‘Pitch Perfect 2′ hits high note on Billboard 200 after film debut

21 May 2015 | Author: | No comments yet »

“Pitch Perfect 2″ Is No. 1 Everywhere.

In the latest weekend box office, the singing ladies of “Pitch Perfect 2” clobbered a classic guy movie, “Mad Max: Fury Road.” That pattern has now repeated itself in music, as “Pitch Perfect 2” becomes the latest soundtrack to top the album chart, beating out Mumford & Sons and David Guetta. 2015 continues to be the Year of the Soundtrack on the Billboard 200 as Pitch Perfect 2 became the third soundtrack to reach Number One after debuting atop the charts with 107,000 total album sales. Jessie J will perform the first single off from the soundtrack album, “Flashlight”—which was penned by Sia, Sam Smith and Christian Guzman, with additional lyrics by Jason Moore—, when she kicks off Good Morning America’s Summer Concert Series on May 22. From the smash hit at the box office to the soundtrack and the franchise’s hit songs “Cups” and “Flashlight,” Pitch Perfect fever is everywhere. As reported by the Inquisitr, was the top movie in its opening weekend, taking in over $70 million in box office ticket sales for the United States and Canada.

The music video for “Flashlight” was directed by Hannah Lux Davis (Jessie J, Ariana Grande, Nicki Minaj’s “Bang Bang,” Ariana Grande and The Weeknd’s “Love Me Harder.” Album producers include Julianne Jordan, Julia Michels, Jason Moore and The Underdogs, with Jordan and Michels serve as executive music producers on the film. Two other soundtracks placed high this week: “Fifty Shades of Grey” (Republic), a hit since February, rises three spots to No. 3, and “Furious 7” (Atlantic) is No. 5. The a cappella-packed soundtrack was also aided by a week that didn’t feature any other big ticket new releases; Incubus’ Trust Fall (Side A) EP was the only other new entry in the Top 10, selling 40,000 copies to land at Number Six. Last week’s No. 1, Mumford & Sons’ “Wilder Mind” (Glassnote), falls to No. 2 in its second week out, and “Listen” (Parlophone), the latest by Mr.

The week’s Number Four Album, David Guetta’s Listen, jumped from Number 30 in its 24th week on the chart to Number Three thanks to a 99-cent download deal from the Google Play store. The hit single “Cups” has sold more than 3 million downloads, spending 50 weeks on the Top 200 tracks chart, and ended 2013 in the top-50 biggest-selling digital tracks.

Also this week, Wiz Khalifa’s song “See You Again,” from the “Furious 7” soundtrack, holds its place as the No. 1 single for a sixth straight week. Mad Max will roar back out of the apocalypse while Mad Men rides off into the sunset, rock’s Antichrist Superstar and hip-hop’s Yeezus will rise again.

That’s the most No. 1 soundtracks in a calendar year since 2010, when three Glee albums topped the list.” The soundtrack was carefully pieced together on the part of much deliberation from the producers. In the U.S., it was the top-selling soundtrack of 2013, 6th overall album of 2014, and the second-highest selling soundtrack of the decade, behind the Frozen soundtrack. The newest volume in Bloomsbury’s 33 1/3 series of books about important albums is on Devo’s 1980 mainstream breakthrough Freedom of Choice, written by Evie Nagy, a staff writer at Fast Company. In scenes when they’re supposed to fall apart, we might look for songs that are a little more discordant.” We have yet to see which singles will stand out on the soundtrack. Even when the chorus comes in with a more regular stride and promising build, the verse comes sulking back before any real resolution; the overall vibe is the rush-slash-dread of a game of musical chairs.

Bostwick, published in The American Magazine in 1919 and reprinted widely in the years following (because the poem was written before 1923, it was not subject to U.S. copyright law when Mark adopted it): The source material is earnest motivational rhetoric, and therefore in the hands of Devo is satire by definition. Exploiting a Kent State connection, they stayed on soon-to-be Eagle Joe Walsh’s floor, hoping the fellow Ohioan would get what they were about and lend them a hand. “Halfway through the first song on the demo tape, he ran into the other room,” says Mark. “Him and this other guy with really long hair, they’re in the dining room smoking a joint, trying to stifle laughter.” At a loss for what to do, Mark and Jerry were watching TV and stumbled on a local proto-reality show called Help Thy Neighbor. “On one episode,” says Mark, “these two Mexican kids came on, and the host goes, ‘What’s going on with you guys?’ ‘Well, we dropped out of school and we’re thinking about gardening, but it’s so tough right now, because all our friends are joining gangs, and we’re thinking about joining a gang. But we got together in Walter Reed and we wrote all this music, and we’re just happy that we got a chance to sacrifice our mobility for the U.S. of A.

We were just trying to get a record deal — we figured at some point we’d start walking, and go ‘Oh my God, it’s like a miracle.’ And we were obsessed with miracles, because Akron, Ohio, had televangelists in town that were incredibly transparent charlatans.” Fortunately Devo avoided the shitstorm that would inevitably have befallen them if the plan had worked, but the idea was classic Devo — some number of people would have fallen for the ploy, and they would only have had themselves and de-evolution to blame. The answer to “What is it about Ohio that inspired the formation of Devo?” was “Clean living”; what Devo looked for in a girl was “Defects”; their next upcoming commercial venture was “A TV ad for nuclear energy sponsored by the F.E.C. using H-bomb test footage coupled with a Devo soundtrack.” But other answers were relatively sincere, or at least prescient, such as “Q: If you could name one thing that upsets Devo, what would it be? A: Human behavior,” and “Q: Are the weird electronic effects that are so important to the Devo sound a permanent part of today’s pop music or just a passing fad?

Anyone who is really honest will like this stuff!” Even if some people found this kind of double talk irritating, it was very obviously double talk, and the message was clear: nothing we do should be taken at pure face value, and therefore it should not be that difficult to invert it and extrapolate what we’re about. As Mark said in 2010 when discussing the band’s super-focus- grouped, ultra-corporate approach to developing and marketing Something For Everybody, “Devo at our best is people going, ‘Is that real or not?’ It’s a little bit Andy Kaufman.” After months of escalating protests and grassroots organizing in response to the police killings of Michael Brown and Eric Garner, police reformers have issued many demands. The moderates in this debate typically qualify their rhetoric with “We all know we need police, but…” It’s a familiar refrain to those of us who’ve spent years in the streets and the barrios organizing around police violence, only to be confronted by officers who snarl, “But who’ll help you if you get robbed?” We can put a man on the moon, but we’re still lacking creativity down here on Earth. While law enforcers have existed in one form or another for centuries, the modern police have their roots in the relatively recent rise of modern property relations 200 years ago, and the “disorderly conduct” of the urban poor. Like every structure we’ve known all our lives, it seems that the policing paradigm is inescapable and everlasting, and the only thing keeping us from the precipice of a dystopic Wild West scenario.

Rather than be scared of our impending Road Warrior future, check out just a few of the practicable, real-world alternatives to the modern system known as policing: Unarmed but trained people, often formerly violent offenders themselves, patrolling their neighborhoods to curb violence right where it starts. Stop believing that police are heroes because they are the only ones willing to get in the way of knives or guns – so are the members of groups like Cure Violence, who were the subject of the 2012 documentary The Interrupters. There are also feminist models that specifically organize patrols of local women, who reduce everything from cat-calling and partner violence to gang murders in places like Brooklyn. While police forces have benefited from military-grade weapons and equipment, some of the most violent neighborhoods have found success through peace rather than war.

Violent offenses count for a fraction of the 11 to 14 million arrests every year, and yet there is no real conversation about what constitutes a crime and what permits society to put a person in chains and a cage. Decriminalization doesn’t work on its own: The cannabis trade that used to employ poor Blacks, Latinos, indigenous and poor whites in its distribution is now starting to be monopolized by already-rich landowners. To quote investigative journalist Christian Parenti’s remarks on criminal justice reform in his book Lockdown America, what we really need most of all is “less.” Also known as reparative or transformative justice, these models represent an alternative to courts and jails. From hippie communes to the IRA and anti-Apartheid South African guerrillas to even some U.S. cities like Philadelphia’s experiment with community courts, spaces are created where accountability is understood as a community issue and the entire community, along with the so-called perpetrator and the victim of a given offense, try to restore and even transform everyone in the process. In Mexico, where one of the world’s most corrupt police forces only has credibility as a criminal syndicate, there have been armed groups of Policia Comunitaria and Autodefensas organized by local residents for self-defense from narcotraffickers, femicide and police.

Obviously these could become police themselves and then be subject to the same abuses, but as a temporary solution they have been making a real impact. In New York, Rikers Island jails as many people with mental illnesses “as all 24 psychiatric hospitals in New York State combined,” which is reportedly 40% of the people jailed at Rikers. We have created a tremendous amount of mental illness, and in the real debt and austerity dystopia we’re living in, we have refused to treat each other for our physical and mental wounds. Mental health has often been a trapdoor for other forms of institutionalized social control as bad as any prison, but shifting toward preventative, supportive and independent living care can help keep those most impacted from ending up in handcuffs or dead on the street.

Here you can write a commentary on the recording "‘Pitch Perfect 2′ hits high note on Billboard 200 after film debut".

* Required fields
Twitter-news
Our partners
Follow us
Contact us
Our contacts

About this site