We will relentlessly keep promoting Prometheus until it comes out and we have fully digested the sci-fi splendor that it will be. The first online clip is at the header; it’s of the gorgeous Prometheus ship landing on “the planet”. Also, below is an eerie Project Prometheus viral video with Noomi Rapace who plays Elizabeth Shaw in the film. In front of the quiet, unblinking eye of a camera lens, Dr. Elizabeth Shaw makes her case to lead a mission that will answer our greatest questions and trigger our ultimate fears.

Here’s a questionable poster that reveals a big spoiler for the movie. I think this might be a huge mistake in marketing. Click the thumbnail below if you don’t care, but you’ve been warned:

New posters of some of the equipment from the film:

A couple of days ago, Sony released a 4-minute extended preview of The Amazing Spider-Man. There’s also a featurette. Check them out below.

With the hoopla and hype surrounding The Avengers, The Dark Knight Rises, and Prometheus, looks like Spider-Man and the G.I. Joe sequel might be some decent sleepers as far as blockbusters go. They look promising. Speaking of Joe, remember the Cobra Hiss Tank? Well, here’s the movie version:

A couple of Avengers nuggets. Eclectic Method with The Avengers Remix.

A great mashup of The Avengers hysterically comical shawarma scene and Edward Hopper‘s Nighthawks by John P. Glynn and Adal Rifai.

One of my favorite comic book artists Phil Noto was in Toronto on Free Comic Day (May 5) and using SketchBook Pro (5.5) on a Mac Mini and a Wacom Cintiq 24, the master artist created this live sketch for his fans after watching The Avengers film the night before. The “sketch” was developed in about 3 1/2 hours. Eternally impressive.

A marvelous cartoon depiction of the superheroes squad on a bad day by Junaid Chundrigar from the Netherlands:

A fun piece by Glen Brogan from the Avengers Assemble art show at Gallery 1988:

Some teaser posters for two upcoming films, Anchorman 2 in 2014 and Skyfall, the next James Bond film which comes Fall 2012.

Here’s a pair of intriguing and entertaining documentaries.

Kumare is a wise guru from the East who indoctrinated a group of followers in the West. Kumare, however, is not real–he is the alter ego of American filmmaker Vikram Gandhi, who impersonated a spiritual leader for the sake of a social experiment designed to challenge one of the most widely accepted taboos: that only a tiny “1%” can connect the rest of the world to a higher power. Concealing his true identity from everyone he meets, Kumare forges profound and spiritual connections with people from all walks of life. At the same time, in the absurdity of living as an entirely different person, Vikram, the filmmaker, is forced to confront difficult questions about his own identity. At the height of his popularity, Kumare unveils his true identity to a core group of disciples who are knee-deep in personal transformation. Will they accept his final teaching? Can this illusion reveal a greater spiritual truth? KUMARE, at once playful and profound, is an insightful look at faith and belief.

DOIN’ IT IN THE PARK: PICK-UP BASKETBALL, NYC explores the definition, history, culture and social impact of New York’s summer b-ball scene, widely recognized as the worldwide “Mecca” of the sport.

In New York City, pick-up basketball is not just a sport. It is a way of life. There are 700+ outdoor courts, and an estimated 500,000 players, the most loyal of which approach the game as a religion, and the playground as their church.

DOIN’ IT IN THE PARK: PICK-UP BASKETBALL, NYC lovingly uncovers this movement through the voices of playground legends, NBA athletes, and most importantly the common ballplayer who all day looks forward to calling “next” game at their local schoolyard.

Co-directors Bobbito Garcia and Kevin Couliau visited 180 courts throughout NYC’s five boroughs to create their debut documentary. They traveled to a majority of the locations by bicycle, carrying camera equipment and a ball in their backpacks. The film’s title refers as much to the subject matter as it does to the method of filmmaking, providing an unprecedented perspective on urban America’s most popular, and accessible, free recreation.

Watch the preview prologue episode of the new Disney XD animated series TRON: Uprising. It premieres June 7th. So very cool.

This is a must watch if you’re a Mad Men fan. Inside The Actors Studio with the cast and creator.

It’s supercut time, here’s the latest…

A compilation of guns in film by the Eclectic Method.

The sounds of Aronofsky films.

Nice landing.

Time to shift it into gear.

We need a hero.

You just don’t get it, do you?

My pimp-hand is strong.

Son of a bitch!

Eclectic Method with the PCR hat trick. Oh-face.

That’s all folks. See you next time…

-@teemunny

This album contains colossal songs that could fill the most vastly desolate places. They have kept their signature lackadaisical pop feel, but have also implemented a fuller sound similar in feeling to M83‘s 2005 album Before the Dawn Heals Us. With this new innovation, Beach House has allowed their mellow sounds to be supported by an under-layer of driving power. Even though classic Beach House songs such as Turtle Island, Gila, and Zebra are lovely and rich, they just do not encompass the same force songs from the new album, like Myth and Lazuli, do.

This all isn’t to say Beach House has wandered off from what it is they normally do; they have merely expanded. The songs still have the same shrill keyboard lines, genial dance feel and prominent reverb, which is part of the genius of it all. Fine adjustments were all it took to make the songs worlds taller and more awe-inspiring.

Bloom is filled with emotion for the duration of the album. In the telling song Wild, the lyrics morosely sing, “my mother said to me that I would get in trouble. My father won’t be home, because he is seeing double.” The song’s inflection allows the listener to gain allegorical insight. Not only does it emulate nostalgic emotion with a dark, minor tone, but also the resound lyrics paint a perfect picture of the scene being portrayed.

Some of the songs feel too powerfully gestalt to readily identify just what makes them so mesmerizing. The song Wishes, for instance, conjures up thoughts of a vast wonderland with all components blending to form one unified sound. The individual parts would not be nearly as powerful isolated yet work together to ultimately create a robust product.

In a sense, Bloom is an album that does the work for itself. It doesn’t take much thought or effort for the listener to understand the power each of these songs possess. It is subtly elaborate and masterfully crafted. The only worry is how difficult it will be for the band top this astonishing piece of work.

-@julianrome

-@teemunny

Nearly a year after producing Vybz Kartel’s “Kingston Story” and fresh from delivering Popcaan’s “Get Gyal Easy,” Dre Skull returns with a brand new riddim, featuring four original vocals from some of the biggest Caribbean artists.

The Loudspeaker Riddim, which is not just a name but also a serving suggestion, is a powerful and emotive track, with lingering echoes that build and fold over each other until the dancehall bassline kicks in and a minimal synth-stab leaves the track wide open for the vocalist to shine. King of the Dancehall, Beenie Man, sets the riddim alight with his fast- flowing ode to the female form on “Hot Like Fire,” while Mixpak family member Natalie Storm delivers a classic braggadocios take on “Rock The Runway.” Normally found voicing the upper echelons of bpm, Soca Monarch Machel Montano makes a rare appearance on a dancehall riddim, keeping his energy intact for an expressive tune dedicated to winery – “Go Down.” Popcaan rounds off the release with ‘The System’, an epic, conscious track that sees the young deejay describe the trials and struggles of ghetto youth in the face of the system.

The Loudspeaker Riddim is not only a testament to the versatility of the artists featured, but to dancehall itself, a proud addition to the ever-growing Mixpak dancehall catalogue.

Dre Skull

Beenie Man

Machel Montano

Natalie Storm

Popcaan

-@s_iravani

The STAR WARS™ Identities exhibition will shed new light on the unforgettable Star Wars™ characters by exploring the theme of identity or “the forces that shape you.” In fact, the illustrations were inspired by the individuality of each character, by what makes them who they are.

Brand: STAR WARS Identities
Advertiser: Lucasfilms, X3 Productions
Advertising Agency: Bleublancrouge
Chief Creative Officer: Gaetan Namouric
Creative Lead Team: Jean-François LeBlanc, Sebastien Maheux
Copywriter: Andrew Lord
Production: Eve Mathieu
Illustration : Louis Hébert
Other : Véronique Vigneault
Published: 2012

How does one not include hits like Hot Stuff on their quintessential ’70s hits mixtape? You can’t. Her music signified the era and she was an icon. The term “icon” seems to be overused these days, but in Summer’s case, it is utterly appropriate and fitting.

Donna Summer is survived by her husband Bruce Sudano, their daughters Brooklyn and Amanda, as well as her daughter Mimi from her previous marriage. Our condolences go out to her family, friends and fans. Another legend goes down. Rest in Power.

-@teemunny

• The New York Times: Donna Summer, Queen of Disco, Dies at 63
• Los Angeles Times: Donna Summer, Queen of Disco, dies at 63
• Los Angeles Times: Pop & Hiss: Donna Summer dead: Her voice soared through disco and beyond
• Rolling Stone: Donna Summer Dead at 63, Disco legend was struggling with cancer
• Rolling Stone: Donna Summer: Is There Life After Disco? Rolling Stone’s 1978 cover story on the singer
• Wired: Underwire: Remembering Disco Queen Donna Summer, the Voice of ‘I Feel Love’
• MTV.com: Donna Summer’s Music The Go-To For TV And Movies

-@ybaynes

Watch the video for Fantasy HERE:

-@ybaynes

The first app, PROLOGUE, will set up the characters, the futuristic game of New Baseball and the sports culture of Tao City. Candy Cunningham is an 18 year old girl, born with a phenomenal athletic ability, and a hot head! Her father, Gordy Cunningham is an aged major league player who’s athletic abilities have diminished over the years, but his ability to put on a good clown show always draws a crowd and ticket sales. Throughout the story, Candy faces critical identity issues that alter the course of her life. The fame and glory of being a Tao City hero conflict with the true meaning of happiness taught to her by her father.
2 time MVP, Dale Murphy (Atlanta Braves), voices a sports announcer.

via Ryan Woodward Art and Animation

While disco flourished in the ’70s, Brown, a guitarist, singer, songwriter and producer, put Washington D.C. on the map with his brand of funk music.

Music aficionados will know the classic funk song, Bustin’ Loose (below). It was a hit groove for Chuck Brown & The Soul Searchers, released from the LP of the same name in late 1978. The widely played and ubiquitously sampled record spent four weeks at the top of the R&B singles chart and peaked at number thirty-four on the Billboard Hot 100 singles chart in early 1979.

He was a huge contributor to the funk movement. He will be missed.

-@teemunny

The Brown family would like to thank everyone for their love and support over the years. We know that Chuck’s legacy will live on through all of you who have supported him and his creation of Go-Go. His passion, inspiration and drive have always come from his family and fans. He would have wanted all of his fans to know that they meant the world to him and none of his success was possible without them. God bless.

• NPR Music: Go-Go Legend Chuck Brown Dies
• The Washington Post: Chuck Brown dies: The ‘Godfather of Go-Go’ was 75

If the dude in the video looks familiar, it’s Asa Taccone, half of the duo of Electric Guest and brother of Jorma Taccone, from The Lonely Island and SNL fame. Talented family…

-@teemunny

Danger Mouse talks about the collaboration:

Back in 2004 in LA a friend of mine asked if I’d give him my honest opinion of the music his little brother in Berkley, CA was making. He played me some instrumental tracks from a cd and I liked some of what I heard. I told him I thought it was good and that his brother should keep on working at it, there was something worth putting some work into and that he would surely get better. Eventually he asked me to talk to him on the phone and maybe give him some pointers or something. I did so and told him I’d listen to any new stuff he did. I guess there wasn’t much else I could really do. I was on an indie label myself and even though I’d just done the Grey album, that didn’t exactly pay me anything.

He sent me a few more CDs filled with instrumental tracks over the next year and they were getting better and better. I would send him a note or talk to him briefly about the music on the CDs that I liked. Eventually a year or so later, I was moving out of the house I shared with another musician and my friend’s brother was looking to move to LA. Since me and my roommate had built a little home studio in the house, I figured my room would be perfect for my friend’s brother, whom I still hadn’t actually met yet. I offered him my little bedroom because it was the cheapest room in the house and when he decided to take it. After moving all of my stuff out I eventually met my friend’s brother Asa.

I didn’t really get to hang out with Asa very much or anything at first, but we would still run into each other from time to time and he would always have some new music he was making that he was excited about. And each time he played me stuff, I’d start to really think more and more that not only was he doing better and more interesting music than he probably even knew himself, but that I was being influenced by what he was playing me too. The thing is that he seemed to really love popular music, but somehow in his attempt to make his own music, some very odd and beautiful things were happening.

I never really asked him what his aspirations were, instead we just played each other music we were both working on and hoped the other would react excitedly when one of us played something special. I remember one time we were sitting in a car and playing music back and forth when he played a bunch of new instrumentals that were all over the place and knowing that he thought it was perfectly normal music. It wasn’t. I decided not to even play the stuff I was working on for him because I myself hadn’t really pushed hard enough in some of the stuff I was doing. The next time I saw him I was hoping to one up him and I played him some of what I thought was my more adventurous stuff that would eventually be on the first Gnarls Barkley album. He was one of the few people I thought would really get it and sure enough he did.

Around that time, Asa told me he had another new roommate, someone called Cornbread, who had moved into the house with him and some of the other musicians already living there. He said he was a great drummer and instrumentalist and that he’d been getting him to play on some of his demos. I hadn’t really heard anything new from Asa in a while so I’d been pushing him to hear more stuff. He told me he wasn’t really comfortable playing me what he’d been doing yet because he wasn’t really sure about it. Eventually he said that he’d written a couple of songs that he thought maybe a girl could sing, so I sat down to listen. I heard the sound of a twinkling piano intro and then a huge drum roll and then the demo of “This Head I Hold” began. In came the vocals and I immediately asked him who the singer was. He said it was him, he’d never really recorded himself singing, but gave it a try. The demo was him singing scratch vocals into a dictaphone and it sounded amazing. He was very shy about it and was very surprised that I liked it so much. I was really blown away and was adamant that he’d better not give the songs away to someone else. He had to sing himself. So he did, and all of his demo recordings after that point had vocals on them. When he played me the demo of the song American Daydream he did with Cornbread (sounding pretty much as it sounds now) I was completely hooked, it was just so damn effortless. I played the demos over and over for more than a year and pushed him to do his own album.

Over the years I’ve listened to albums by the Shins, Sparklehorse, Cee-lo, the Black Keys and many others and jumped at the chances I had to work with and learn from them when I could. So after years of listening to and being influenced by what Asa was doing, I jumped at the chance to work with him when he decided to put an album together. He’d recorded lots of music himself, much of it with Cornbread helping out with some of the instrumentation and I thought I could maybe help out some way. It was not an easy album to make however. Asa seemed to be struggling with his transition to LA from the Bay Area. He was almost broke and we knew the album we were making wouldn’t really fit into what was popular or indie or whatever. I played early demos for all the labels I’d been working with and none of them wanted to sign it, so we didn’t really know what was going to happen if and when the album was finished. But we went ahead and recorded in my small studio, a converted lawyers office with a bunch of keyboards and a small mixing desk. So from around 2009-2011 Asa would come in with song ideas, many times with instrumentation he’d already started on in his bedroom, and then Cornbread would come join in the studio to help flesh things out. They worked really well together and the album sound started to really take shape.

After the album was done, I got a phone call from Asa. He was panicking and he told me that he couldn’t do the whole thing. Singing was one thing, but he didn’t think he could really perform. I could relate, I loved making music, but never wanted to be a performer either. After talking him off the ledge he put together a great live band with Cornbread and two brothers named Todd and Tory. He was looking for a band name and told me a story about an old new age woman he met at a donut shop while in high school. He said she told him that he was an electric guest from another planet or something like that. So he had his band name there, Electric Guest. Now the real work starts…