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Showing posts with label Blood. Show all posts
Showing posts with label Blood. Show all posts

Wednesday, March 20, 2013

SXSW 2013: Surfer Blood and Jake Bugg Thrill Rolling Stone Rock Room

Free Energy performs at the Rolling Stone Rock Room in Austin, Texas.Griffin Lotz for RollingStone.com

A week of trekking around Austin is enough to wear anyone out, but Florida's Surfer Blood – who'd been playing about SXSW since Monday – showed no signs of fatigue when they kicked off the second day of Rolling Stone's Rock Room. "We'd play all day if you want," cracked frontman J.P. Pitts. The quartet breezed through cuts from their 2010 debut, Astro Coast and their follow-up EP, Tarot Classics, like sun drunk standout "Floating Vibes," the insistent progression of "Voyager Reprise" with its gliding, last-gasp guitar and the jaunty "Take It Easy," during which Pitts extended the interactive portion of SXSW by venturing off stage to mingle with the audience.

Surfer Blood also previewed a handful of cuts from their long-awaited follow-up, Pythons, which is set for release sometime this summer. "Say Yes To Me," a running, rumbling rocker, and "Prom Song," whose roundabout bass groove and sauntering drums helped lift its best-of-times-worst-of-times guitar riff – exactly the kind high school memories are made of.

Charles Bradley, Eric Burdon Bring Blues and Noise to Rolling Stone Rock Room

Next up was New York-based duo Gus + Scout, whose stripped-down young adult blues – which took an occasional turn toward the heavy – was brought to life by the titular pair's affecting vocal dynamic: the quivers, quakes and occasional cracks of Gus' voice bolstered by Scout's own strong, solid rock bellow. The two played with and against each other throughout their set, hitting harmonies on "Me and James" while on the sobering "Gone, Gone, Gone," the two duked it out as a couple being torn apart by addiction.

Gus + Scout's throwback sound and indelible melodies – their penultimate track was capped off by a tear drop guitar progression from Gus – was the perfect lead-in for Nottingham, England up-and-comer Jake Bugg. Introducing himself with a rather muddled mumble, the voice that flew out Bugg when he started singing opener "Kentucky" was nothing but stunning: a strong, dry, melodic buzz imbued with a confidence that masked the weary elasticity of its scorched drawl. Rooted in 60s folk and blues, Bugg's knack for melding those sounds with pure pop shone on "Two Fingers" and "Trouble Town," the latter a deceptively peppy but dire tune about his hometown, with engine-chug drums that carry the weight of going nowhere fast.

A total stoic on stage, Bugg conjured one of the most crowd-rousing performances of the days. (A few shouts of "Two more!" came after he announced his final song.) While his earworm songwriting spoke for itself, Bugg took a few opportunities to showcase his chops, unleashing skittery guitar licks in time with whip crack drum fills on "Lightning Bolt" and the thumping new cut, "Slum" – fingers flying, eyes slack, looking almost comatose yet totally present.

Los Angeles' Lord Huron followed, closing out their SXSW stint with a boisterous set of their brand of folk, lacing dreamy guitar lines atop a cavalcade of percussion and blossoming acoustic melodies. Opener "The Man Who Lives Forever" – with its windswept snares and swirling guitars – set a fitting mood, as frontman Ben Schneider led his band through cuts like "Time to Run" and the aptly titled "We Went Wild," the entire group bounding about the stage when the latter reached its stomping apex. On "She Lit A Fire," bassist Miguel Briseño swapped his electric for a tiny acoustic one, adding a muted, wooden pomp to the track's ascending guitar lines that seemed to call for even greater things ahead.

It's a question that's plagued rock fans forever – well, at least since the 1980s: What would David Lee Roth do? Asked by Free Energy vocalist Paul Spranger, the Philadelphia five-piece went about answering the question with a rowdy, fist-raising set that put a cap on the day's events. The big riff, big hair pop rockers kicked things into the highest gear from the get-go with "Free Energy," the lead track from their 2010 debut, Stuck On Nothing, and proceeded to unleash a slew of hand claps, fret taps and plenty of invigorating "woah oh oh" sing-alongs.

Guitarists Scott Wells and Jesse Sparhawk traded licks and engaged in soaring, scorching duals on Love Sign (their latest LP) cuts "Backscratcher" and the incessant, impossible-not-to-dance-to funk bump of "Electric Fever," which had the crowd grooving and pumping fists. On "Hope Child," Spranger and drummer Nicholas Shuminsky helped count the thundering piece of euphoric pop rock with some mighty gleeful high-fives – an apt, rocking image to close out their set, and the day.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Sunday, March 17, 2013

The Naked and Famous Rock Out to 'Young Blood' Live

The Naked and Famous Rock Out to 'Young Blood' LiveNew Zealand post-punks ready release of concert film $(document).ready(function() { $('.socialActionsTop .pageActions .email-content').hover( function() { $('.socialActionsTop .bubble.email').show(); }, function() { $('.socialActionsTop .bubble.email').hide(); } ); $('.socialActionsTop .pageActions .print-page').hover( function() { $('.socialActionsTop .bubble.print').show(); }, function() { $('.socialActionsTop .bubble.print').hide(); } ); }); OO.ready(function() { OO.Player.create('ooyalaplayer', 'hvZHMzYToHvhS4Kv2C5x5VlDl68xYsy3', {'autoplay': true }); });By

After two years of constant touring, New Zealand post-punks the Naked and Famous are hard at work on several new projects. Not only is the band writing their second album but, on March 18th, they'll release a full live concert film for free on their website. The movie, One Temporary Escape, captures a live show from their 2012 U.S. tour.

Singer-guitarist Thom Powers is confident that the performance film captures the band's debut album perfectly. "This is a great representation of how our live show ended up. . . It's pretty much a Passive Me, Aggressive You live show slightly rearranged," he tells Rolling Stone. "We even threw in a couple of EP tracks." In this exclusive clip from the film, the band performs their track "Young Blood," and the exhilarating lighting and dynamic playing make the band's completely live, dub-free performance captivating.

To download the free film, go to the Naked and Famous' site on March 18th.


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Saturday, March 16, 2013

The Naked and Famous Rock Out to 'Young Blood' Live

The Naked and Famous Rock Out to 'Young Blood' LiveNew Zealand post-punks ready release of concert film $(document).ready(function() { $('.socialActionsTop .pageActions .email-content').hover( function() { $('.socialActionsTop .bubble.email').show(); }, function() { $('.socialActionsTop .bubble.email').hide(); } ); $('.socialActionsTop .pageActions .print-page').hover( function() { $('.socialActionsTop .bubble.print').show(); }, function() { $('.socialActionsTop .bubble.print').hide(); } ); }); OO.ready(function() { OO.Player.create('ooyalaplayer', 'hvZHMzYToHvhS4Kv2C5x5VlDl68xYsy3', {'autoplay': true }); });By

After two years of constant touring, New Zealand post-punks the Naked and Famous are hard at work on several new projects. Not only is the band writing their second album but, on March 18th, they'll release a full live concert film for free on their website. The movie, One Temporary Escape, captures a live show from their 2012 U.S. tour.

Singer-guitarist Thom Powers is confident that the performance film captures the band's debut album perfectly. "This is a great representation of how our live show ended up. . . It's pretty much a Passive Me, Aggressive You live show slightly rearranged," he tells Rolling Stone. "We even threw in a couple of EP tracks." In this exclusive clip from the film, the band performs their track "Young Blood," and the exhilarating lighting and dynamic playing make the band's completely live, dub-free performance captivating.

To download the free film, go to the Naked and Famous' site on March 18th.


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Wednesday, August 29, 2012

'True Blood' Season Finale Recap: The Rapture

Stephen Moyer as Bill Compton in 'True Blood.'

We knew it would be tough topping Tara getting shot in the head, but the True Blood writers have done it again, with last night's season finale supporting Sam Trammell's claim that this was the best cliffhanger yet. Here's my question though: The old Lilith was pretty boring, her vocabulary limited to little more than the phrase "I choose you." Will this new vampire god at least continue bloviating in that syrupy-sweet Louisiana accent of his, peppering his speech with "Sookeh!"? Because if that version of Bill is gone for good then a big piece of this series has died along with him.

As expected, the death toll was high in "Save Yourself," but this being True Blood, there is little time to mourn the lost – even in the case of Russell, whose campy, playful and utterly maniacal presence will sorely be missed. He was staked in order to make way for what will undeniably be Season Six's villain, the vampire god I can only call "Billith."

True Blood has always ended its seasons with a handful of plot lines either unresolved or newly introduced, but this particular season finale has left almost all the characters knee-deep in conflict, with summer 2013 feeling like a lifetime away. However, for those frustrated by the seemingly forgotten-about plot involving M. Warlow, fear not: HBO GO is offering a sneak peek of Season Six, and it turns out Nora is familiar with the mysterious vampire who cut a deal with Sookie and Jason's ancestor 300 years ago.

Vampires, Humans and Shifters

Now that Russell has devoured the Fairy Elder, Sookie and her brethren are no longer invisible to the still-hungry vampire. Firing on all cylinders, the fairies blast Russell with light power, although Sookie isn't much use to them, with her "microwave fingers" shorting out every few seconds. No matter, because the fairies aren't making a dent in Russell's resistance anyway. But who needs light power when your fear can summon a vampire with an ancient grudge? Before the credits have rolled, Russell Edgington is dead at the hands of Eric, who is almost giddy over avenging his Viking family's murder: "That felt even better than I thought it would." Steve, heartbroken over his lost love, zips away, not to be seen again for the rest of the episode – kind of.

 It's easy to dust yourself off from a light power/staking battle like this one if you're vampire, fairy or part-fairy, but if you're a mere human like Jason, you're going to suffer some side effects. In the case of Sookie's brother, who was caught in the Russell/Fairy Elder crossfire at the end of last week's episode, he's now suffering from some nasty hallucinations – namely, the ghosts of Corbett and Michelle Stackhouse.

Back at Authority headquarters, Sam (who gave the wardrobe department one less person to dress for the final two episodes of the season) has a brief audience with Bill, having volunteered to be his "breakfast," but his attempts to reason with Sookie's now completely cuckoo ex are only met with fangs. It's a good thing Sam can shift into a fly – not only because it allowed him to get away, but because Bill jumping on chandeliers in an effort to catch him was one of the episode's unintentionally comedic high points. After taking a quick loop around Steve and Russell's bedroom, Sam makes it back to Luna in her jail cell, with a crafty plan in hand.

Sookie takes Jason back to her house to decompress, but Corbett and Michelle's near-constant vampire trash-talk is having its intended effect on their son. By the time Eric, Nora and Tara (the vampire sibs made a pit stop at Fangtasia, where Tara brought them up to speed on Pam) burst into the house seeking Sookie's help to break Jessica and Pam out of the Authority – and get Bill to drop his cult-leader behavior – Jason is showing signs of becoming the newest incarnation of an anti-supernatural hatemonger. Despite her brother's protestations, Sookie agrees to help the vampires, because, as Tara reminds her twice, with plenty of hostility in her voice (yeah, she's not ready to reconcile with her best friend just yet), "You. Owe. Pam." That and Eric promises to transfer ownership of the house back to Sookie within 24 hours. Where did that come from? Killing Russell? Eric's gentle demeanor this episode was very Season Four, which of course means it won't last. Sigh.

A power-suited Steve enters the Authority prison area to collect wolf cub Emma for a walk. But he seems twitchy, nervous – and as Chelsea, the young marketing-student vampire receptionist notices, suddenly devoid of his Southern accent. That's because it's a skinwalking Luna, who is about to exit the Authority with her daughter in her arms and her boyfriend (still a fly) on her shoulder when she's stopped by an agitated Rosalyn. That video of Steve and Russell draining 22 frat boys wound up going viral after all and now Rosalyn needs the AVL spokesman to do damage control on a news broadcast. "Steve" is ushered into a small room with a camera, and within seconds Luna has the attention of the entire nation. But the message that comes across is that not only do vampires exist, but shape-shifters as well. Luna-as-Steve, unable to hold her shift any longer, begins vomiting black blood before reverting back to her natural appearance. She also announces to the world that the Authority vampires are keeping humans as food in an underground bunker in New Orleans, which most likely will trigger a human uprising come Season Six. Just as Rosalyn is about to feed on Luna, a fly enters the vampire's mouth, causing her eyes to pop out and blood to spurt from her face before she explodes, leaving nothing but a goo-covered, naked Sam in her wake. Luna, her body ravaged from skinwalking – but Emma safe in her arms – begins passing out, the camera cutting away before we learn if she met the same fate as Tommy Mickens. Will Season Six find Sam a single stepdad?

Eric and Nora gain clearance from Bill back into the Authority, with a bound-and-gagged Jason, Tara and Sookie in the back of Jason's truck posing as their prisoners. Once in the elevator, the five gear up with stakes and guns, with Jason, dressed like a cat burglar and rocking a "Time for tolerance is over" attitude, out for the kill. They jam the surveillance feed, and upon entry, sharpshooter Jason makes a clean sweep of every vampire security guard, with Nora and Eric finishing off the rest by descending Mission: Impossible-style (without wires – remember, they can fly). Their path clear, Sookie and Tara bust Jessica and Pam out of their cells, leading up to the hottest kiss all season – between Tara and Pam! (Sookie's reaction: "Oh, OK." Jessica, who totally called this last week: "I knew it!") But it's not a happy reunion for everyone. When Jess sees Jason in the Authority lobby, she runs into his arms and proclaims her love for him, but he's so far gone in his own extremist beliefs now that he doesn't even reciprocate her hug. "I can't ever love a vampire," he states matter-of-factly. Jess is crushed – and so are we. This girl has to meet someone new next season, please? Maybe a vampire this time? Before she becomes as hardened and bitter as Pam? Once Eric and Nora reappear, the gang is ushered back into the elevator, which is headed up to the safety of the roof. Only Eric and Sookie stay behind, in their last-ditch effort to save Bill.

One of the reasons why everyone has actually managed to escape is because Bill, who petulantly established himself as the "chosen one" last week (beheading Kibwe, smacking Jessica) has been too busy tricking Salomé into thinking that she is the new prophet. Dressed in angelic white, Salomé drinks the entire vial of Lilith's blood, but begins to violently contort on the carpet. Bill, his humanity forever a memory, sits at her side, and calmly and smugly begins to explain how he outsmarted her. Her narcissism allowed her to be both blind to the idea of anyone else being the chosen one, and so impatient for what she believed to be the Rapture that she didn't even smell the blood she drank. It was not Lilith's blood, and furthermore, it was blood laced with silver. Salomé concedes to her rival just before he stakes her, "Lilith chose wisely."

Right before Bill drinks down Lilith's actual blood, Eric and Sookie show up to combat his message of hate with one of love. But it's unlikely the most skilled de-programmer could jolt Bill out of his zealotry. The tirade of venom that Bill unleashes onto Sookie, culminating in his calling her an "abomination," is enough to cause even Eric to wince. (While in their jail cell, Jess mentioned to Pam that the Vampire Bible considers Sookie an abomination. The question is, why? Because she's half-fairy, half-human?) To Bill, this religious fervor is the release from the century-plus of torment and guilt he has carried with him. He believes that Lilith has freed him from an eternity of fear. Sookie, bawling over the loss of the man she loved (again), tries one more time to remind Bill of what they once shared: "If I ever, meant anything to you at all . . ." But Bill cuts her off, destroying any vestiges of their love for good: "I told you, the first night we met, vampires often turn on those they love the most."

Bill swallows Lilith's blood, while Sookie, Eric and the rest of us watch in horror as blood shoots out of his eyes and mouth – and the 175-year-old vampire explodes into a pile of goo. For a handful of seconds, as Eric comforts a shattered Sookie, we're forced to envision a True Blood without Bill Compton (which is just weird). And that's when Eric notices Bill's entrails are still moving. Suddenly, a blood-soaked Bill rises from the puddle, and a new vampire god is born. "Billith" brandishes his fangs, and Eric and Sookie bolt.

I think it's safe to say that we're all on Team Eric now, no?

Favorite Couple: How could it be anyone other than Tara and Pam? They've gone from mortal enemies to unwitting maker and progeny to willing lovers in the span of one week. Let's hope they'll find the time in between the Billith madness to go on some vampire dates next season. In their geisha dresses.

Winning Species: Fairies. Other than their pre-credits cameo, the fairies took a backseat to the action in this episode. Except for Maurella, who popped out four daughters (and sported a completely flat stomach after the deed) while visiting Andy at Merlotte's – and then left them to be raised by their father and ostensibly, Holly, who only had these words for her fairy-humping beau: "You're a dick." Between Andy's fairy babies, Sookie's fading light power and the unresolved M. Warlow story line, these supes aren't going anywhere next season.

Losing Species: Werewolves. Ever since Alcide's thwarted boots-knocking with Sookie, the werewolf plot lines have remained completely disconnected from the rest of the story – unless you're named Emma. In short, to level the playing field with the malicious J.D., Alcide took a shot of V (courtesy of his father, the T-1000-erm, I mean, Jackson), broke J.D.'s neck, and took his rightful place as Shreveport packmaster, ordering all wolves to respect one another and not take advantage of those younger and weaker. Great. What's that got to do with the Bon Temps crew?

Previously: Game Time

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Wednesday, August 8, 2012

Q&A: 'True Blood' Actor Todd Lowe on the Importance of Playing a Human

Todd Lowe as Terry Bellefleur on 'True Blood.'

After spending much of True Blood on the periphery of the major plot lines, Todd Lowe has found himself at the center of his own dramatic story arc this season. Flashbacks revealed that during his tour of duty, Iraq War veteran Terry Bellefleur (Lowe) killed a civilian woman while high and under orders from his commanding officer, Sgt. Patrick Devins (Scott Foley). As the season progressed, the two former Marines continued to be haunted by the spirit of their Iraqi victim in the form of a mysterious smoke monster called the Ifrit. In last Sunday's episode, Terry silenced his demons for good, at an enormous cost: he shot and killed the cowardly Patrick, effectively vanquishing the Ifrit and making his family safe again.

Texas native Lowe checked in with Rolling Stone recently to chat about playing a character with PTSD, his new honky-tonk band and his latest gig acting alongside Will Smith.

One of the defining aspects of Terry Bellefleur has always been the fact that he suffers from PTSD. Did you do any first-hand research on it?
I knew some people growing up – some family members, some friends of the family – who had done time over in Iraq and done a couple of tours, and I kind of based it on them. I didn't do too much medical research into it – I'm leaving that up to the writers to determine what's going to happen – but I didn't know until the beginning of Season Five, when Alan [Ball] sent me an e-mail saying what was going to go on with my character, what had actually happened over there. I didn't know in Season One that I had shot an innocent woman while high. So having that at the beginning of this season, like, "Ok, you did do something just terrible and nightmares are going to plague you forever." That is the cause of why he's been [the way he is], among other horrors I'm sure he saw over there. That's the one that was the most personal.

In shooting that scene where Terry kills the Iraqi woman, you guys were outfitted in full-on Marine gear. Were you able to get in any training during rehearsals? Was it impossible to move around?
Well, what I was hoping for – but it wasn't logistically possible – was that we could've timed it where I could've shaved my beard and cut my hair. But because we also had to shoot stuff that was happening in the present day, it just wasn't logistically feasible. So we put pins in my hair and tucked it up under a headband. I had my chin strap kind of covering my beard, and they made the decision that, "Well, you guys have been out there for a long time, you haven't had time to shave." But everyone I know who's a Marine said, "It doesn't matter: We shaved every morning." With a dry razor and using an Evian bottle or whatever – just with the little water that [they] had. It's a very important thing. I hope I don't catch too much flak from cousins I have who are actual Marines that we weren't doing it right. Hopefully they'll overlook that.

But they gave us a half-hour boot camp on how to walk and how to hold a rifle, and how it's going to feel when we're shooting, like, "This is the way it recoils, this is the way you hold it, the way you scan a perimeter.…" So we got a really quick, basic lesson on that.

Since the Ifrit was something that had to be added in post-production, what was your reaction when you saw the finished product?
I'm not a big fan of CGI, personally – I'd rather see old stop-animation that they used to do with monsters or even somebody in a monster suit – but that being said, I liked the way [the Ifrit] moved around and engulfed Private Eller. So all in all, I'm happy with it.

In previous seasons, Terry has had more of a comic-relief role, but now he's got this major dramatic arc. Is that something you were hoping for? Or do you prefer doing comedy?
I guess I do prefer doing comic roles, but you have to play it truthful and the drama that I've been playing this year has been great. I haven't been able to find, really, moments of levity. Even me having to grab Patrick's hand and put it on the table for that ridiculous séance at Lafayette's was, like, totally serious. So you play that in all seriousness, but it still kind of comes with a little bit of a chuckle.

Speaking of that séance scene in last week's episode, Nelsan Ellis did such a fantastic job – how did you guys keep a straight face?
It's really hard, especially when he had to memorize those few lines in Arabic, and he's sitting there shouting and getting really into it – spit's coming out, people getting hit in the face – but he's so powerful, it's hard not to flinch when he really turns it on like that. But, yeah, him rattling those bracelets – we got all that silly stuff out in the rehearsal. Once you do a scene 10 times, it's not quite as funny anymore.

The human population on True Blood is rapidly dwindling, especially now that Tara's been made a vampire. So would you like to see Terry go supernatural? Or do you think he works best as a human?
I think we need humans in there for balance – to give supernatural characters more weight. If there are no humans left, it becomes like a Dungeons and Dragons game; there's gotta be something that grounds it in reality. So I'm happy staying human; whatever the writers want to do with me is fine. If they want to at the end of the series reveal that I'm the Easter Bunny, I'll take that and play it as straight as I can. But no, I prefer staying human. All of Terry's monsters are on the inside.

In your opinion, as someone who is from Texas originally, who in the True Blood cast – who is not from the South – does the best Southern accent?
Ryan Kwanten.

You had a country-rock band called Pilbilly Knights. Are you still playing music?
I have a different band now. Everyone in [Pilbilly Knights] except for me had children and, with my shooting schedule, we couldn't really book gigs. So I play with an outfit now called L.A. Hootenanny. There's about 12 or 13 of us and we have a weekly gig at this hip spot in downtown Los Angeles every Thursday.

Are you the frontman?
Pretty much; there's a lot of us. I guess I carry the majority of the work, as I've written a few more songs than everybody else. They're catching up with me. And if I'm not there, the show can still go on. But I'm there every chance I can.

How would you describe the band's style?
We're a honky-tonk bar band. We cover Eighties pop songs and we got three hours to kill, so we have to have a lot of covers. We do a Dr. Dre tune, we do a New Order tune. We just got to keep the crowd moving.

What New Order and Dr. Dre songs do you do?
We do "Temptation" by New Order, and we do "The Next Episode." It's Dre and Snoop, a little duet.

Are you guys recording?
Yeah, we have an EP that's gonna be coming out. There are so many people on it mixing this thing – thank God I don't have the job. It's like mixing Chinese Democracy. It's taking forever. I'm waiting for them to get done with it so we can put it out and start getting booked at festivals and stuff.

Do you have a release date?
I'd say we're a month away. L.A. Hootenanny is the working title. 

You went back to your Gilmore Girls roots recently, making an appearance on creator Amy Sherman-Palladino's newest series, Bunheads. Will we be seeing Davis the one-eyed plumber again?
Wasn't that great? Hopefully – I guess we're waiting on a pickup. I think they made 10 episodes and they're waiting to see if they order some more. From indications, they seem to like what I did, and I loved working with Stacy Oristano [Truly Stone, Davis' love interest]. She's awesome. So I hope they do see us again.

Now that True Blood has wrapped for the season, any other projects in the works?
I worked a week on the M. Night Shyamalan movie After Earth. It's coming out next year – I guess it's gonna be a big Will Smith summer blockbuster. I had a scene with Will and his son Jaden, and we shot it in Philadelphia. It was the first time I've ever worked on a green screen, and I had a fantastic time. Will Smith is the biggest movie star I've ever met, and he couldn't be more gracious. I play a wounded veteran – but it's set years in the future, in space, and I'm in a levitating wheelchair.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Saturday, March 3, 2012

Alan Ball Steps Down as 'True Blood' Showrunner

alan ball Alan Ball arrives at HBO's 'True Blood' Season 4 Premiere in Hollywood.

HBO has announced that Alan Ball will be stepping down as the showrunner of True Blood. Ball, who presided over the first five seasons of the hit vampire soap opera, will remain involved in the series as an executive producer, but will have time freed up to develop new shows for HBO and Cinemax. One show, Banshee, will begin production for Cinemax in the spring. It will be the network's first original drama.

"When we extended our overall deal with Alan Ball in July 2011, we always intended that if we proceeded to True Blood’s sixth season that Alan would take a supervisory role on the series and not be the day-to-day showrunner," HBO said in a statement. "If we proceed to season six, the show will remain in the very capable hands of the talented team of writers and producers who have been with the show for a number of years."

"True Blood has been, and will continue to be, a highlight of not only my career but my life," Ball said in a statement. "Because of the fantastic cast, writers, producers and crew, with whom I have been lucky enough to work these past five years, I know I could step back and the show will continue to thrive as I look forward to new and exciting ventures."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Thursday, March 1, 2012

Pete Doherty Shows Blood Paintings in London

Pete Doherty exhibition 'On Blood: A Portrait of the Artist' at the Cob Gallery in London

Libertines and Babyshambles rocker Pete Doherty is attempting to launch a new career as a visual artist with a new gallery exhibition in London showcasing paintings he made using his own blood, among other media. On Blood: A Portrait of the Artist features artwork the musician created for his 2009 solo album Grace/Wastelands, along with several other works created since then.

Doherty, best known in the U.S. for his many drug-related arrests and his relationship with model Kate Moss, says he developed his "arterial splatter" technique by squirting his blood with a syringe onto a canvas. The paintings also include elements of collage, plus written lyrics and poetry penned by the rocker.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Wednesday, February 29, 2012

Pete Doherty Shows Blood Paintings in London

Pete Doherty exhibition 'On Blood: A Portrait of the Artist' at the Cob Gallery in London

Libertines and Babyshambles rocker Pete Doherty is attempting to launch a new career as a visual artist with a new gallery exhibition in London showcasing paintings he made using his own blood, among other media. On Blood: A Portrait of the Artist features artwork the musician created for his 2009 solo album Grace/Wastelands, along with several other works created since then.

Doherty, best known in the U.S. for his many drug-related arrests and his relationship with model Kate Moss, says he developed his "arterial splatter" technique by squirting his blood with a syringe onto a canvas. The paintings also include elements of collage, plus written lyrics and poetry penned by the rocker.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Saturday, January 28, 2012

Preview New Van Halen Song 'Blood and Fire'

van halen wha David Lee Roth and Eddie Van Halen perform with Van Halen at Cafe Wha? in New York.

Van Halen's new album, A Different Kind of Truth, will be released in less than two weeks. In the meantime, here's an exclusive 90-second preview of the "Blood and Fire" from the album. The disc's first single, "Tattoo," was based on the group's unreleased 1977 track "Down In Flames." Another track on the album, "She's the Woman," which the group played live at their recent secret show in New York City, was originally recorded as a demo in 1976.

So we offer a challenge to Van Halen's hardcore fans: Does this sound like a completely new song, or do you hear anything that sounds like an old riff or melody? To be clear, there's absolutely nothing wrong with a band using old material on a new album. Groups do it all the time, and you can't plagiarize from yourself. In fact, many of Van Halen's most famous songs (including "Right Now") borrowed elements from older material. We're just curious to know how much of this Van Halen album was created with that process. 

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Friday, January 27, 2012

Preview New Van Halen Song 'Blood and Fire'

van halen wha David Lee Roth and Eddie Van Halen perform with Van Halen at Cafe Wha? in New York.

Van Halen's new album, A Different Kind of Truth, will be released in less than two weeks. In the meantime, here's an exclusive 90-second preview of the "Blood and Fire" from the album. The disc's first single, "Tattoo," was based on the group's unreleased 1977 track "Down In Flames." Another track on the album, "She's the Woman," which the group played live at their recent secret show in New York City, was originally recorded as a demo in 1976.

So we offer a challenge to Van Halen's hardcore fans: Does this sound like a completely new song, or do you hear anything that sounds like an old riff or melody? To be clear, there's absolutely nothing wrong with a band using old material on a new album. Groups do it all the time, and you can't plagiarize from yourself. In fact, many of Van Halen's most famous songs (including "Right Now") borrowed elements from older material. We're just curious to know how much of this Van Halen album was created with that process. 

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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Tuesday, January 24, 2012

Exclusive Premiere: Ingrid Michaelson's Upbeat Track 'Blood Brothers'

Ingrid Michaelson Ingrid Michaelson, 'Blood Brothers'Courtesy of Mom And Pop Records

Click to listen to Ingrid Michaelson's 'Blood Brothers'

Singer-songwriter Ingrid Michaelson will be releasing her next album, Human Again, on January 24th. The album's upbeat, optimistic track "Blood Brothers" is exclusively streaming on RollingStone.com. Ingrid says that the song became an unintentional anthem of positivity and solidarity.

"'Blood Brothers' is admittedly a 'We Are The World' song. I did not intend to write a song like that, but that's just what came out," she says. "I think I got shoulder checked one too many times in Manhattan."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


Amazon MP3 Download Center

Exclusive Premiere: Ingrid Michaelson's Upbeat Track 'Blood Brothers'

Ingrid Michaelson Ingrid Michaelson, 'Blood Brothers'Courtesy of Mom And Pop Records

Click to listen to Ingrid Michaelson's 'Blood Brothers'

Singer-songwriter Ingrid Michaelson will be releasing her next album, Human Again, on January 24th. The album's upbeat, optimistic track "Blood Brothers" is exclusively streaming on RollingStone.com. Ingrid says that the song became an unintentional anthem of positivity and solidarity.

"'Blood Brothers' is admittedly a 'We Are The World' song. I did not intend to write a song like that, but that's just what came out," she says. "I think I got shoulder checked one too many times in Manhattan."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here


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