallpaper during MTV's heyday and most still haven't left pool hall jukeboxes. Jett appreciates her legacy and the fans who express their loyalty and gratitude for her music. 'It's medicine for the soul. I'm just blessed to be a conduit for it,' Jett says. Jett packed up with the Blackhearts – Dougie Needles on guitar, Hal B. Selzer on bass and Michael McDermott on drums – and hit the road with Billy Idol in April. They'll resume the It's A Nice Day to Tour Again! romp Aug. 14, but first, she and the band will park at Las Vegas' House of Blues June 13-14, 18 and 20-21. Tickets are available through Ticketmaster. In a recent conversation, Jett and career-long producer, business partner and keyboardist Kenny Laguna (who offered some humorous interjections during the call) talked about her Vegas show plans, playing the Nirvana reunion and why she feels wiser than ever. Question: You're heading to the House of Blues for several shows, you're also touring amphitheaters and arenas with Billy Idol and you've recently been part of stadium tours with Def Leppard and Poison. I get the feeling you prefer the smaller places. Answer: I do. I like the intimacy and when I can really feel the crowd and get a better sense of everything, that immediate feedback whether good or bad. It's exciting to play to a lot of people, but when you lose that connection with the crowd, it's like a black hole out there. Are you planning anything special for the Vegas shows? We'll look through all our records and choose what will work best live. I picked out a bunch of songs from every album and we went into rehearsals (before the Billy Idol tour) and ran through a bunch of them. There were a few I'd never done live, like 'Lie to Me,' and that's really worked out well. Have you ever thought of doing one album front to back? I'm not really into that. I didn't always love every song on my albums and I want to play what I enjoy. And there might be a few fans who might be happy to not hear the hits, but that's not most people. So I want to do what people want to hear and it's going to be fun. You were part of the Nirvana reunion at the FireAid show in Los Angeles in January. How did that come about and how did you get assigned 'Territorial Pissings'?Dave (Grohl, Nirvana's drummer) called me and asked if I wanted to perform with them and I thought, oh yeah, we'll do 'Smells Like Teen Spirit' like we did at my (Rock & Roll) Hall of Fame induction (in 2015). But it was more that Dave picked out the songs they wanted to try and he knew I liked that one. I recently talked to Billy Idol about touring with you and he said you've known each other since a 1978 Germs/Dead Kennedys show at the Whiskey in LA. Do you remember that night? Is that the show? I couldn't remember, but I do remember when we met. I I used to live across from the Whiskey. The apartment is still there and I've been dying to knock on the door and see who lives there. But everybody used to come to my house before concerts and party. There's a picture of Billy and me in my living room, sitting and talking with some of my friends. I have a drink in my hand. You have somehow managed to look the same for more than 40 years. Please tell us how you do it. I never had to work out my whole life. I was just lucky I had an athletic body. But now it's a different story. I see an arm and am like, 'Whose arm is this with the crepe-y skin?' (Laughs). But I try to walk every day and I do some weights. I had a shoulder operation so it's important to keep my muscle strength up and I do a lot of core work. And you know, traveling, walking through airports and venues, that's my exercise. But the traveling, that's the one part of my job that I don't love. It's all wear and tear on your body. Will you be able to get some rest after Vegas? I'm taking my brother and sister to Ireland. I've been there to tour but not in many years. I'm Irish, so to see Dublin and County Mayo where my grandparents are from … I'm really looking forward to not working and being able to take it all in and learn about the people. That worked out well to have a few weeks off before rejoining Billy's tour. You know, we get all wrapped up with what we're doing and time is limited. No matter how much money you've got, you can't buy time. I've done a lot of growing up. I've learned more from 50 to my age now at 66 than I did the entire first part of my life. You had a vision of the world and that's what it was and maybe you didn't question it enough. But I'm happy with what I've done and who I am.
Time Out
04-06-2025
- Entertainment
- Time Out
PHD Terrace rooftop bar has transformed into a cherry-soaked summer fantasy
Summer in NYC is all about rooftop season —and this year, it's getting a cherry on top. Literally. Dream Midtown's PHD Terrace just unveiled its latest seasonal glow-up, and it's a juicy one. The new Dream in Cherries installation transforms the 16th-floor rooftop into a decadent cherry-filled escape, with more than 20,000 cherries, a towering cherry tree and enough red-and-white striped umbrellas to make you feel like you're vacationing in the Amalfi Coast... if the Amalfi Coast came with a Dark Cherry Espresso Martini. Created by Laila Ahmed of Design House Décor in collaboration with Yvonne Najor, vice president of New York hotel marketing for TAO Group, the space combines European orchard vibes with serious New York glamour. Think: lush greenery, hanging ivy vines, and ultra-Instagrammable cocktails crafted by TAO Group's Nikki McCutcheon. (Yes, there's a Spicy Cherry Paloma.) 'The cherry concept actually came up early on, before it really became a trend,' Najor told Time Out. 'What sets this pop-up apart is the energy—it's bold, nostalgic and full of personality. We wanted to create something that feels like pure summer fun, and I think we really captured that.' The sweet aesthetic doesn't stop at drinks. Chef Erin Cabayan, TAO Group's pastry queen, is behind the rooftop's cherry-laced desserts, like the Cherry Bomb (a hazelnut and cherry-chocolate cake) and the Filthy Shirley, an all-grown-up sundae with vanilla ice cream and cherry liqueur. PHD Terrace isn't new to the party scene—the midtown location will celebrate its 10th birthday later this year. Designed by nightlife maestro Josh Held, who's known for LIGHT Vegas and Marquee New York, the bi-level space spans both indoor and outdoor lounges, offering 360-degree skyline views, a penthouse-chic interior, mirrored lighting and custom gold tile bars. Cherry season doesn't last forever, but this dreamy orchard in the sky might just convince you otherwise. Catch it while it's ripe.
The Spinoff
12-05-2025
- Entertainment
- The Spinoff
Review: Atomic 2.0 was just what we needed
The local femme rock supergroup, reviewed in two cities. Alex Casey in Christchurch I peeped the posters for last year's Atomic concert and was thrilled by the novelty concept: some of the most talented women in New Zealand music, rocking out to the likes of Blondie, Hole, Alanis Morissette and Patti Smith for a whole night? Love a tribute band, love seeing a women-heavy lineup, love the chance to see gaggles of Christchurch ladies dressed up in their finest leather and leopard. When I made it along to the very first night of Atomic 2.0 at the Isaac Theatre Royal last week, the crowd did not disappoint. Among the typical uniform of Christchurch puffer jackets, there were people wafting about in long Stevie Nicks robes and beads, plenty of tight black jeans and thick eyeliner, and that's before we even get onto the outfits on stage. Vera Ellen's red leather pants! Boh Runga's velour jumpsuit! Dianne Swann's shaggy blonde mop! The ensemble group comprising Atomic 2.0 was made up of musical director Julia Deans (Fur Patrol) Boh Runga (stellar*), Dianne Swann (When the Cat's Away), Vera Ellen, and Jazmine Mary, backed by Karen Hu (drums), Rebel Reid (guitar), Mareea Paterson (bass), and Ladyhawke's Ilayda Tunali (keys). Swann immediately demanded everyone get up and out their seats, and by the second song ('Call Me' by Blondie) the aisles were full of people boogying. The hits came thick and fast, with songs from The Pretenders, The Cranberries, Patti Smith and even a tribute to Shona Laing. Helmed by Julia Deans in Courtney Love cosplay, there was an air of joyous chaos to the whole thing. 'Undies? No undies?' Deans asked the whooping crowd while hiking her skirt up (later, when she sat down on the stage, a cackling crowd member stood in front to cover her crotch, just in case). With a few false starts and flubs, it had the energy of a shambolic talent show – just one where the contestants happen to be the most talented people in the country. A huge highlight of the night was when guitarist Rebel Reid took the microphone to sing 'Cherry Bomb' by The Runaways. 'This is the biggest crowd I've ever sung in front of,' Reid muttered shyly, before basically ripping the roof straight off the Royal with a belting cover. It was difficult not to well up when Boh Runga stood back in wonder with her glittering water bottle to let the crowd sing most of 'Nothing Compares 2 U'. Vera Ellen strutting around the stage like Mick Jagger to 'I'm Just a Girl' by No Doubt was also an appropriate serve of fierce and silly for the current moment. Atomic 2.0 was a hugely fun night out, but it did leave me pondering a (potentially tedious) thought, especially during New Zealand Music Month. Is it a bleak sign of the times that these musicians can only fill a room this big with their powers combined and an arsenal of nostalgia covers? How many of the people in the audience would go and see them performing their own songs? Maybe the Venn diagram is two separate circles. Maybe it doesn't matter at all. Maybe nothing compares 2 seeing a bunch of women making bank and rocking tf out. Claire Mabey in Wellington I want whoever is in charge of these things to send me back as any one of the women in Atomic. I haven't seen anything so cool in ages and don't expect to top Julia Deans and Vera Ellen guitar battling in this lifetime. Or Boh Runga's black leather pants, or Dianne Swann's VOICE. My god! What a revelation. I am ashamed I didn't know more about Swann before this night of rock Wellington crowd was a woman-strong mob featuring a lot of grey hair and tight pants. My friend and I arrived in the nick of time and I felt immediately young which was a pleasant sensation given I'd eaten too many fried potatoes at Damascus just minutes before, and am not young. The show got immediately underway and I remembered why I have long harboured a crush on Julia Deans. Why is she not Dame Julia Deans yet? Even from way in the back of the stalls she exudes such energy and obvious love for her art and craft, and for the women on stage and for the songs that have inspired them. Deans is the musical director of this genius concept: cover bangers and get a whole opera house full of mostly women singing, dancing and screaming out 'You deserve equal pay!' The supergroup opened with Joan Jett and the Blackhearts' 'I Hate Myself for Loving You' which reminded me just how magnificent Boh Runga is. The pipes, the style, the presence! A massive highlight was Runga singing 'Nothing Compares 2 U' by the late Sinead O'Connor, who Runga said was one of her favourite artists of all time. It was a stunning rendition – deeply felt. There was a lot of love for Wellington's own Vera Ellen in the room. It was Ellen who roused the Wellington crowd by saying 'You know you're allowed to sing along and dance, eh? Christchurch did.' Then she launched into Blondie's 'Heart of Glass' and the gun shy horde stood up and surged forward, joining Julia Deans who'd jumped off the stage to boogie on the floor with the fans. Shout out to the group of women who wore cowboy hats with neon lights – beautiful work. For me, Dianne Swann and Jazmine Mary were revelations. Swann sounds exactly like Marianne Faithfull and pierced my very heart with Faithfull's ' The Ballad of Lucy Jordan '; and her version of Patti Smith's 'Gloria' was wild. Jazmine Mary absolutely nailed 'Zombie' by the Cranberries. I was hoarse by the end of it and had only just enough voice left to belt out 'You Outta Know' by Alanis Morrisette (sung by Deans who also did so good to Courtney Love with 'Celebrity Skin' by Hole). Vera Ellen shone in the second half of the show ('welcome to the 90s segment,' quipped Deans) with 'I'm Just a Girl' by No Doubt (Gwen Stefani really was something back in the day) and with Sheryl Crow's evergreen 'If It Makes You Happy'. It was a night of excellence – the musicians were incredible: Karen Hu was sublime on drums, Rebel Reid epitomised rock goddess on guitar, Mareea Paterson's bass entered directly to the bloodstream, and Ilayda Tunali was phenomenal on keys. Eilish Wilson on saxophone was tremendous – what an instrument, what a shirt, what a player. Going by Alex's review it sounds like this show was tighter than the Christchurch version: Atomic 2.0 Wellington was slick, it was joyful and the musicianship really shone out. After an encore of Florence & The Machine's 'Dog Days Are Over' sung by Runga, a thousand elated bodies poured out of the Opera House into the rain, impervious to the damp and refreshed by rock. Can't wait for Atomic 3.0.
