The weekend-long pork blowout and fundraising festival Hogs for the Cause takes over City Park March 28-29.
The initial music lineup includes Benjamin Booker, Dumpstaphunk, Pat Green, Houndmouth, Colin Lake, Naughty Professor, North Mississippi Allstars, Hurray for the Riff Raff, Rosco Bandana, Shamarr Allen & the Underdogs and Treme Brass Band.
Two-day passes are $20 ($25 beginning Jan. 10). Other tickets options include a gala dinner ($150) and a two-day Boss Hog pass ($150), which includes an open bar, access to a stage-viewing area and hospitality tent, and private restrooms. Pre-sale tickets go on sale Dec. 10 on the website.
The event benefits Children’s Hospital in supporting pediatric brain cancer patients and their families.
Touring in support of its 2014 album Mechanical Bull, Nashville's U2 Lite Kings of Leon announced a second string of U.S. tour dates, including a stop at the New Orleans Arena on April 11.
The band of brothers (and cousin) Followhill formed in 1999 under the shadow of their father's Pentecostal preaching and mother's homeschooling. The band's first album combined tracks from its first two EPs — the southern rock-influenced Youth & Young Manhood, arriving at peak 2000s garage rock revival, gained the band considerable buzz and ranked in Rolling Stone's year-end lists, as did its more pop-forward follow-up Aha Shake Heartbreak. 2007's Because of the Times glimpsed the band's mega success on 2008's Only by the Night, featuring the ubiquitous late-2000s tracks "Sex on Fire" and "Use Somebody."
The band also performed at the 2006 and 2007 Voodoo Experience and at the 2009 New Orleans Jazz & Heritage Festival.
Silver Lake indie pop band Local Natives will open the New Orleans date. Tickets go on sale 10 a.m. Dec. 13 at Live Nation.
The 2014 Buku Music + Art Project has announced its initial headliners for the March 21-22 festival, which returns to Blaine Kern’s Mardi Gras World on the East Bank for its third fest.
The 2014 lineup includes The Flaming Lips, David Guetta, Ellie Goulding, Tyler The Creator, Kaskade, Chromeo, Explosions in the Sky, Pusha T, Bone Thugs-N-Harmony, The Pains of Being Pure at Heart, Wavves, Danny Brown and Schoolboy Q, with locals Generationals and Big Freedia among the dozens others performers.
Earlier this year, the 2013 Buku featured headliners Public Enemy, Kendrick Lamar, alt-J, Passion Pit and Icona Pop, following the inaugural 2012 edition with Wiz Khalifa, Diplo and Skrillex.
Two-day general admission is $169.50, and VIP passes are $399.50. Tickets are available on its website.
I wasn't surprised to read Kanye West's Yeezus tour stop in Kansas City drew only a fraction of the Sprint Center's capacity. Though he is arguably the world's biggest pop star, he's a polarizing one. I also wasn't surprised at the headlines that followed: "He's in trouble!" "tour woes continue" "Is Kanye West losing it?"
There are no fewer than hundreds of thousands of articles — not to mention comments from thumb-typing social media critics — casually examining what West "means", from his stage banter to his lyrics to what he's wearing to his reaction to something said about him on late night television. Jimmy Kimmel literally infantilized his comments made in an interview with the BBC by making children read West's responses. In the interview, West said, "Rap is the new rock and roll. We the rock stars, and I’m the biggest of all of them." He's right. Rap is the dominant cultural force in pop culture. Kanye West is the leading figure in that world. Anyone who disagrees hasn't been paying attention. West responded on Twitter — and on Kimmel's show — but the Internet called it a "rant," a typical go-to invective that nowadays is shorthand for "a crazy thing someone said because they're crazy." (There are more than 16 million Google search results for "Kanye West rant".) Cultural critic Ayesha A. Siddiqi rightfully accused Kimmel and others for embracing mainstream America's embedded racism that attempts to limit black artists: "one thing White America can't abide is a poc who takes themselves seriously, worse, a creative black man who won't be excessively humble."
He invaded white America with a corny, soap opera video for "Bound 2," was immediately made fun of when it debuted on Ellen, of all venues, then explained he wanted it to look as phony as possible: "I wanted to take white trash T-shirts and make it into a video." The mainstream wasn't offended because they already made their mind up that West is crazy, or ignorant, and his latest video confirmed their opinion — and they're left out of being in on his joke, because they are the joke.
So obviously, on the heels of a dismissive press rampage while promoting a frightening follow-up to one of the best albums of the decade, now is no better time to launch a national headlining arena tour that looks like Alejandro Jodorowsky's The Holy Mountain, includes a Catholic mass, a four-act biblical redemption story, nude bodysuit disciple-models, and a one-on-one moment with Jesus.
God's speed, Rodrigue
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