We were teased yesterday on Twitter and Facebook by an ad for an exclusive performance on 60 Minutes Australia. Now you can watch the full performance of Adele's new new song, "When We Were Young," the follow up to her first single in three years, "Hello", and the second song from the forthcoming album "25." The film clip is directed by Paul Dugdale, and shot at The Church Studios, the legendary north London recording spot.
For fans of Adele, the main feeling is relief—that it's a real comeback. Here's the conversation I had with Mother Jones creative director Ivylise Simones when she texted me urgently this morning with the link:
Actor Charlie Sheen confirmed on Tuesday morning that he is HIV positive and has known about his diagnosis for about four years.
"I am here to admit that I am in fact HIV positive," he told Matt Lauer on the Today show.
"It's a hard three letters to absorb," he said. "It's a turning point in one's life."
The troubled television actor also revealed he has been the victim of several extortion plots and has paid people millions to keep them from going public with his diagnosis. Sheen told Lauer that the sexual partners he had unprotected sex with after he was diagnosed were being cared for by his doctor.
Sheen's revelation comes one day after a National Enquirer cover story speculated on his diagnosis. Rumors about the 50-year-old actor's health started swirling after several blind item reports were published, including a RadarOnline story that appeared two weeks prior. Many of the stories were believed to be pointing to Sheen.
"I have to put a stop to this onslaught, this barrage of attacks and of sub-truths and very harmful and mercurial stories that are about me, that threaten the health of so many others that couldn't be further from the truth," he said on Tuesday, alluding to the mounting tabloid reports.
For more than 30 minutes on Sunday, President Barack Obama could be seen huddling on the sidelines of the G20 summit meeting in Antalya, Turkey, in conversation with Russian President Vladimir Putin and two aides, apparently hashing out a plan to deal with the chaos in Syria. "President Obama and President Putin agreed on the need for a Syrian-led and Syrian-owned political transition," the White House said.
Now, state-backed broadcaster Russia Today has released a video of the incident—in which a man seems to be trying to listen in on the high-stakes conversation between the leaders.
Look, I'm no fan of Russia Today, and its propaganda-choked airwaves. And it's true we don't know exactly what this guy is doing or what he's thinking. Homeboy might just be chilling out with that funny smirk and a truckload of self-consciousness, and his funny use of his cell phone, and the odd way he keeps glancing at the camera. We'll never know. But just look at that face. It's very funny:
Following the coordinated terrorist attacks in Paris on Friday, John Oliver began his show on Sunday by unleashing an impassioned, profanity-laced condemnation on the attackers responsible for the deadly siege.
"It's hardly been 48 hours and much is unknown, but there are a few things we can say for certain," Oliver started off. "And this is when it actually helps to be on HBO, where those things can be said without restraint, because after the many necessary and appropriate moments of silence, I'd like to offer you a moment of premium-cable profanity."
"First as of now, we know this attack was carried out by gigantic fucking assholes, unconscionable flaming assholes, possibly working with other fucking assholes, definitely working in service of an ideology of pure assholery," he said. "Second, and this goes almost without saying: Fuck these assholes.
"And third: It is important to remember, nothing about what these assholes are trying to do is going to work. France is going to endure."
The Last Week Tonight host continued to offer a message of hope for France, vowing terrorism will never succeed in the face of freedom.
Bob Dylan The Cutting Edge 1965-1966: The Bootleg Series Vol. 12
Columbia Records/Legacy Recordings
The archival Bootleg Series plumbing Bob Dylan's illustrious (and sometimes not so illustrious) history has produced such gems as the complete Basement Tapes and a compilation of his early Witmark publishing demos, but The Cutting Edge is far and away the most exciting entry yet. This dazzling six-disc set covers the period when Dylan plunged wholeheartedly into rock'n'roll and created one masterpiece after another, turning out Bringing It All Back Home, Highway 61 Revisited, and the two-record Blonde on Blonde in a frenetic 18-month burst of genius.
Consisting largely of previously unreleased material (actual bootlegs aside), The Cutting Edge collects early versions, rehearsals, alternates, and other fascinating leftovers from the sessions for those albums. What's immediately most striking is how hard Dylan and company worked in the pursuit of perfection, and how much songs evolved during recording. Want to hear "Like a Rolling Stone" as a waltz? "Visions of Johanna" as a spiky uptempo rocker? They're here, along with other classics-in-progress, and tantalizing orphans such as "Lunatic Princess," "You Don't Have to Do That," and "Sitting on a Barbed-Wire Fence." For those who want even more, there's a hefty (and pricey) 18-CD version available via Dylan's website.
The Velvet Underground Loaded: Re-Loaded 45th Anniversary Edition Rhino
The Complete Matrix Tapes Polydor/UMe
Loaded was the most conventional of The Velvet Underground's four studio outings. With gifted multi-instrumentalist John Cale long gone and drummer Maureen Tucker largely absent from the studio, Lou Reed steered the band away from the notorious sonic and emotional extremes of its early work, trying out a more mainstream pop approach, albeit with more wit and a darker undertone than your basic Top 40 song. The album features a few clunkers but also two of his most-lovable compositions in the form of "Sweet Jane" and "Rock & Roll." After the confrontational brilliance of early songs like "Heroin" and "Sister Ray," these engaging anthems seem positively carefree.
This six-disc package includes a mono version, a surround-sound mix, a previously released live set from Max's Kansas City, and a very lo-fi, previously unreleased live performance from Philadelphia. The high point is the disc containing demos and early versions, which offers hints of what Reed would have sounded like as a folk singer in an alternate universe, and shows him getting warmed up for his impending solo career. "Satellite of Love" would be one of the standouts of Transformer, his second post-Velvets effort and biggest commercial success, while "Sad Song" resurfaced on his third long-player, the harrowing masterpiece Berlin.
Prior to the sessions that produced Loaded, the Velvets played a series of shows at the San Francisco club the Matrix in November and December 1969. Four of those sets appear on The Complete Matrix Tapes and portray the quartet as a cohesive and efficient rock'n'roll band, not simply a vehicle for Reed's solo aspirations. With Doug Yule taking over on bass and psychedelic keyboards, the group ranges from early gems like "I'm Waiting for the Man," presented in a bluesy 13-minute version, and "Sister Ray," which unfolds over 37 mesmerizing minutes, to the not-yet-recorded "Sweet Jane" and "Rock & Roll," heard here in looser, funkier incarnations. Much of the material on this fine four-disc collection has previously been released piecemeal on other archival packages, but The Complete Matrix Tapes is the best way to get a feel for the later Velvet Underground onstage, no longer revolutionary but still compelling.
In the newest issue for Vogue—and umpteenth edition of Jennifer Lawrence being so "real" and so "hilarious"—the Hunger Games actress reveals why she's disavowing her Republican roots, particularly in light of a potential Donald Trump White House.
"If Donald Trump is president of the United States, it will be the end of the world," Lawrence tells Vogue's Jonathan Van Meter. "And he's also the best thing to happen to the Democrats ever."
Lawrence, who is the world's highest paid actress, also didn't mince words when it came to Kim Davis, the defiant Kentucky county clerk who made national news by refusing to issue same-sex marriage licenses back in September.
"I just can't imagine supporting a party that doesn't support women's basic rights," she said. "It's 2015 and gay people can get married and we think that we've come so far, so, yay! But have we? I don't want to stay quiet about that stuff."
When Van Meter asked her about Davis, Lawrence called her "that lady who makes me embarrassed to be from Kentucky."
"All those people holding their crucifixes, which may as well be pitchforks, thinking they’re fighting the good fight," she goes on. "I grew up in Kentucky. I know how they are."
As for Trump, Lawrence describes her opinion as "pretty cut and dried."
Somewhere, Hillary Clinton is nodding in agreement.
On November 9, 1970, George Thornton, an engineer at the Oregon Department of Transportation, had a mission: remove a 45-foot sperm whale washed ashore the Oregon coast just south of the Siuslow River. But how?
ODOT officials struggled with what to do with the whale. Rendering plants said no thanks. Burying was iffy because the waves would likely have just uncovered the carcass. It was too big to burn.
So the plan was hatched: Let’s blow it up, scatter it to the wind and let the crabs and seagulls clean up the mess. So Thornton and his crew packed 20 cases of dynamite around the leeward side of the whale, thinking most of it would blow into the water. At 3:45 p.m. Thursday, Nov. 12, the plunger was pushed.
The whale blew up, all right, but the 1/4 mile safety zone wasn’t quite large enough. Whale blubber and whale parts fell from the sky, smashing into cars and people. No one was hurt, but pretty much everyone was wearing whale bits and pieces.
At that moment on November 12, 1970—45 years ago today—the decaying whale erupted into the public consciousness and eventually became a viral sensation. It was keyboard cat before cats had keyboards. "[It] went viral before the internet had the infrastructure to support viral videos," Andrew David Thaler wrote in Vice's definitive history, "when mailing a six minute clip via USPS was faster than downloading."
The comedian reached another level of hero status on Tuesday, appearing on the Late Show to promote his brilliant new Netflix series Master of None. Just seconds after settling into his guest seat, Ansari wasted no time calling out Hollywood's problems with diversity.
"Stephen's the first late night host from South Carolina and the bajillionth white guy," he said, responding to Colbert's comment that the two of them hailed from the same state. "Very interesting measure of progress."
When Colbert jokingly asked if his spot on the show counted as a show of progress, Ansari replied, "It's really diverse right now. It's 50 percent diverse. It's like an all-time high for CBS." Colbert couldn't contain his admiration and shook Ansari's hand.
The appearance comes on the heels of rave reviews for Ansari's new show, which explores everything from romance and the first-generation immigrant experience, to the insidious racism stillpreventing people of color from securing top-billed acting roles.
On Tuesday, viewers also had a chance to hear from Ansari's real father, who also plays the father of Ansari's character on the show. After their appearance together, Ansari posted the following Instagram: