Hip-hop’s current iconoclast poster-children Odd Future are inching closer to their march media and album assault with this just-dropped full trailer of the band’s Adult Swim collab, Loiter Squad, set to premier March 25, five days post The Odd Future Tape Vol. 2. Produced by Jackass talent Dickhouse Entertainment, comprised of Johnny Knoxville, Jeff Tremaine and Spike Jonze, among others, the 15-minute Tim And Eric-type foolery seemingly will have some bounds, of which you can catch in this penis-flapping, cheese-spreading sketch-com 1:28 mash-up.
Dropping The Fork:
Pitchfork Media’s three-day summer gala turns seven today, with news of the July 13-15 initial prospective lineup. 13 artists were named, from early budding risers Willis Earl Beal and Grimes to indie household names Feist and Vampire Weekend. For the current reigning disseminators of this-is-relavant-itude, it’s not necessarily a bold start. But like the six years past, over 30 more artists have yet to be named. And it’s still the best bang for your music nerd buck, considering the intimate magnitude of its 15,000-person daily capacity and mere $45/day price tag. Thoughts on other talent or headliners to come?
Highs and Lows:
Ever meet a man with a 2.5 million-strong collection of vinyl? Per PBS’ first-ever Online Film Festival, spotlighting “stories that only public media can tell,” the owner of the world’s largest record collection and archive, Paul Mawhinney, has been profiled by filmmaker Sean Dunne in an eight-minute short waxing on the wonders of wax in the digital age dubbed The Archive. The Pittsburgh-based collector has been doing so for decades, ultimately housing the Library of Congress-studied collection in his archive/store Record-Rama. Focusing on the end of Mawhinney’s ability to keep the archive open against financial stress, Dunne put together a perfect portrait of a man, his records and why said records are still important in this Emmy-nominated tale.
During their 24-song set of the Miami jumpstart to their first Nation-wide tour in four years, Radiohead debuted two new tracks at the American Airlines Arena last night. Of course they’re both on YouTube now, both “Identikit” and its Phil Selway-led cymbal-snapping synth-flowering and the slower-paced “Cut a Hole.” Both shrouded in Thom Yorke warbalisms. On the latter, Yorke reprises his Scott Weiland dance moves to a sea of iPhone paparazzi. Though as spontaneous as the Radioheads go, only Dead Air Space will tell if these have seen or will see a date with the studio.
Hugely popular war dramedy M*A*S*H, effectively ended its 11-year run on this day in 1983 as 125 million viewers sat down in living rooms across America to that depressing acoustic guitar pluck and horn-line from the opening theme. The song in full is even more of a downer in the classic bitter-sweet sense of every good pop lyric ever written. Penned by the son of the director, Mike Altman, of the original film that started it all, the working title is “Song from M*A*S*H (Suicide is Painless).” The chorus: “Suicide is painless/It brings on many changes/And I can take or leave it if I please.” Altman was 14 when he wrote the song.