When Cash Money announced its latest acquisition would be notoriously Mountain Dew rap-rock/thing Limp Bizkit, we had a chuckle. "Sure, why not," we thought. "What's the harm in gettin' the band back together for one last gasp."
Last summer, there were rumors Limp Bizkit were done even before the fruit of their record deal was to ripen. Nay, says Fred Durst the Hatted One. Today, the band glimpsed its return with the single "Ready to Go," a six-minute loop of parents suck/school sucks nu-metal numbskulling along with a game Lil Wayne in tow. "Red hat to the back like Fred Durst," Wayne raps. "Go fuck yourself," says 42-year-old teenager Durst within the song's first seconds.
The upcoming album Stampede of the Disco Elephants, the band's seventh release and second worst title (No. 1 goes to 2000's Chocolate Starfish and the Hot Dog Flavored Water) will be, according to the band's Facebook, "a nu metal rock album. Not for radio. Not for commercial use." The band wrote, "Our focus is on our band and our desire to rock the fuck out. As you know radio does not rock. So be it. This one is for nu metal rock fans. No one else."
"Folk band" and human gallons of 2 percent milk Mumford & Sons announced a 2013 spring tour, birthing from a pile of cable knit sweaters in Calgary and winding along the West and East coasts, including a headlining stop at Bonnaroo.
The band performs at Mardi Gras World in New Orleans on June 13. The band offers early registration for tickets here. ("This page allows you to register for the opportunity to get first access to purchase tickets for the upcoming Mumford & Sons shows listed below. Selected fans will then receive an invitation to purchase tickets.") Unselected fans presumably must melt their Wayfarers for the band's tour bus fuel.
Mumford & Sons (on the Glassnote label along with Louisiana's GIVERS) earned two Grammy nominations following its debut album Sigh No More, and won Album of the Year for 2012's Babel. The band is the most prominent among a growing "indie folk" trend, among bands like The Lumineers, Edward Sharpe and The Civil Wars, romanticizing folk for Instagram-friendly audiences, as recently captured in a tour documentary as the band and others headed for New Orleans. Babel also was the fastest-selling album of 2012 in both the U.K. and U.S. People love vests.
Joining the New Orleans concert are Michael Kiwanuka and Mystery Jets.
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Atchafalaya has a new chef, its third in about 15 months, but there’s more continuity behind the kitchen changes than might meet the eye.
Well-known local chef Chris Lynch, a former chef de cuisine for Emeril’s Restaurant, started last week at Atchafalaya. He takes over for Baruch Rabasa, who left around the New Year for personal reasons, reports Atchafalaya owner Anthony Tocco.
Both Lynch and Rabasa had impressive turns at Meson 923, the initially-promising but strangely volatile Warehouse District restaurant. Lynch was the first executive chef at Meson 923, while Rabasa was then his sous chef. Lynch departed less than a year after Meson 923’s debut in 2010, after which Rabasa took his position. But then Rabasa too left near the end of 2011, moving over to Atchafalaya. Meson 923 later adopted a bizarrely ad hoc, name-your-own-price format before finally shutting down (more on that here from BlackenedOut.com).
Even though he still doesn’t have a final draft of his tax-swap plan, Gov. Bobby Jindal has launched his statewide campaign to sell his gospel of wealth. He’s hoping to generate citizen support that will convince wary lawmakers to back his proposals.
For opponents as well as those who are merely skeptical of Jindal’s plan, time is of the essence. The longer business leaders and intellectually honest lawmakers defer to Jindal by “waiting to see the bill in final form,” the more they play into the governor’s hands.
Think back to last year, when Jindal spouted platitudes about “education reform” but waited, literally, until the last possible minute to present his bills — then rammed them through the committee process within days, giving no one a fair chance to study them. The result was, among other things, an unconstitutional voucher plan with virtually no accountability.
He’s using the same strategy with his tax-swap plan. He offers vague promises of “fairness” and “broadening the base,” but he and his tax-swap point man, Tim Barfield, executive counsel for the state Department of Revenue, offer few specifics — and then only in response to legislative and public pressure for more details.
Fun events have a way of snowballing in New Orleans, where the ingrained local penchant for participatory partying helps many of them grow year to year. Still, there was little precedent for how quickly Hogs for the Cause skyrocketed from a charitable cook-off among friends back in 2009 to the de facto kick-off to the spring festival season today.
The cause in the event’s name is support for families contending with pediatric brain cancer, which is an important one to rally around. But the Hogs for the Cause organizers also tapped into the potent draw of outdoor pig cookery, the stuff of epic tailgates, regional pride and a little gonzo gastronomic gusto as teams of friends and some of the area’s leading chefs try to outdo each other.
The result is now one of the great eating events in New Orleans, which this year will be held on March 23 in City Park’s new Festival Grounds. Close to 80 teams will be spread across its acres at small encampments where many will have spent the previous night cooking pigs (and carrying on). Throughout the day they serve their contest entries to judges and sell their creations to festival goers, while high-caliber bands perform on two stages and drinks flow, including NOLA Brewing beers and a special “hogtail” drink devised by Neal Bodenheimer of the cocktail lounge Cure.
Last year’s event drew some 12,000 people, and this year organizers expect more.
Like a flashback to Essence Festival, a well dressed crowd came out to the New Orleans Arena Thursday night for
Alicia Keys' concert. I arrived to opening act Miguel covering Bob Marley’s “Stir It Up.” The rest of his material consisted of modern, slightly mopey post-Drake R&B. Miguel sang in falsetto with his hand in the pocket of his bright red jeans as the stadium’s overhead lights threw shadows down his bare, muscled arms. Miguel addressed the crowd first in English and then in Spanish, before ending with his hit song, “Adore,” a nice tune that sounds very much like Marvin Gaye’s “Sexual Healing.”
A giant white sheet then came down to obscure construction of Alicia Keys' set. And on the screen were projected commercials for Blackberry, which makes some sense since Keys serves as Blackberry’s global creative director, being forced to watch commercials before a concert is a buzzkill.
Finally the curtain lit up and rose to unveil Alicia Keys singing the chorus to “Empire State of Mind.” Keys and her mostly male dance troupe all wore the same Phantom of the Opera hats, and she also wore a sheer half-shirt. She played a killer rendition of “You Don’t Know My Name” second though I was disappointed, that her second keyboardist played the iconic descending piano scale, rather than Keys. She then made up for it with a long, perfect spoken word breakdown, acted out with a male dancer.
L'Alliance Française de la Nouvelle Orleans will debut a new monthly series of French and French-language films this Monday, March 25 at 7 p.m at Cafe Istanbul in the Healing Center at 2372 St. Claude Avenue in the Marigny. The series first offering is A Screaming Man (Un homme qui crie), a French-Canadian drama that won the Jury Prize at the 2010 Cannes Film Festival. More information here.
(parade route after the jump!)
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