About Me

Name: Adam Bernard
Home: Fairfield, Connecticut, United States
About Me: Entertainment journalist with 20 years of experience. Supporter of indie music. Lover of day baseball, and B-movies. Part time ninja. Kicked cancer’s ass. My memoir, ChemBro, is out now!
See my complete profile
Follow

Hot Features

Tales From The Crates
Shel Silverstein's Freakin' Wild Album


Forget The Greatest, Tell Me Your Favorites


From Brooklyn to Anchorage – How Half of an NYC Indie Band Ended Up in Alaska


Tales From The Crates
The Story of MC Skat Kat

Subscribe to the
Weekly Email

Tidal Babes are Makin’ Waves in SoCal’s Rock Scene
Friday, April 09, 2021

When Chris Qualls, Lyndsi Austin, and Danny DeLeon (photo L to R) formed Tidal Babes four years ago, they immediately loved the vibe, and the music they were making, but Lyndsi says there was one small problem, “(We) didn’t really know where Tidal Babes fit into the L.A. scene.”

“There’s a lot of surfy garage rock,” she explains, “like Lolipop (Records), and Burger Records, and that kind of vibe, and then there’s more just the straight punk rockers, and we’re kind of somewhere in the middle – we’re kinda surfy, but the production quality is higher than just like a garage rock band, so we were kind of, for a while, trying to figure out where we fit into all of it.”

Qualls says they found their spot – “It’s Orange County.”

The secret, Lyndsi says, is in the sand. “I think the closer to the beach you get, the more our music kinda fits in.”

Lyndsi (vocals) and Chris (guitar / bass), aren’t just bandmates, they’re also married, and with Danny on drums the Tidal Babes trio have released a string of singles, and EPs since 2017.

Their sound is one part The Go-Go’s, one part Veruca Salt, with fun, and attitude, perfectly swirled together like two flavors of ice cream on a hot summer day.

I caught up with all three members of Tidal Babes to find out how they created their musical vibe, their desire to spread SoCal sunshine all over the globe, and how they might just become your new best friend.

 

You’ve told the Tidal Babes origin story a number of times during interviews, so I want to approach this subject in a bit of a different way. What kind of bands were each of you in at the time you decided to form Tidal Babes? 

Chris: I was solely doing songwriting and production for other people.

It had been a while since I had been in a band, or project, and I think that was a big part of why we wanted to start it. I had missed playing live music. I’d been studio guy for years at that point. So when Lyndsi and I were at this show for the band The Drums, we were like, “This is really really cool. What do you think it would sound like it someone did a West Coast version of this?”

The Drums were very cool, and hip, but had a very New York type of feel, to us, and we were like, “What if we just went full Southern California influenced, hip, pop-rock type of band.” (We) hit up Danny the next day about it, and he was in.

Danny and I had been, growing up, playing in punk rock bands, so it seemed like the natural fit.

Danny: At the time I was in a band, it was like a dance pop band, just playing a bunch of shows, touring and stuff. Chris, like he had mentioned, he and I had been playing music together for so many years, so it really did seem like a no-brainer. Just the idea of the music, the style of music, it makes so much sense, and I wanted to switch it up, I was looking for something different, so it was like yeah, of course I would do it.

Lyndsi: I moved to L.A. in 2016. January 1st, 2016 was my first day in L.A. Prior to that I lived in Salt Lake City, (UT), and my band there was kind of a shoegaze band, I guess you would say, and I sang and played bass for them for about four years.

When I moved to L.A. we didn’t have a band for a few months, and we all just kinda missed it. Well, I guess Danny was still playing, but Chris and I were like …

Chris: Let’s do something.

Lyndsi: Yeah, we just missed doing live shows, and I’d been in rock bands previously, and I kinda missed more of that edgy performance vibe.

I read that the conversation that led to the formation of Tidal Babes happened over whiskey after that Drums show. You formed the band basically overnight, so what was the conversation like that made everything happen so easily? 

Chris: Prior to that show Lyndsi and I, we were kind of gearing up to maybe have a project together that was a little bit more electronic pop, so I think we knew we were going to do something together, we just had, I guess, the context a little different in our minds before that show.

When we were at the show I think I was talking a lot about how I, and a lot of my fellow songwriters, when we’re doing pop songwriting sessions, have a tendency to overthink things, because you’re always wondering – is the artist gonna like this? Is the A&R gonna like it? Is the manager gonna like it? Is it gonna get picked for the single. So you kind of lose a lot of the natural feeing of the session by overthinking it, and overanalyzing every lyric and every melody. I think that was one of the main things that I’d been complaining about, and we wanted to keep it simple. The whole idea behind it was – what if the band was just fun? Fun for people to listen to. Fun for us to play. Fun for us to write.

We decided we would go into it with a cap on the songwriting where we would write at least the basic bones of every song within an hour, and that would force us from overthinking, and over-analyzing every step of the way.

We went home that night after drinking a little bit after the show, and wrote the song “Do You Wanna Come Over” in like 40 minutes, and we were like – this is cool, this is a lot of fun, this was exactly what we wanted.

(We) sent it over to Danny, and then just decided to keep it rolling on the fun train the entire course of this band’s history.

I noticed in all the “likes” you listed when you were discussing pop songwriting, not once did you say – do I like it? It was will the artist like it, will the A&R like it, will the manager like it? At no point did you say – will I like it? 

Chris: Yup. Good catch.

Lyndsi: Exactly. Which was part of the inspiration, and it just came so easily, and naturally, and anytime we started to spiral out on a thought, like, “Is that good? Is it not?” we were just like, let’s just go with it, trust your instinct.

From the very beginning it started out as just being really easy. With our songwriting, and performances, it’s just always fun.

Chris: I think we’ve been doing it for so long it didn’t make sense to be in a band that was stressful. I feel like all of us have had bands that have had drama, and were just more trouble than they were worth, so from the very beginning it was like, OK, let’s just do it with our best friends, and just keep it all simple.

Danny and I have a great dynamic.

Lyndsi and I also have a good dynamic.

I should hope so! 

Everyone: {laughs}

Chris: Our unofficial fourth member is my writing partner Eric (Straube), who is one of my other best friends. (He) helps us write some of the songs, and plays bass for us live, but just doesn’t like taking pictures, and doing interviews, and that kind of stuff. He’s in the background doing his own thing, but still is a very important piece of our puzzle, and he is so easy to get along with.

That’s just what we wanted, a band that was easy and fun, and I think we’ve kept that going.

Lyndsi: We should give him some kind of incognito name that he goes by in Tidal Babes.

Your lyrics are equal parts fun, and truth. What other musical ingredients would you say makes a Tidal Babes song a Tidal Babes song? 

Lyndsi: I think we intentionally try to keep it edgy.

Chris and I really pay attention to lyrics in songs, and we wanted it to be something that was like different little details in the lyrics where you’re like, oh, that’s kind of interesting.

The idea of the L.A. fashionistas mixed with the West Coast punk scene all together, I think that’s kind of the story we try to tell in our songs.

Chris: I feel like we make an effort to keep the lyrics pretty conversational, not too heavy, not too metaphorical. We want it to seem like stuff that you would overhear people talking about at a bar in L.A., rather than deep poems about meaningful things that hurt us in the past.

We wanted to just keep it very light … where it’s easily accessible to everyone. We wanted to take people to having a margarita on the beach. If they’re in the middle of a blizzard in Minnesota, we wanted them to be able to throw on a Tidal Babes song, and imagine that they’re at some rooftop bar on Sunset, or something like that. We tried to keep the lyrics very easy, and conversational, for that reason.

Lyndsi: I also think not being from California, growing up I always had this idea of California – it’s sunny, it’s beautiful, the people there are so chill, and palm trees. So I think I definitely romanticized California before I moved here, and then, of course, moving here it was like, oh yeah, it’s amazing. I always try and picture that image when we’re doing our songwriting, and I think that’s the image we try to quote-unquote sell.

Chris: Yeah, Southern California.

I heard your upcoming single, “All Night,” and the opening lyric “You stole my heart / you stole my car,” is something I’d love to overhear someone say in a bar! 

Lyndsi: Exactly! {laughs}

Did that actually happen? 

Chris: It is an anecdote that I did overhear from one of my friends growing up, so it is based on a true story, but did not happen to me.

Wow. I’m glad it didn’t happen to you, but I’m also kind glad it happened in real life. I don’t know why, I just am. 

Everyone: {laughs}

Lyndsi: Having truth to it makes it interesting.

Chris: Yeah, one of my friends way back in the day was dating this just total shitbag of a dude who was very addicted to drugs, and addicted to danger, and I don’t know why, but she just couldn’t get over him. He would do dumb shit like steal all of the money from her purse to go buy drugs. One time she was supposed to go to work, and her car was gone, and she didn’t know what to do. She didn’t call the police because she didn’t want him getting in trouble, but dude didn’t come back for like five days.

Lyndsi: That is so insane.

You report that car stolen! 

Chris: She was a sucker for him, man.

You had a show with the Dollyrots, who I know are a fun, wild time. With that in mind, what’s the most trouble you’ve gotten into, or almost gotten into, at a show, or on the road? 

Lyndsi: That’s a good question.

Chris: I feel there’s always trouble for us. I mean, the band started over whiskey, and has continued over whiskey for years and years, and I think that’s kind of a staple for us when it comes to the live show, the pre-ritual, the post-ritual, the day after ritual …

Lyndsi: Whiskey fueled. {laughs}

Chris: Yeah. One of the things I enjoy doing, up until the last year, is just meeting new people, having drinks with new people, smoking weed with new people. I feel that helps us out a lot with the band, but also in the songwriting and producer community, where people have a tendency to cut through the bullshit when it comes to networking if they think you’re in it just to get something out of them.

If you just have fun, cut loose with people, just hang out like you would with your friends, have some drinks, smoke, whatever it is, you can form real relationships with people, and then if you end up working with them down the road, or end up doing something together, that’s great.

I think that we’re pretty good about getting to know the other bands that we play with, and crossing over from green room to green room, and sharing drinks, and getting into a little bit of trouble here and there. I feel that always does really well for us.

Danny: For sure.

We’ve never been the type to trash green rooms, or throw chairs out windows, or anything like that. We’re pretty chill.

Lyndsi: Chill, but fun.

For more Tidal Babes, check out tidalbabes.com, download their music on Bandcamp, and follow them on Facebook, Instagram, Twitter, and YouTube.

Labels:

posted by Adam Bernard @ 7:00 AM   0 comments
NYC Scene Report – Jessie Wagner, Car Astor, & Body Language
Wednesday, April 07, 2021

This week’s NYC Scene Report features Jessie Wagner with a joyful tune, Car Astor with a gorgeous cover, and Body Language getting remixed by J Boogie’s Dubtronic Science.

* Spring is in full effect, and column favorite Jessie Wagner has a perfect soundtrack for the season with her soulful, joyous single “Passin Me By.”

All about finding silver linings, one can’t help but feel good as Wagner sings, “And though the times get rough / I know that they'll be passing me by.” The colorful, fan-inclusive video for the song provides even more good vibes.

“Passin Me By” is off Wagner’s debut album, Shoes Droppin, which was released last year via Wicked Cool Records. Take my advice – don’t pass this one by!

* Car Astor surprised listeners with a new single last month, a beautiful cover of the song “Sarah.”

In a statement, she discussed the inspiration for the cover, and the arrangement she put together for it, saying, “My label is releasing a series of covers, and asked me to contribute, so I took this song ‘Sarah’ from the 1970’s band America, and totally twisted it into a new song that fit the musical vibe I've been feeling recently.”

Recorded and produced back in December in her apartment studio with her girlfriend, Astor adds, “The song ended up having a really uplifting feeling, which was so needed because I’ve definitely been feeling really trapped in my apartment, and maybe more depressed than usual given everything going on in the world + the fact that it’s too cold to walk outside (BLAHHH).”

Click play, and feel the warmth of Astor’s gorgeous cover of “Sarah.”

* If you’re looking for some dance grooves, Body Language is here to make you move with J Boogie’s Dubtronic Science remix of their song “Start It Up.” 

Body Language’s Angelica Bess discussed the song in a statement, saying, “‘Start it Up’ is a song about dealing with the frustrations of the beginning of a relationship. It’s about waiting on someone to initiate the first move; the dealings of all ‘back and forth’ before we get to the love part.”

Revealing his own musical contribution, J Boogie’s Dubtronic Science said that for the remix, “I started with Angelica’s hook and decided to give the track a lo-fi house flavor with horns, drums, and cowbell.”

That’s right, he heard “Start It Up,” then he developed a fever, and the only prescription was more cowbell!

I think you’ll find he used just the right dosage.

For more of the best of NYC’s indie music scene, come back next Wednesday, and check out the archives for previous columns.

Labels:

posted by Adam Bernard @ 7:00 AM   0 comments
Pop Shots – Center of Attention
Monday, April 05, 2021

Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from Lil Nas X finding himself at the center of multiple controversies, to Peloton teaming up with Verzuz, to the mafia Demi Lovato has joined, and since this is Pop Shots you know everything is seasoned with a little bit of attitude.

* Lil Nas X stirred up plenty of controversy this week, first with his video for his latest single, “Montero (Call Me By Your Name),” which features, among other things, the singer giving a lap dance to Satan. I don’t really care about the video, I just can’t believe Satan’s Lap Dance wasn’t the name of a White Zombie album.

* In a second controversy for Lil Nas X, the artist is in hot water with Nike after he released limited-edition satanic-themed Air Max 97 shoes that reportedly have actual human blood in them. The shoes weren't authorized by Nike, and the company filed a lawsuit last week. Apparently the only blood Nike wants in their shoes is from the Asian child labor they force to make them.

* Mike Posner has walked across the continental U.S., but he still has hills to climb. Actually, make that a mountain, as up next he plans to ascend Mt. Everest to raise funds for his hometown’s Detroit Justice Center. OK, I gotta know, that pill he took in Ibiza … it was pre-workout, wasn’t it?

* Peloton and Verzuz are joining forces to bring the popular series of artist catalogue battles to Peloton workouts. If this means we’re about to have a bunch of middle aged suburban housewives discussing Ghostface Killah and Raekwon … honestly, I’m not sure I’m ready for that.

* Ariana Grande will be joining The Voice as one of the four coaches for season 21 this fall. She might be the first judge in history to require a booster seat for the rotating chair.

* Maple Leif Garrett, aka Justin Bieber, saw his latest release, Justice, become his eighth album to hit #1 on the Billboard 200 chart. I wonder how many people who picked it up ended up really disappointed it wasn’t an album by Just Ice.

* Elton John has been working on some interesting collaborations, saying on his Apple Music radio show Rocket Hour, “I’ve just done something with Metallica, (and) during this lockdown period I've been working with Gorillaz, and people like that.” If his collab with Metallica isn’t titled “Enter Rocketman” I’m going to be very disappointed.

* Demi Lovato told Entertainment Weekly that taking off her engagement ring after calling off her two-month engagement to ex-fiancé Max Ehrich instantly felt right. Well, yeah, she was no longer engaged. Leaving it on would’ve been weird.

* In more Demi Lovato news, in an interview on The Joe Rogan Experience the singer revealed she is now pansexual – which, for the record, is not an extreme attraction to the creatures in Pan’s Labyrinth – adding a further clarification, saying, “I heard someone call the LGBTQIA+ community the ‘alphabet mafia,’ and I was like, ‘That’s it. That’s what I'm going with. I’m part of the alphabet mafia, and proud.’” Wait, I thought these guys were the alphabet mafia …

That’s all for this edition of Pop Shots, but come back next Monday for more shots on all things pop.

Labels:

posted by Adam Bernard @ 7:00 AM   0 comments
Tales From The Crates – Shel Silverstein’s Freakin’ Wild Album
Friday, April 02, 2021

When most people hear the name Shel Silverstein they’re immediately brought back to their childhood. His beloved books, including The Giving Tree, Where the Sidewalk Ends, and A Light in the Attic hold a special place in the hearts of those of us who grew up on the wonderful stories and poems woven by the master wordsmith.

This is why when I came across a Shel Silverstein record while going through used vinyl at The Archive, in Bridgeport, CT, I was intrigued. The album, Freakin’ at the Freakers Ball, was released in 1972, and the cover featured Shel leaning back, sporting a crazed look on his face, while playing the piano.

Flipping the album over, I read the track listing. Song titles like “I Got Stoned and I Missed It,” “Polly in a Porny,” and “Don’t Give a Dose to the One You Love Most” made me think this wasn’t going to have the kind of lyrics found in a children’s book.

With a $1 price tag, I added it to the stack I was buying, and made my way to the register.

To be completely honest, I had no idea Shel Silverstein had a musical side to him, but you know the Johnny Cash song “A Boy Named Sue”? Shel Silverstein wrote it.

Mind blowing, right?

When I arrived home, I put Freakin’ at the Freakers Ball on, and OH MY GOD was it an experience!

One song actually did end up in one of his books – “Sarah Cynthia Silvia Stout Would Not Take The Garbage Out” (Sarah is misspelled “Sahra” on the album) can be found in Where the Sidewalk Ends.

For this article, however, I’m going to focus on five of the freakier tracks, as Freakin’ at the Freakers Ball is a heck of good, and sufficiently weird, time.

FYI, you won’t find this album on Spotify, but it was re-released on CD with three additional tracks. Thankfully, someone put them all on YouTube, which is where these song embeds are from.

 

“Freakin’ at the Freakers Ball”
 

Let’s start with the title track of the album, which is about a party where all sexual proclivities are not only invited, but encouraged.

Blow your whistle, bang your gong, roll up somethin’ to take along
It feels so good that it must be wrong, a freakin’ at the Freakers Ball
 

Sounds like a pretty good time, right?

The line that threw me for a loop, however, was

The Plastercasters castin’ their plasters 

After hearing the lyric I did a double take. Did he really mention the Plastercasters?!?!

My interest was piqued because that’s a reference to Cynthia Plaster Caster, a rock groupie who became known because she and a friend made plaster casts of rock stars’ erect penises. She later expanded her work to other types of artists, as well.

I only know this because I read Pamela Des Barres’ Let’s Spend the Night Together: Backstage Secrets of Rock Muses and Supergroupies. I swear that’s the only reason I know. Really!

Getting back to the actual lyric, I found it interesting that in 1972 Shel Silverstein knew of this rock groupie who began her plaster casting career just four years earlier.

Clearly, Shel led an interesting life!

Side note –“Freakin’ at the Freakers Ball” features a few slang words that are no longer in use, and would now be considered derogatory. Let’s keep in mind this album is nearly 50 years old, and not judge a man of the past based on the standards of a present he doesn’t exist in. 

 

“Polly in a Porny”
 

“Polly in a Porny” starts with Shel dropping his date off at her home, respectfully walking her to the door. In need of a bit of a release, he then makes his way to an adult movie theater. The movie that was showing, he quickly learned, happened to star the woman he’d just dropped off.

Did he enjoy the movie? Well, check out these lyrics from the end of the song … or perhaps I should call it the climax.

I keep on going back
In the very last row I’m singin’ low with my coat bouncin’ in my lap
 

A better review of a film you will not find this side of Siskel & Ebert.

 

“Stacy Brown Got Two”
 

The title of this song seems innocuous enough, but the “two” in this case is a reference to the number penises Mr. Stacy Brown has. Yes, I said penises, and apparently that’s why the ladies can’t get enough of him.

Do you know the reason for his success (no we don't so tell us)
They say that he was double blessed (not like you fellas)
They say that Stacy Brown was born just a little bit deformed
Still his girlfriends they all wake up smilin’ every morn
(Singin’) everybody got one
Everybody got one
Everybody got one
Stacy Brown got two
 

In the song it is never revealed how Stacy Brown buys pants, but I guess that’s just a mystery I’ll have to live with for the rest of my life. 

 

“I Got Stoned and I Missed It”
 

Nearly 30 years before Afroman released “Because I Got High,” Shel Silverstein had a song about missing out on everything due to constantly getting stoned, and when I say he was missing out on everything, I mean everything, including not being able to remember deflowering a local virgin.

It took seven months of urgin’ just to get that local virgin
With the sweet face up to my place to fool around a bit
nd next day she woke up rosy and she snuggled up so cozy
But when she asked me how I liked it Lord it hurt me to admit
I was stoned and I missed it …
 

Now that’s some seriously potent stuff!

 

“Don’t Give a Dose to the One You Love Most”
 

I absolutely thought this song was going to be about drugs. With a title like that, how it could it not be? Well, it’s isn’t. It’s about herpes.

I’m not kidding.

The song features the following lyrics that definitely clear things up, while discussing something most sufferers would like to see cleared up

So if you’ve got an itchin’ – if you've got a drip
Don’t sit there wishin’ for it to go ‘way
If there’s a thing on the tip of your thing or your lip
Run down to the clinic today, and say
I won’t give a dose to the one I love most …
 

I guess if you do enough freakin’ at the Freakers Ball, you’re bound to wind up with something.

 

Having grown up on his fantastic books, and now having listened to Freakin’ at the Freakers Ball, if I’m ever asked who are the five people, dead or alive, I’d like to have dinner with, I have a seat reserved for Shel Silverstein.

Labels:

posted by Adam Bernard @ 7:00 AM   0 comments
NYC Scene Report – The FunkLabb, Cautious Clay, & Hot Knives
Wednesday, March 31, 2021

This week’s NYC Scene Report features The FunkLabb stepping out from the shadows, Cautious Clay dealing with the hard truth about relationships that have run their course, and Hot Knives feeling ready to “Bloom.”

* You may not immediately recognize the name The FunkLabb, but you definitely know of their work. The duo of Ed Lawson and Wes Davis first met back in 1994, and have worked behind the scenes with everyone from The Notorious B.I.G., to Will Smith, to Allure. Now The FunkLabb are ready to be front and center, as they plan on releasing a series of independent singles throughout 2021, the first being “Mama Said No,” featuring Myah Marie.

Discussing the song in a statement, Davis said, “We decided to release ‘Mama Said No’ first to introduce The FunkLabb to the world with a song that not only makes you want to move your body, but has depth musically, lyrically, and definitely vocally. The track is very dramatic – it rises, falls, and drives in different sections, and Myah wrote a song that complements that structure perfectly, and is catchy as hell! We loved it instantly. The hook stays with you – whether you want it to, or not – and that is the fundamentals of a great song 101!”

Lawson added that when it comes to FunkLabb’s methodology, “Funk goes beyond music. It’s the nastiness in a song – that dirt. We definitely try to embody that. At the same time, we’re always in the Labb creating. We’ve been in the record business for quite some time, but we’ve finally decided to put ourselves out there now.”

Click play on “Mama Said No,” and get acquainted with The FunkLabb.

* Cautious Clay knows a thing or two about relationships, and that includes when one has run its course. This is the subject matter of his latest single, “Roots.”

Clay explained the song in a statement, saying, “‘Roots’ is about having an established history with someone, and coming to the often-difficult realization that things ultimately will not last because of elements in the relationship that are toxic. I tried to make that sentiment known in the first verse, ‘From atoms up to comets, life is never promised, you could make me wanna lie and be dishonest.’ It’s about wanting to put yourself out there, and be emotionally vulnerable to a fault, however ultimately knowing what’s best is for both people to separate, and move on.”

We’ve all been there, and on “Roots” Cautious Clay makes something incredibly difficult a bit less heartbreaking.

* Have you ever heard the phrase “like a hot knife through butter” (or am I a thousand years old spouting old-timey dialect that has you wanting to call me grandpa)? It means to do something quickly. I think it’s apropos, as once you listen to Brooklyn-based rock trio Hot Knives’ latest single, “Static Bloom,” it won’t take you long to be into the band.

“Static Bloom” is off Hot Knives’ upcoming album, Making Love To Make Music To Make Love To, which is due out May 7th via Northern Transmissions and Look At My Records.

With a classic rock meets indie rock vibe, “Static Bloom” is the kind of song I’d love to hear performed live. Here’s hoping that will be able to happen later this year. For now, I’ll continue to click play.

For more of the best of NYC’s indie music scene, come back next Wednesday, and check out the archives for previous columns.

Labels:

posted by Adam Bernard @ 7:00 AM   0 comments
Pop Shots – Is It Lonely At The Top?
Monday, March 29, 2021

Welcome to your weekly dose of pop world musings. Covering all things pop culture, this week Pop Shots is hitting you with thoughts on everything from Rob Zombie reaching new heights, to how Joe Jonas celebrated a billion streams, to BTS once again being the kids’ choice, and since this is Pop Shots you know everything is seasoned with a little bit of attitude.

* Rob Zombie notched his first #1 on Billboard’s Top Album Sales chart with his latest album, The Lunar Injection Kool Aid Conspiracy Theory, debuting in the top spot. If there was a chart that measured strip club spins, Rob Zombie would be in an eternal battle for #1 with Def Leppard.

* When DNCE’s “Cake by the Ocean” reached a billion streams on Spotify, Joe Jonas celebrated by eating McDonald’s off the commemorative plaque. That might’ve been the best meal he could afford with the earnings.


* A grade school fan of Taylor Swift named Emmy – who has spent her time during the pandemic contacting her favorite stars, dubbing the interactions “7 Questions with Emmy” – sent the singer a list of seven questions. While Swift didn’t answer the questions, she did send Emmy a package that included t-shirts, CDs, and a handwritten note. Hmm, that’s interesting. Swift normally only does these kinds of things when she has a new release on the way.

* In more Taylor Swift news, this past week she released the first single in her “From the Vault” series. The song, “You All Over Me (From The Vault),” is off Fearless (Taylor’s Version), which may, or may not, have been one of the albums she sent to the young fan.

* Katy Perry is planning a Las Vegas residency at The Theatre at Resorts World. Since it’s Vegas, I feel like it’s perfectly reasonable to hope for the whipped cream cannons.

* John Mayer says he has a new album recorded, mixed, and mastered. Lame white guys are reportedly very excited at the prospect of once again having something that will help them get laid.

* Meghan Trainor has signed a unique deal with NBCUniversal Television and Streaming Entertainment that includes a new comedy series. If they’re looking for a name for the show, may I suggest – She’s Still Here?!?!

* Rapper NBA YoungBoy was arrested by the FBI in Los Angeles after reportedly fleeing from officers after a traffic stop on an outstanding warrant. Hey, NBA YoungBoy …

* BTS took home three awards at this year’s Nickelodeon Kids’ Choice Awards, giving them a total of five overall, the most in Nickelodeon Kids’ Choice Awards history. Wait, five is the record??? Damn, if you ever thought ADHD wasn’t real, just look at how quickly these kids jump from trend to trend.

* Pop Smoke’s posthumous debut album, Shoot for the Stars, Aim for the Moon, spent a 20th week atop Billboard’s Top Rap Albums chart, the most of any album since the chart began in 2004. I guess Jadakiss was right, dead rappers really do get better promotion.

* Finally, Bruno Mars and Anderson .Paak have teamed up for a project they’re calling Silk Sonic, and with it they’re bringing back some old school soul. I hope we hear this groove on the radio all summer long.

That’s all for this edition of Pop Shots, but come back next Monday for more shots on all things pop.

Labels:

posted by Adam Bernard @ 7:00 AM   0 comments
My Book

ChemBro:
Embracing Beastmode
to Beat Cancer

Click here to purchase

Latest Interviews

Satin Puppets


Audio Jane


No Grudges


Melody Duncan

Magazine Articles

Rocko The Intern

July 2010 - January 2013
    Older Posts                 Newer Posts