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Chris Brown concerts canceled in Canada

The promoter of four Chris Brown concerts in Canada scheduled this summer says the events have been canceled.

Stephen Tobin, owner of Drop Entertainment Group, said Monday that the decision was made after consulting with Brown and in light of his recent personal and health-related issues.

The R&B star had his probation reinstated Friday after he was involved in an alleged hit-and-run accident. The hit-and-run charge was dismissed earlier.

Brown also suffered a seizure earlier this month.
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Joy Williams tries to explain the Civil Wars break-up: 'It's been a hard, painful season of my life'

They officially have the number-one record in the country this week — and one of the most-acclaimed albums of the year so far — but the Civil Wars’ Joy Williams and John Paul White won’t be touring to support it. In fact, the estranged duo are very famously not talking to one another at all. Williams did talk to EW, however, about making the album, separating truth from artistic license, and generally setting the record straight:

ENTERTAINMENT WEEKLY: Is it weird approaching every interview for your new record knowing you’ll have to address the hiatus?
JOY WILLIAMS:
Yeah, some days it’s really difficult just because I believe so much in the caliber of the music that we made that it’s hard for me that we can’t just focus on the music. That being said, I understand why people are curious about it. It’s something that I’m curious about, too, frankly. READ FULL STORY

Michelle Obama working on 'Healthier America' hip-hop album

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Michelle Obama is making a cameo appearance in a video for a hip-hop song recorded to encourage kids from minority groups to take care of their bodies.

The song, “Everybody,” is one of 19 on an album called Songs for a Healthier America, set for release next month. The album is being produced by Hip Hop Public Health and the Partnership for a Healthier America, both of which support the first lady’s “Let’s Move” anti-childhood obesity campaign. Statistics show higher rates of overweight and obesity among black and Latino children.

In the video, Mrs. Obama talks briefly about launching “Let’s Move” and people’s doubts about whether it will make a difference.

The song itself is sung by rapper Doug E. Fresh, along with Jordin Sparks, Dr. Oz, and others. Check out a video for the song below:
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Katy Perry's 'Roar' sounds an awful lot like Sara Bareilles' 'Brave,' says the Internet

Over the weekend, Katy Perry’s new single “Roar” leaked early and gave the world its first taste of Perry’s upcoming album Prism. In a lot of ways,  it sounds like a pretty basic girl-power anthem that could be sung by just about anybody.

Or actually recorded by just about anybody. Twitter quickly blew up with tweets saying the song had more than a little bit in common with Sara Bareilles’ recent single “Brave.”  A helpful amateur even put together a mashup of the two: READ FULL STORY

Katy Perry is back with a 'Roar' -- hear her new single now

In a promo for her new single “Roar,” Katy Perry tongue-in-cheekily lays to rest her old bubblegum image, as starlight-mint pinwheels spin on a casket and purple-wigged fans wail. But fans shouldn’t worry about Perry straying too far from the formula that made her famous: “Roar” has arrived, and it’s just as upliftingly poppy as her previous megahit “Firework.”

The song’s clear jock-jam aspirations — sample lyrics: “I got the eye of the tiger, the fire/Dancing through the fire, ’cause I am a champion/And you’re gonna hear me roar” — will likely make the song a fall-football staple (the Bengals should just send her a check now).

Listen to the full track below:
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Lollapalooza 2013 Day 3: The Cure charm, Phoenix finish strong, and Baroness and Palma Violets burn the rest to the ground

If the first day of Lollapalooza was all about connecting past and future, and the second was a referendum on country in rock, the theme of Sunday was, “Man, there certainly was a lot of music this weekend.” Freed from the confines of a vague narrative (either constructed by the producers or grafted upon it by media types), the third and final day in Chicago’s Grant Park  was simply about finding something to be passionate about and then leaving it all on the field.

A great deal of that passion was reserved for the Cure, who served up a lovely two hours of throwback sadness as one of Sunday night’s headliners. Though his band has already been alt royalty for decades, frontman Robert Smith still draws his charisma from outsider weirdness. And though the Cure’s setlist was aggressively familiar (if you can think of a Cure song right now, they probably played it), it still lent many of their jams some freshness—even Smith himself still seems alarmed at just how sinister the bassline is that lurks underneath “Lullaby.”

He’s charmingly expressive too—during “Friday I’m In Love,” he made a stink face every time the lyrics came around to “Thursday,” as though that part of the week committed some still-unforgivable sin. And though he himself is showing signs of age, his voice remains as powerfully delicate as it did back when he recorded “Boys Don’t Cry,” the band’s first hit and still their encore-closing number.

At the opposite end of the festival grounds, Phoenix provided a Euro alt-dance party for anybody who wasn’t an aging goth romantic. READ FULL STORY

Lollapalooza 2013 Day 2: Mumford & Sons set the tone, Kendrick Lamar ascends, and Postal Service run a victory lap

Most of the time, Lollapalooza’s scheduling seems left to the whims of fate, the daily lineup strung together seemingly at random so that indie poppers bump up against metal acts and soul throwbacks open for folky singer-songwriters. It makes for some wildly jarring juxtapositions, with occasional stumbles into transcendence.

Saturday was different, at least at the south end of Chicago’s Grant Park. The ascendance of headliners Mumford & Sons rippled all the way into the afternoon, where banjo-friendly arrangements and country twang informed the bulk of the performances: Court Yard Hounds brought their pop-friendly version of crossover bluegrass, Eric Church stomped through a set of outlaw Southern rock, and twee Irish strummers Little Green Cars crafted colorful tapestries out of all manner of acoustic thread. (The National, sandwiched in between Church and semi-main eventers the Lumineers, must have been deeply confused by all the headband-wearing sunflower girls hanging around, as they’re used to playing for broodier types. Still, they did dedicate “England” to Mumford & Sons.)

It all led up to a triumphant turn by Mumford & Sons, who drew a massive throng of folk-hungry youth to sing along with Marcus Mumford’s every bellow and wail. There wasn’t a single tune across Mumford’s nearly two-hour set that wasn’t greeted as a massive hit, though the gathering masses reserved extra glee for “Little Lion Man,” “I Will Wait,” and “Lover of the Light.”

Mumford & Sons are not showmen, and their performance was free of both bells and whistles, but their songs clearly resonate across a wide spectrum, and they’re savvy enough to get out of the way of their trainload of sing-alongs.

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Lollapalooza 2013 Day 1: The Killers and New Order bridge the gap, Nine Inch Nails challenges, Imagine Dragons blow up, and Icona Pop make it rain

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In the video for New Order’s “Crystal”—which opened the veteran Manchester dance-rockers’ twilight set on the first day of Lollapalooza—there is a fake band called the Killers that inspired the name of the real band known as the Killers, who headlined the southernmost stage in Chicago’s Grant Park on Friday night. Those who spent the evening parked in front of that stage were treated to four hours of blissful, rhythmic, guitar-based pop that tapped into Lollapalooza’s spirit of eclecticism and brotherhood.

Even in their first-album youth, the Killers have always played the role of a big rock band—they seem custom-built for festival headlining slots. They did not disappoint; their 90-minute Friday finale was a gimmick-free charge through their impressive, hook-filled back catalog.Frontman Brandon Flowers worked the tens of thousands in front of him like a Vegas lounge revue, strutting and pounding through neutron bombs like “Mr. Brightside” and “Somebody Told Me,” and in a charming bit of hero worship that brought the evening back around for a resolution, he welcomed New Order frontman Bernard Sumner to join the Killers for a cover of Joy Division’s “Shadowplay,” which they turned into a spry, jittery singalong.

In fact, the transformation of Joy Division songs might have been the highlight of Friday’s festivities. New Order finished their performance with three nods to the band they used to be, ripping through “Atmosphere,” “Transmission,” and “Love Will Tear Us Apart” as a tribute to late JD frontman Ian Curtis. In a remarkable bit of alchemy, Sumner (with a healthy assist from a game audience) turned “Love Will Tear Us Apart,” a downer of a song written by a guy who hanged himself, into a (pardon the pun) joyous anthem. Maybe that’s just the power of New Order, who ripped through a hit-filled set of effervescent synth-powered janglers like the dreamy “The Perfect Kiss” and a thudding “Blue Monday.” READ FULL STORY

Kanye West's dark, interactive 'Black Skinhead' video finally arrives

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A few weeks ago, an unfinished version of Kanye West’s video for “Black Skinhead” hit the Internet, and nobody knew what to think. Was it real? Was it incomplete? It turned out the answers to those questions were “Yes” and “Yes.”

Having finally gotten over the heartbreak of the leak, West has now pulled back the curtain on the finished version of “Black Skinhead.” The video was directed by Nick Knight (the British fashion photographer who also directed Lady Gaga’s unicorn-centric “Born This Way” clip and who also helmed that “New Slaves” video that was projected onto the sides of buildings), and it is designed to be a fully interactive experience — you can speed it up, slow it down, and capture images from it, which West hopes leads to a proliferation of images from the video on all Facebook pages everywhere.

Perhaps the most impressive element of the “Black Skinhead” experience is the middle-fingered cursor, which was an element my freshman year roommate added to his then-state-of-the-art computer to make it more “edgy.” (Did that overhaul also include a ton of quotes from the South Park movie? You better believe it did.)

Anyway, you can experience the madness of “Black Skinhead” (which, admittedly, looks pretty awesome) over at Kanye West’s official site. It’s impressive, though honestly it’s not nearly as good a promotional clip for “Black Skinhead” as the trailer for The Wolf of Wall Street. Could the “Black Skinhead” video be the thing that gives Yeezus a second life? And now that everybody has spent some time with it, what’s the final verdict? Sound off in the comments.

(Or, if you’d rather debate something else, just consider Kanye’s latest proposition. Never change, Kanye.)

Read More on EW.com:
Album Review: Kanye West, Yeezus
Kanye West scuffles with paparazzi at LAX
Kanye West’s pricey clothing line sells out, crashes site
Album sales: Wale tops chart, Kanye West sees ‘Yeezus’ fall big
Kanye West’s ‘Yeezus’ gets a single after all: ‘Black Skinhead’ heading to radio

An acoustic summer jam by... the Backstreet Boys? Hear it here first!

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“Trust Me” has a laid-back vibe that feels very Jack Johnson. Its gentle guitar brings Jason Mraz to mind. Sultry lyrics like “Oh love/You and me/Underneath the willow tree/Kissin’, lovin’/Makin’ sweet sexy babies” sound like they could be a PG-13 version of Robin Thicke.

But listen closer to the distinctive voices crooning each verse — not to mention the occasional tight harmony — and you’ll realize that this sweet, acoustic earworm actually comes from the last source you’d expect: the Backstreet Boys, all grown up and unplugged.

“Trust Me” is a new song off their upcoming album, In a World Like This. Get an exclusive preview below — for maximum effect, listen while swinging in a hammock and sipping something cold.

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