Hungarian ice skater Ivett Toth may not have bagged a medal at the Winter Olympics in PyeongChang but the internet has certainly given her one after she competed to the soundtrack of AC/DC
Toth performed her routine in South Korea to the rock classic dressed in a leather outfit with an Angus Young patch on her back.
If that’s not dedication enough, she also flashed devil hands towards the end of her performance, solidifying her place in the hearts and minds of AC/DC fans all around the world.
Unfortunately for Toth she didn’t score high enough to win a medal but she did beat her personal best to the song of her dreams so who is the real winner here?
It’s been a tumultuous start to the reunion that came in the way of the Shiny And Oh So Bright tour announcement and it seems Corgan is sick of it.
As Alternative Nation
report, he was being interviewed by friend and Chicago DJ Mancow, who leaked that reunion tour photo
, and he was asked about whether he was sad about what has transpired.
Corgan fired back, “Honestly, I don’t really want to talk about it.”
“I think the difficulty is the world works in a particular way these days, it’s very much like professional wrestling.”
He then decided that he didn’t want to go into it anymore and concluded, “Listen, there’s a time and a place for everything, and this just isn’t the time.”
Regardless of the drama, Smashing Pumpkins are going ahead with the reunion. Corgan has even unveiled some of the titles of the new songs
that they have been working on. There’s still no release date for new music but we know the tour starts in July.
‘s Australian tour, which was due to start this weekend, has been cancelled.
Thug, who announced he was changing his name to SEX this week, was due to play the first-ever Sydney City Limits
festival on Saturday, plus a headline show Melbourne
. He was also due to play a show with fellow rapper Future in Brisbane on Sunday night.
In a statement, promoters Live Nation said that the rapper was, “unable to secure a visa.”
Sydney City Limits has issued a statement saying that Thug was, “unable to comply with the requirements for processing his Australian entry visa application and this has now made it impossible to secure visa approval in time for Young Thug to travel from the USA in time to appear at Sydney City Limits.”
He will be replaced by Aussie rapper Tkay Maidza
who will now perform at the festival on Saturday.
His headline show in Melbourne has been cancelled while his show with Future in Brisbane will still go ahead without him.
This is the second time in a year Young Thug has cancelled a trip to Australia. He was due to travel down under last year for Laneway Festival, but he was dropped from the bill
before the festival even started.
It made sense for him to be touring with Future this time around, as the pair dropped a joint mixtape Super Slimey earlier this year, but now it seems Future will have to go it alone.
are backing up last year’s huge tour of Australia’s capital cities with an even bigger regional tour.
Starting with Download Festival
in Melbourne this March, the band will then make their way through 13 other locations in Australia.
The band are touring their third album Ugly Produce, which they dropped last year. It was their first album in two years, and saw them come back ready to unleash a fresh batch of energy.
Along for the ride on the 2018 ‘Regional Rampage’ Tour will be US band Child Bite
. It’s their first ever visit to Australia, and comes off the back of their fourth album Negative Noise. The duo has been around for well over a decade, so an Aussie tour was long overdue.
These dates aren’t the only chances to see the two acts together. They are also giving fans the chance to see them live from your living room. You can apply to host a gig right here
and hope that they decide to pick your house to destroy.
Check out all of King Parrot’s upcoming regional dates below.
CONTENT WARNING: The following article discusses suicide and drug addiction
‘s widow Vicky Cornell has given her first televised interview since her husband’s death.
The Soundgarden and Audioslave frontman passed away in May last year at the age of 52, with his death being ruled as a suicide
Mrs Cornell gave her first interview just a month later and said he “he didn’t want to die”
, and she’s maintained that same view in a new televised interview with ABC News.
“My husband was the furthest thing from a rock star junkie. He just wasn’t,” she said.
“He was the best husband, the greatest father. I lost my soulmate and the love of my life.”
Mrs Cornell has previously said at the time of his death, Chris was taking a double dose of sleeping drug Ativan. Cornell’s toxicology report
also showed multiple prescription drugs in his system at the time of his death.
During the ABC interview she was asked whether addiction led to his decision to take his own life, and she replied, “I don’t think that he could make any decisions because of the level of impairment.”
After a torn shoulder, Chris Cornell, who had struggled with addiction in the past, was prescribed medication to help him sleep, and he later “relapsed”.
Mrs Cornell also spoke about his last show, which he played the night of his death saying, “He was off-pitch, he forgot words, he walked off stage. Chris Cornell doesn’t do those kind of things, he’s not that kind of rockstar.”
Mrs Cornell also said addiction should be considered more widely as a “disease”.
“I was, I feel, guilty of the same thing. You think addiction is a choice. And it’s not…if there was less stigma more people would speak up,” she said.
Watch the full interview below.
If you or anyone you know needs help or information regarding mental health, contact Lifeline on 13 11 14 or Beyond Blue on 1300 224 636.
Let’s play a word association game: what’s the first word you think of when I say the word ‘Toto
For some, the answer might be Dorothy or Oz, but for many, the answer is ‘Africa’ – the epic power-pop ballad from the 1980’s.
Toto guitarist Steve Lukather is perfectly okay with that word association. In fact, he encourages it, as he tells Music Feeds‘ Jade Kennedy recently.
“Well see, you come to the show and you hear the other songs and you go, “Oh, I didn’t know those guys did that… Is that the same band? Hey these guys are really fucking good, man!”” Lukather says.
“I mean this is a powerful musical statement, it’s not just ‘that Africa band.’ But if that puts your butt in the seat to watch what else we can do then I’ll take that, you know what I mean?”
Toto the band has been around for four decades, but by Lukather’s own admission they have been the butt of jokes for many of them. He believed part of the issue stemmed from their ‘stupid’ name.
“We got unfairly picked on,” he says. “I mean, I know why now, having 40 years behind me – it’s because we had a stupid name. I was always like, “Come on guys, really? Why don’t we just stay with our high school name Still Life? Plus we came out at the exact same time as the punk scene hit, and we’re the antithesis of that. So they used us with the stupid band name, instead of Journey or somebody else – it could’ve been anybody from that era – but Toto, that sounds like the band to pick on, these studio guys, they don’t look right.”
“Studio guys” is an understated description for Lukather and his band mates, the Porcaro brothers (Jeff, Steve and Mike) and David Paich in particular. The musicians were adept enough at their craft to perform, write and produce on many studio albums: Lukather himself is credited on over 1,500 albums, by names including Aretha Franklin, Michael Jackson, Paul McCartney, Ringo Starr, Olivia Newton-John, Donna Summer and Lionel Richie.
“We were playing on half the records that came out of Los Angeles for 20 years,” he said. “Maybe more than half. Some of the biggest records in history, that many people don’t realise I played everything on ‘Beat It’ (Michael Jackson) except for the solo, including the bass parts, and then Jeff Porcaro played drums. Or that ‘Human Nature’ was a Toto song with all of us playing and Michael singing. Nobody ever says our name in conjunction with all this stuff. It’s like we’re the redheaded stepchild, you know? But we’ve grown to laugh at it and just kind of accept that that’s who we are.
“Now all of a sudden, out of nowhere, everybody knows who I am and where I’m going and stuff like this. Maybe it’s because I’ve been playing with Ringo (Starr), I don’t know what happened but as soon as the band turned 40 years old all of a sudden this ‘Africa’ thing took off with all these kids. I don’t know if it’s a college thing, maybe a drinking game or a sorority thing or something you’ve got to do whether you like the song or not, it’s just part of your life – it’s how Jimmy Buffet got famous and shit, you know? I’ll take it any way. I never thought that song would ever be a hit record, so I mean I know nothing. All I know is that I’m very grateful that there’s a renewed interest in our band, we stuck it out 40 frickin’ years, running up hill, you know? Something kept bringing us back, I mean we’ve known each other since we were 15 years old – we’re friends, we’re brothers – we’re not fake, we’re just misunderstood.”
The band has re-released an album of some of it’s biggest hits, and embarked on a massive world tour starting in Europe this month and, according to Lukather, hopefully heading to Australia in early 2019.
“I mean there’s a lot of action going on with us,” he said. “I don’t know, there seems to be a renewed interest in the band from the millennial kids getting onto this ‘Africa’ song, it’s crazy, it’s been madness for us. Plus the fact that we have a new product coming out, a new remaster by us – finally, for once – the way it’s supposed to be done. And for the casual listener, maybe the people that don’t know we have all this other stuff, it’s a nice start; plus it’s got three cool new songs, and we’ve got more new stuff coming in the summer. So we’ve got a box set, two different versions of it – one with vinyl and all this other stuff – and we’re going to have one album of all ten new songs that we have. So we’ve got a lot of stuff going on man, all the tours are selling out, big arenas… we’re doing a DVD, sold out 16,000 people at the Ziggo Dome in Holland, we’ve sold out Albert Hall, you know, it’s crazy. We’re not only surprised but completely grateful and just going, ‘Wow… thank you. Thank you, thank you, thank you’.”
Lukather says the band will be stripping things down to a good old-fashioned rock show for this tour. “The band is shit hot right now, that’s the thing,” he continues. “We’re playing better than we ever have, everybody’s on top of their game. We’re going to put really cool set lists together, we’ve got a big long show that’s more theatrical than everything just blowing up – everyone’s seen everything blowing up a hundred thousand times already – you need sunglasses and seizure medication when you go to a show now because it’s sensory overload, you know. So we’re going to go back to minimalistic kind of like, this is who we are, where you want to lean in and dig the hifi sound and dig what the band’s doing instead of looking at this monstrosity of a production with little peanuts standing there. Everything’s just to extremes these days, you know? I mean, I like the big show too, but unless you’ve got $100 million to spend on it, like, after you’ve seen [Roger Waters’] The Wall, what’s the point? It doesn’t get any better than that.
“What we’re known for is not what I’m going to be wearing on stage, or how’s my hair today, it’s like, how good are you going to play and have it be real? And I think kids are noticing the difference, now they’re going, ‘Why do I like this classic rock shit my parents listen to more than I like what I’m listening to on regular rock radio?’ Because everything’s been mixed with the same plug-ins and the same computers and the same reverbs and the same samples and the same auto-tuning and it’s like it’s the same production and the same guitar solos and the same drum sound and everything. But when I was a kid, The Beatles and the Stones didn’t sound the same, you know? The Beatles were the magicians of life, you know what I mean? How do you make music like this? Now it’s like everyone learns the magic trick, how to do the magic, so there’s no real magic any more. It’s like people winning Grammys for best vocal and it was completely produced, you know, it wasn’t a performance. I mean, it’s not fair. You know, people can say what they want about us, like, “Oh those guys are just slick studio musicians.” I never really thought that if you studied at something and got good at it that would be considered deficit.”
Having a hit like ‘Africa’ in their repertoire – and it isn’t their sole hit single; ‘Rosanna’ won them several Grammy awards in 1983 – is not something Lukather expected 40 years down the track.
“Hit records are a blessing and a curse: it’s a blessing to get one, but the curse is you got to play it forever,” he said.
“You think you’re sick of the fucking song? I mean, Jesus, how many times do you think I’ve played it since 1981? But it’s a blessing, because it gets people in to see us, you know? Then they find out we’ve got 17 albums then all of a sudden our whole catalogue goes. We’ve got half a billion streams on Spotify. Half a billion! That’s’ pretty good! That puts us up with the top 20 rock bands in the world. We’re number 11 on the iTunes rock charts thanks to ‘Africa’ today. That song is like, 36 years old. It’s insane!
“It was like what ‘Don’t Stop Believing’ for Journey is, you know? I know what it did for their career; Neal Schon and I are close friends, I love Neal you know, he’s one of my favourite guitar players. They’re a great band that also takes a lot of shit, but not nearly as much as us. But I don’t care; I’m 40 years old now in terms of this band. I’ve heard it all; you can’t say anything to hurt my feelings. You can wake up in the morning and someone writes, “YOU’RE A CUNT,” underneath a video on YouTube or whatever, and you just go ‘wow, someone took all that time to set up an account just to say that to me, in capital letters, who has never met me before? That’s weird!’
“I’ve lived the dream, man, so you know – I win. You can say you hate me, you can say you hate my band or whatever, but I’ve gotten to play with some of the finest musicians. And I mean, okay, the Rolling Stones didn’t like us but Miles Davis did. Whose opinion do you think I respect more? Miles Davis thinks we’re cool. He wanted me to be in his band, man. I mean he loved us; he hung out with us for a week when he was supposed to only be there for an hour. I mean, even in interviews – you can Google this shit: “What does Miles Davis say about Toto?” – I mean if you get a thumbs up from Miles Davis, man. That carries a lot more weight than some smarmy-assed hipster on the internet who only likes punk rock and thinks everything else sucks.”
In spite of all the hate and criticism, Lukather said he had, after many years, finally come to peace with both the good and the bad that came with his position in the music industry.
“I mean there was a time I was an angry drunk guy who pissed off the world because nobody liked us anyway, which was really reactionary and a very childish way to deal with it,” he says. “Now we just look at it like, if people like us great, if they don’t there’s a whole lot of other stuff out there. Is life fair? No, nobody’s life is fair, man. I’ve had more than my fair share of good fortune. I’m very grateful for this and I’m very humbled by it. You can laugh at us, you can hate the song or like the song, you can rediscover the band and listen to the other stuff we’ve done. People buy a ticket to the show then they discover the old guys have still got a lot of heat left, you know? My hair colour’s not real, but my hair is, you know? The music is real, there’s not a machine playing it, you know? So we’ve got to bring it. That’s what we do. Our gimmick is that we don’t have a gimmick. We’ve studied music our whole lives, that’s our gimmick. I still get up and practice every day. I’ve got a pile of books that I learn from. I’m still trying to get better at my instrument. Not the greatest, fastest – I just want to learn more, because as a human being you grow, wherever your interest happens to be. Do what you love, you know? Get good at it. Find something in your life that makes you happy and do that.”
Lukather says he had given up looking on social media and even watching the news, because it was all so toxic and negative and, in his words, he’s “still a peace and love guy”.
“The Beatles were my first idols, and now I’m playing with one,” he says. “On Ringo’s new album Give More Love there’s two songs we wrote together, and it’s Paul McCartney on bass, me, and Ringo. I play keyboard and guitar. Now if you’d told me that when I saw The Beatles on the Ed Sullivan show in 1964 – I was what, seven years old – that some day I’d be playing with those guys… If you did the mathematical odds on that, it’s an astronomical amount of zeros at the end of it. It hit me when I did The Beatles’ 50th anniversary TV show. I’m sitting there, and there’s Paul, there’s Ringo, we’re hanging; I’ve worked with Paul and George and Ringo over the years. Ringo’s who I’m closest to, obviously, because we’ve spent a lot of time together, we’ve become closer friends. But getting to work with my heroes – what are the odds of that?
“Forget having a successful band, forget all the sessions I did. I’ve got a book coming out very soon about my life; I’ve had a very interesting life in spite of all odds. Nobody could ever say that haven’t paid our dues, man. So this is a sweet thing for us. Honest to God, we were always working, people would always show up when we played, but to have this new level of interest where The New Yorker magazine and all these people want to talk to us, asking what we think of this or that… I mean, we’re the same guys we’ve always been. I’m 64 years old and now you like my band? After 40 years of dodging the fucking bullets shot at us? It’s kind of weird but it’s weird in a nice way. I didn’t think I’d live to see it. But in honour of our dead brothers, Mike and Jeff Porcaro, I mean, I hope they’re looking at this from their point of view laughing – or maybe they’re manipulating it, who knows?
“I mean, I believe in God, I think he has more important things to worry about than a little band from Los Angeles. Like, when people win a Grammy or a sporting event and go, “Oh I’d like to thank God,” it’s like what, God didn’t like the other team? Is that what you’re saying? I mean it’s kind of silly when you start thinking about it. I mean, sure you can thank God; we should thank God for all of our blessings – our children and our dog and our house and our health and shit – but when it comes to award shows and sporting events, that shouldn’t be allowed to be said, it’s just gratuitous bullshit that doesn’t mean anything. God doesn’t like anyone better than anyone else. He doesn’t say, “I want this team to win, hahahahaha.” You know what I mean? They’re thinking of the fake God, with the white beard, you know? ‘I saw you touching yourself in the shower and now you’re going to go to hell’. I think that’s like a fairy tale, you know? God can’t be a Christian if God came before Christ, if you really think about all of that. I mean, I’m a believer but I don’t really go for the money spinning compository of the modern-day church and the evangelicals, you know? Where the money and bad behaviour is okay because their team is winning, you know?”
So what advice would one of the most successful musicians give to other musicians? “Go play music,” he says. “Stop with the machines. Get out there and make some mistakes, try to make a sound. Create something. Be influenced by the music you love, I mean you can’t help that, but take that and make it your own. That’s what I would say. Be human and stop relying on machines. Get your head out of the box, get outside and look up and notice there’s a blue sky up there, that exists beyond the box you’ve had your head in for the last 25 hours. It’s weird how we interact socially nowadays. Just have fun, get good at it and you might get lucky.”
Toto’s Remastered Greatest Hits collection featuring three brand new tracks, ’40 Trips Around The Sun’ is out now and you can get it right here
The illustrious Dan Cribb
is continuing his noble quest to pop-punkify every iconic Simpsons tune there is, dropping another two cromulent covers into our hot little four-fingered hands today.
This time, he’s taken on Bleeding Gums Murphy’s legendary ‘Jazzman’ with a little help from Sleepmakeswaves’ appropriately named guitarist, Otto.
The other Springfield ditty to get Cribb‘s Worst. Tribute. Ever treatment is the latin-infused ‘Señor Burns’, which was actually nominated for an Emmy after appearing in the seminal Who Shot Mr. Burns? double episode.
The Perth pop-punk teams up with his bandmate in The Isolated, Scott Connor — who previously appeared on his rendition of ‘Oh, Streetcar!’
— on the tune made famous by Tito Puente and his Latin Jazz Ensemble.
Many of us can link a certain album to pivotal moments in our lives. Whether it’s the first record you bought with your own money, the chord you first learnt to play on guitar, the song that soundtracked your first kiss, the album that got you those awkward and painful pubescent years or the one that set off light bulbs in your brain and inspired you to take a big leap of faith into the unknown – music is often the catalyst for change in our lives and can even help shape who we become.
In this series
, Music Feeds asks artists to reflect on their relationship with music and share with us stories about the effect music has had on their lives.
Here are their love letters to records that forever changed their lives.
Augie March’s Glenn Richards: John Cale – Paris 1919
A few years ago my band and I were in Boulder Colorado to meet with our local management and play a couple of shows, one of which was a live-to-radio in front of a full house at the Boulder Theatre alongside John Cale and his band at the time. Suffering from a mean cold and struggling to breathe in the warmed-up high altitude, I had opted for a suit with a beanie, as good a look for radio as any. Already defeated by the circumstances and unable to reverse any of the decisions that had led me to this pass, not least the beanie given the month-of-horrors bird nest underneath, I was ill prepared to greet Mr. Cale. Which was fortunate, as he’d already burst into our dressing room and assailed me with several demands disguised as suggestions in a gruff – aren’t they all gruff? – Welsh rumble. “So Glenn, you’ve got that nice voice, very lovely and all the words and that, so what you’d like to do is a bit of the ‘vamping’ while the lady announces me, bit of the improv, you know the vamping while she’s talking shit about me and I’ll play the music, just do the singing and the vamping…yeah?”
“Yeah…I’m a bit sick, I haven’t slept for–”
“And here’s a Modern Lovers song, can you learn this one and I want you to sing this verse and take a solo here, yeah?”
The rest is eternal fodder for my band, who I could see a few rows back laughing hysterically as I, consciousness teetering, a stream of virulent water running from all of my nostrils, a fever sweat making of my ill-considered outfit a sartorial pesthouse, did what I had only done previously when among friends and family and mocking that scatty jazz singer style. Literally singing “dee doo dee doo, wah deeoo ooh”, then mumbling some stream of stuff about viruses and dying in the back of a brown van in Dakota, dun coloured mushroom thunderhead with two vicious forking fangs of lightning piercing my small Australian soul and trapping it in those badlands. All they heard was “dee doo dee wah”. The announcing lady side-eyed me more than twice, and then gave me the full stare, disbelief, “what are you doing!?” Cale watched on from the shadows, grinning like a handsome orc who’d just out-clevered an ailing hobbit.
Paris 1919 by John Cale is, nonetheless, one of my all time favourite records. I listen to it in the airplane on my way home from the job, it’s a reminder to me, finding now that I struggle to listen to virtually any human voice engaged in the act of straining, strangling, elevating to absurdity, SINGING – (please stop singing, you too Glenn) – that a songwriter can make a work of art that will transcend the smallness of the present in which it was created and that despite most evidence to the contrary, it is worth it to insist on intelligence and long, deep feeling. The rest is soiled fairy floss and accounting.
“It’s the customary thing to say or do
To a disappointed proud man in his grief
And on Fridays she’d be there
And on Wednesday not at all
Just casually appearing from the clock across the hall
You’re a ghost la la la”
John Cale, ‘Paris 1919’
In truth, John and his band were genuinely sweet, friendly and encouraging people, and I prize this memory very highly, probably for the richness and redolence of it’s humiliation, as much for the opportunity to meet one of the great artists of the last century.
It’s a little-known fact that Aussie producer Flume
(Harley Streten) and Gang Of Youths
frontman Dave Le’aupepe were schoolmates once, and we’ve just heard the first juicy details about their time in the same school band.
Speaking with triple j, Le’aupepe has described how as a 16-year-old he fronted a band at Mosman High School, performing Curtis Mayfield’s ’70s hit ‘Move On Up’ (the one sampled on Kanye West’s ‘Touch The Sky’) with a little help from Streten on the saxophone.
“We met and did music together and hung out most lunch times and he’s an amazing sax player,” Le’aupepe said.
“Anyone who ever accuses electronic musicians of not being musicians needs to think about Harley, because the guy can actually play a lot of stuff – sax, keys. He’s really gifted.
“I think there’s a cynicism that people developed with EDM that it’s just a bunch of idiots on laptops but it’s not, it takes a lot of energy, talent, consideration to get where he is. He’s talented.”
Earlier this year, Le’aupepe also told The Australian
that Streten was “so unassuming” at school, but “in the best way possible”.
“Not many people from school even knew he played music, outside of being the dude who played sax,” he said.
“He was pretty introverted, which hasn’t changed, and a bit secretive about it. But he knew what he was doing.”
Last year, Flume told Beats One‘s Zane Lowe (below) that Le’aupepe “always had a crazy good stage presence”, even during his school years.
“I feel like he was born for this,” he said.
Streten and Le’aupepe actually went back to Mosman High late last year to hold a Q&A session with students, so we can expect some more skilled musos to come out of the place soon enough.
The group cancelled their scheduled appearance at Soundwave 2014 just days out from the festival following a disagreement with organisers
over playing times, after they were moved from a 4pm set to an 11:30am set.
Now, the band are preparing to return to Australia this June for their first local tour since 2008, ahead of their upcoming new album You Can’t Kill My Rock ‘N’ Roll, which is due in September.
Performing across Sydney, Melbourne, Brisbane and Adelaide, the band will be knocking out songs new and old, including the likes of recent single ‘Have Mercy On Me’, which you can stream below alongside their upcoming tour dates.