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Pink Floyd‘s beloved 1972 live film, Pink Floyd at Pompeii — MCMLXXII — will return to movie theaters worldwide beginning on April 24. The film directed by Adrian Maben, will also be screened on IMAX in a digitally remastered, 4K version taken from the original 35mm footage, with enhanced audio that has been newly mixed by Steven Wilson, representing what a release said is the “definitive version of this pioneering film.”
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“Since 1994, I have searched for the elusive film rushes of Pink Floyd At Pompeii, so the recent discovery of the 1972 original 35mm cut negative was a very special moment,” said Lana Topham, Floyd’s director of restoration in a statement. “The newly restored version presents the first full 90-minute cut, combining the 60-minute source edit of the performance with the additional Abbey Road Studios documentary segments filmed shortly after.”
The movie’s re-release will be accompanied by a Legacy Recordings release of the live album on CD, digital audio and for the first time in Dolby Atmos and on vinyl on May 2, featuring performances of the songs “Careful With That Axe, Eugene,” “Something Else,” “Syncopated Pandemonium,” “Storm Signals” and “Echoes – Part II,” among others.
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The film preceded the release of the psychedelic warriors’ landmark 1973 Dark Side of the Moon album, with the band setting up in the ruins of the ancient Roman Amphitheatre in Pompeii, Italy in October 1971 for a gig without an audience. It was the first live concert set in one of the oldest surviving amphitheaters in the world, built in 70 B.C.
According to a release, the movie “documents what Pink Floyd did before they became giants of the album charts on both sides of the Atlantic – where their music remains celebrated to this day. Set in the hauntingly beautiful ruins of the ancient Roman Amphitheatre in Pompeii, Italy, this unique and immersive film captures Pink Floyd performing an intimate concert without an audience… The breathtaking visuals of the amphitheatre, captured both day and night, amplify the magic of the performance. Additionally, the film includes rare behind-the-scenes footage of the band beginning work on The Dark Side of the Moon at Abbey Road Studios.”
Former Floyd drummer Nick Mason said in a statement that Live At Pompeii is a “rare and unique document of the band performing live in the period before” Dark Side of the Moon. The original has been hand-restored, frame-by-frame from the original 35mm cut negative, which was discovered in five “dubiously labeled” cans in the band’s archive and scanned in 4K using “advanced techniques to ensure the finest, sharpest detail.”
Detailing the new 5.1 and Dolby Atmos mix — intended to match how the band sounded on those “scorching hot days in 1971” — Wilson said, “Ever since my dad brainwashed me as a kid by playing The Dark Side of the Moon on repeat, Pink Floyd has been my favourite band. They are my ‘Beatles,’ deeply ingrained in my musical DNA. I first saw Pompeii from a grainy print at a local cinema. It made an incredible impression on me with its untethered and exploratory rock music made by four musicians that seemed to epitomise the notion of intellectual cool. It was an honour to remix the soundtrack to accompany Lana Topham’s incredible restoration of the film, which looks like it could’ve been filmed yesterday.”
Tickets for the film will go on sale beginning March 5 at 9 a.m. ET here.
Check out the album tracklist and a preview of the band’s “Echoes – Part 1” performance below.
Side A
1. “Pompeii Intro”
2. “Echoes – Part 1”
3. “Careful With That Axe, Eugene”
Side B
1. “A Saucerful of Secrets”
2. “Set the Controls for the Heart of the Sun”
Side C
1. “One of These Days”
2. “Mademoiselle Nobs”
3. “Echoes – Part 2”
Side D
1. “Careful With that Axe, Eugene – Alternate take”
2. “A Saucerful of Secrets – Unedited”
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Drake and his Anita Max Win world tour in the Oceania region kicked off near the top of the month and was slated to run until March 16. However, reports have emerged that Drake will halt the remaining days of the tour due to scheduling conflicts with a promise of rescheduling those dates.
Drake was scheduled for select show stops in Australia and New Zealand after kicking off the Anita Max Win tour on Feb. 4 in Perth. As seen on Rolling Stone AU/NZ, a rep for the OVO Sound honcho confirmed that the remaining dates will be put on pause and shared a brief statement.
From Rolling Stone AU/NZ:
“Due to a scheduling conflict, four of Drake’s 16 sold-out shows in Australia and New Zealand will be postponed. We are actively working on rescheduling these dates along with adding some additional shows.
All tickets for the affected shows will remain valid for the new dates. Refunds will be available for those who prefer, but please note that as these shows are sold out, any refunded tickets will be released for sale.
We sincerely apologize for the inconvenience and appreciate your patience. Drake and the entire team have had an incredible time doing these shows and are excited to return soon.
We look forward to sharing the rescheduled dates with you as soon as possible.”
Drake was scheduled to play shows on March 4 in Brisbane, then trekking over to Sydney on March 7. The final two shows on March 15 and 16 were slated to take place in Auckland, New Zealand.
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Photo: Cole Burston / Getty
BigXthaPlug (born Xavier Landum) has been arrested on a possession of marijuana charge in Arlington, Texas. The Arlington Police Department tells Billboard BigX was booked into Arlington City Jail early Wednesday (Feb. 26) following a traffic stop shortly after midnight, and was charged with possession of less than two ounces of marijuana. An Arlington Police […]
Artist contract clauses to promote environmentally sustainable touring were highlighted Wednesday (Feb. 26) in London at the 37th annual International Music Conference.
The green initiatives have been put forth by the U.K. live music advocacy group LIVE (Live Music Industry Venues and Entertainment). Its members are a federation of 16 live music industry associations representing some 3,159 businesses, more than 34,000 British artists and 2,000 backstage workers.
Delegates to the ILMC, who hailed from some 60 countries, were greeted Wednesday morning with comments from Chris Bryant, the U.K. minister for creative industries, arts and tourism. “Live music in the U.K. is a really important part of what we have to offer,” said Bryant (while he lamented poor wifi at festivals and “utterly inedible” food at many venues).
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The green contract clauses, initially announced by LIVE last October, are “designed to galvanise industry-wide action and transform the environmental impact of live events,” according to a statement from the organization.
Efforts to reduce the impact of travel-intensive touring on the climate have been promoted in recent years by artists like Coldplay.
When the band announced its Music of the Spheres Tour in 2021, it pledged to reduce its direct carbon emissions—from show production, freight, band and crew travel—by at least 50%. Coldplay subsequently announced that carbon emissions on the first two years of that tour were 59% less than its previous stadium tour (2016-2017) on a show-by-show basis, with its figures verified by the MIT Environmental Solutions Initiative.
The LIVE environmental proposals come at a time when climate change is acknowledged as the driving cause of catastrophes worldwide, from extreme flooding in Europe last fall to the devastating wildfires in Los Angeles earlier this year.
Within the music industry, it has been estimated that extreme weather had affected at least 30 major concerts in 2023, including evacuations, cancellations and postponements, based on a running tally, “while the total number of affected music events worldwide is surely far higher,” Billboard reported.
The contract clauses result from discussions with representatives from the agencies Wasserman and ATC Live, the global event producer TAIT, the Music Managers Forum and other major players in the touring industry. Leading the process has been the working group LIVE Green, guided by Carol Scott, the Principal Sustainability Advocate at TAIT, and Live Green impact consultant Ross Patel.
“It’s a long road, we’re all on it and we’re going in the right direction,” Patel told an ILMC session Wednesday which he hosted, along with Hilary Walsh, general manager of the U.K.booking agency Pure Represents.
The clauses are intended to help artists, agents, promoters,venues and others to create events with environmental sustainability at the core of planning events, with a focus on energy efficiency; waste reduction; water conservation; local and sustainable food; low carbon emission means of transport to encouraging attendees to travel to the show using lower carbon emission transport; offering sustainable and ethical merch; and much more.
“We’re presented with the evidence of a changing global climate on a daily basis,” said Patel as he opened the ILMC session. “And we also know that we hold the keys to be more resilient.”
Patel made the point that the changes to long-standing practices needed within the live music industry to make touring more sustainable are similar to those in the field of health and safety that are now considered standard.
Patel praised “industry professionals who can pack out an empty room at the drop of a hat, or transport thousands of fans to fields in the middle of nowhere, for life-changing experiences…. So why stop there? Why not create events that fill attendees with hope” in the face of climate challenges.
Environmentally sustainable live events exist, said Patel. “The challenge is how to increase the frequency of that.”
Walsh offered the perspective of Pure Represents, a relatively young booking agency, whose founder, Angus Baskerville, has made sustainability a personal and business priority.
“It’s really important to Angus,” said Walsh, noting the agency founder is the father of two small children and “wanted to leave behind a legacy that was sustainable.”
Walsh notes that the green contract clauses (available online from LIVE) have been easily inserted into touring agreements for Pure clients.
But sometimes those clauses have been deleted in returned contracts. Reducing resistance to change, says Walsh, required “conversations, not just on email, on Power Points, or any of that” with promoters, venues, tour managers, production managers and artist managers.
“It’s about us sharing that information,” says Walsh. “I think slowly everybody is getting onboard.”
Katie Bain provided assistance in this story.
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Virginia Beach continues to be at the forefront of redefining fashion. The Clipse are now starring in the launch campaign for the adidas Superstar 92.
Source: adidas / adidas
As per Sneaker News the legendary Rap group have been tapped by their long time friend and collaborator Pharrell Williams. This week adidas announced the launch of the Virginia Superstar 92; an oversized take on the classic sneaker. As a co-branded effort with Skateboard P’s Humanrace brand, this model sticks to the original’s framework including the signature all leather upper panel, rubber outsole and textile lining. To no surprise this version has a true point of difference in a couple of locations including VIRGINIA featured on the tongue and contrasting lace colors.
Shot in their hometown by another Virginia Beach native Cam Hicks, the duo is captured fully immersed in their element. Malice and Pusha T compliment each other well by sporting coordinated colors but avoid the stereotypical matching outfits that are now synonymous with tacky1990’s Rap group fashion.
The adidas x Humanrace Superstar 92 AKA The Double Wide comes in two colorways. One in a Core Black and Cream White with yellow laces and a Core White with black stripes and pink laces. Priced at $200.00 this release will available in limited quantities starting March 1 via the adidas CONFIRMED app.
Gospel music pioneer and pastor John P. Kee will be honored as a Trailblazer of Gospel at the 2025 BMI Trailblazers of Gospel Music Awards, to be held at Flourish Atlanta on Thursday, April 3.
Throughout the ceremony, BMI will also recognize the songwriters, producers and music publishers of the past year’s 25 most performed gospel songs in the United States. The private event will be hosted by Mike O’Neill, BMI president & CEO, and Catherine Brewton, BMI vp, creative, Atlanta.
“John P. Kee is a true visionary in the genre, and his music continues to have an impact in gospel music for over 40 years and counting,” Brewton said in a statement. “It’s an honor to recognize his dedication and the unwavering commitment he’s made through his artistry and evangelism.”
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Kee, known as the Prince of Gospel Music, is widely recognized for his contributions to contemporary gospel music. In the mid 1980s, he started a community choir in Charlotte, N.C., that eventually became known as the New Life Community Choir (NLCC). Over the course of his professional career spanning almost four decades, he has written music for Hallmark, Inc., The Hawkins Family, Daryl Coley, Billy Preston, Dorinda Clark Cole, Rev. James Cleveland, Bishop Rance Allen, Florida Mass Choir, Mississippi Mass Choir, Vanessa Bell Armstrong, and for the legendary Dr. James Cleveland’s Gospel Music Workshop of America, among others.
His music has been featured in film, television, commercials and on Saturday Night Live. Throughout his solo career and his work with NLCC, he has amassed 37 GMWA Excellence Awards, 27 Stellar Awards, three BMI Awards, two Billboard Music Awards, a Soul Train Music Award, a Trailblazer Award from former President Bill Clinton and received eight Grammy nominations. Adding to his list of accolades, Kee was inducted into the International Gospel Hall of Fame in 2005 and was previously honored at the BMI Trailblazers of Gospel Music Awards in 2001 and 2005.
In addition, Kee has been the full-time pastor of the New Life Fellowship Center in Charlotte since its inception in 1995.
Billboard‘s Women in Music event wouldn’t be complete without a lineup of powerhouse musical performances, nor would the awards be nearly as meaningful without a slate of accomplished women on hand to present them. And on Wednesday (Feb. 26), the list of names for both were announced ahead of the 2025 ceremony. Among the performers […]
No, j-hope fans, you aren’t dreaming — he really is releasing a new solo project. On Wednesday (Feb. 26), the BTS star announced a new single titled “Sweet Dreams,” featuring Miguel. Arriving March 7, the duet will find j-hope and the “Sure Thing” musician’s voices blending over a soulful R&B-pop track as they sing about […]
Apple Original Films announced that the documentary Bono: Stories of Surrender will premiere globally on Apple TV+ on May 30. In addition, the “lyrical, bold exploration” of the U2 singer’s one-man show of the same name based on his 2022 memoir, Surrender: 40 Songs One Story, will also be the first feature-length film available on […]
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Kanye West recently set the record straight, making it clear that he wasn’t involved in Bhad Bhabie’s diss track aimed at Alabama Barker. The track, which samples Ye’s song ‘Carnival’ got a lot of attention, but Kanye wasn’t having it when it came to being dragged into the drama.
Ye reached out to Alabama Parkers pops, Travis Barker, to let him know that while he gave permission to use the sample, he had no part in the diss or the beef it stirred up. In a direct message to Travis, Ye emphasized that he cleared the sample for the song, but that’s where his involvement ended. He wasn’t co-signing the diss directed at Alabama, making sure Travis knew that he wasn’t backing any of the negativity.
The Chicago rapper’s move shows that, while he’s often part of the conversation when it comes to controversy, he wasn’t looking to add fuel to the fire. The situation showed Kanye’s ability to separate his music from the drama. Even though he’s been known for trolling and stirring the pot at times, he made it clear that this particular situation wasn’t something he wanted to be involved in.
Kanye’s message to Travis reflects his effort to maintain control over his own work while keeping his distance from personal family conflicts. It’s a reminder that, when it comes to his art, Ye isn’t here for any extra mess, unless it’s his own mess.