Latest news with #FlamingLips
NBC News
15-07-2025
- Entertainment
- NBC News
ICE detains soon-to-be father in Washington state, pregnant wife pleads 'I just want him home'
ICE detained an expectant father in Washington state just months before his wife is scheduled to give birth. On Friday morning, Guilherme Lemes Cardoso E Silva was on his way to pick up his daughter in Friday Harbor on San Juan Island, about 100 miles north of Seattle, when multiple unmarked ICE vehicles containing masked agents stopped him on a private road near his home, according to his wife, Rachel Leidig. Silva, originally from Brazil, is a 35-year-old visual artist currently based in Washington state. Photos posted to his Instagram account show some of his colorful work that can be seen across the country. Silva and Leidig met in 2023 at a Flaming Lips concert in San Francisco. The couple married in April and are expecting a baby boy in October. Silva — or Gui, as Leidig calls him — was meant to move to Sausalito, California, at the end of the month to be with Leidig. "He's just one of those people who it's like, when you meet him he's just so loving and warm and kind," Leidig said. "Anyone that genuinely knows Gui knows that he's an amazing person." Silva has no criminal record or outstanding warrants, Leidig said. Silva and Leidig were working with an immigration attorney and in the process of submitting an application to legalize his residency status in the U.S. when Silva was detained. After his detainment, Leidig submitted an I-130 form, or a "petition for alien relative." He was also in the process of renewing his work permit, Leidig said. According to Leidig, Silva told her that the ICE agents who detained him were rough with him and refused to show him a warrant. One agent confiscated his phone when he began recording the incident and others were making jokes during his arrest, she said. "They were behind him laughing and making jokes, saying they were glad they didn't make the news this time," Leidig said. Silva told Leidig that he was held in a holding cell for 38 hours in Ferndale where "the conditions were terrible" and he was given food that made him sick. He was also told to show his tattoos and asked if he had ever been affiliated with a gang, which he said he has never been. ICE did not immediately respond to a request for comment. A GoFundMe that was created by Leidig's friend to help support Silva's family and raise money for legal fees has amassed over $56,000 as of Tuesday afternoon. Silva is being held at a detention center in Tacoma, Washington, according to online records. Leidig says he has a court hearing at the end of the month, and she hopes he will be released then. "I just want him home, I want him to come home to me," Leidig said in tears. "We've been trying to do this legally and I want him to be here for the birth of our child, and I want him to be there for me and his son and for his daughter." Leidig says when Silva gets out, he wants to use his experience and law degree from Brazil to help others who are in his position. "He wants to make this a bigger purpose of helping other people," Leidig said.
Yahoo
13-06-2025
- Entertainment
- Yahoo
Miley Cyrus' Latest Experimental Career Stunt Is ‘Beautiful' But Unnecessary
We probably don't need to spare much sympathy for Miley Cyrus. A nepo baby and child star who seems to have emerged from her early Disney days relatively unscathed and with plenty of fans intact, Cyrus has lived a life of privilege no matter what personal hardships she may have endured along the way. Her last album, 2023's Endless Summer Vacation, included 'Flowers,' a massive mid-career hit that won her a Grammy. Yet there are times when Cyrus seems underestimated, even underrated, at least compared to fellow thirtysomething pop stars Taylor Swift or Lady Gaga, where their every move is treated as a seismic event and a Madonna-like reinvention of their latest 'era.' The Cyrus pop-star discography isn't as polished as the Taylor's Versions. But that also means her experiments—the oddball 90-minute psychedelic album she made with the Flaming Lips; the '80s rock homage Plastic Hearts—feel genuinely risky, not because she's touching some third rail of controversy (though she used to occasionally dabble in that) but because she's allowing for the possibility of actual artistic failure in a way that seems removed from many of her peers. There are songs on Miley Cyrus and Her Dead Petz that no mega-selling pop diva in her right mind would release, which is exactly what makes it worth listening to. In her eclecticism, Cyrus also risks the appearance of self-conscious effort, of trying too hard to keep pace with some imagined pop zeitgeist that she might have accidentally captured circa her 2013 breakout album Bangerz. (Whether for that reason or some other unknown factor, she seems to be the last 2010s-era pop star the influential music publication Pitchfork still feels comfortable slagging on.) Which brings us to Something Beautiful, her latest release, accompanied by a 53-minute accompanying 'visual album' that premiered at the Tribeca Festival and will play in U.S. theaters for one night on June 12. Cyrus's own, much-circulated description for this project is that she wanted to make 'The Wall, but with a better wardrobe and more glamorous and filled with pop culture.' She's got the wardrobe part down, and, in a generic sense, the glamor. But it's hard to discern much of The Wall or other notable pop culture influences from the Something Beautiful movie because, mostly, it's a bunch of music videos. At their core, that's what most 'visual albums' are: the long-standing practice of, now eventized close to feature length, making accompanying clips for every track on a given record, intended to add up to something more immersive, cross-referential, and conceptual than a simple listening experience. In that context, it's hard to ignore how decidedly non-conceptual Something Beautiful really is, as an album and especially as a sort-of movie. The film, credited to Cyrus, her frequent video director Jacob Bixenman, and pop-punk video mainstay Brendan Walter, is mostly an hour's worth of the star walking, strutting, and/or dancing, often on her own. Sometimes she's on a soundstage; sometimes she's in a real location. Sometimes she struts from a real location into a soundstage. 'Pretend You're a God' makes extensive use of a wind machine tossing around Cyrus's impressive mane of hair. 'Walk of Fame' takes place in part on, you guessed it, Hollywood's Walk of Fame. 'Every Girl You've Ever Loved' has an appearance from Naomi Campbell, reciting her spoken-word bits from the song in what looks like an abandoned warehouse. You know, just like The Wall. The thing is, most of these segments make fine music videos—retro, even, in their simplicity. Perhaps not coincidentally, the best videos tend to accompany the album's best songs: the aural and visual explosions of the title track, the ebullient soft-focus shimmy of 'End of the World,' and the playful undressing/redressing of 'Easy Lover,' which looks like it was one of the segments shot on celluloid (there are credits for dailies and lab processing in the film's final roll). Like most of the recent Miley records, Something Beautiful is uneven but stylically confident with some great tracks, and her early career on TV has given her an easy sense of how to play to the camera. She's good at this. That doesn't make Something Beautiful a concept record, or particularly in need of a full-length visual accompaniment. It's pleasant enough to watch, but it's hard to justify old-style MTV content as a pay-per-view experience in a movie theater. (It almost gives you a twinge of sympathy for the fans who bought tickets for the Tribeca screening of the film, then were incensed to realize it was not, in fact, a concert.) The biggest conceptual swing is that the last 10 minutes of the film are filtered through an old CRT television set—that is, footage of Cyrus plays on the TV, and the camera captures it from there, giving it a blue filter and some intentional visual noise. It's a neat video-of-a-video effect, and Cyrus certainly seems qualified to comment on the glamorous distortions of image-making. But Something Beautiful doesn't really get there, even as an allusive gesture. It does, however, underline Cyrus's strengths as an artist. Her voice (which, she recently revealed, is caused by a medical condition she's reluctant to treat any further, having grown understandably attached to her own distinctive rasp) is powerful enough to bop around different subgenres of pop, while her cultural awareness of the Old Ways maintains her old-fashioned sense of glamor. Good records and music videos are a fine vehicle for her talent and ambition; a visual album feels like unnecessary accessorizing for a star who already has a whole lot.
Yahoo
06-06-2025
- Entertainment
- Yahoo
Miley Cyrus Aims High With Her Latest Artistic Swerve
Miley Cyrus has spent her whole career mutating and evolving, making drastic musical left turns. She went from Hannah Montana to the indie-sleaze neon orgy that was Bangerz, the ultimate 'Disney kid breaks free' statement. But that turned out to be just one of the many Mileys we'd get to know — over the next decade, she moved on to the stoner prog-rock of her Flaming Lips project Dead Petz, to the rootsy country of Younger Now, to the Eighties electro power-glitz of Plastic Hearts. Some thought Endless Summer Vacation was as far as she could ever go. But on Something Beautiful, she's aiming higher than ever, with her most ambitious and introspective tunes. She's also made an upcoming companion film of the same name, which drops on June 6. She's not striving for hits — there isn't another 'Flowers' here. She's got loftier goals for this one, calling it 'a concept album that's an attempt to medicate somewhat of a sick culture through music.' More from Rolling Stone Miley Cyrus, Lorde, Haim, and All the Songs You Need to Know This Week Miley Cyrus Evokes Her Inner Showgirl in 'Easy Lover' Music Video Miley Cyrus Says Album After 'Something Beautiful' Will Be 'Extremely Experimental' Miley's been talking it up as being inspired by Pink Floyd's The Wall, their bleak 1979 classic about rock-star alienation and isolation. She says this album is 'The Wall, but with a better wardrobe and more glamorous and filled with pop culture.' (Quite honestly, going up against Roger Waters in a fashion battle is setting the bar a bit low.) It's not her first Floyd moment, since she sang a memorable 'Wish You Were Here' on SNL as a pandemic lament. All over the album she returns to the theme of healing, looking for moments of beauty in the darkness. She gets help from producer Shawn Everett and a killer ensemble of rock luminaries, from Flea and Danielle Haim to indie rockers like Model/Actriz's Cole Haden, Foxygen's Jonathan Radio, and the War on Drugs' Adam Granduciel. Talk about range: this has to be the first album to include duets with both Brittany Howard, from the roots-rockers Alabama Shakes, and supermodel Naomi Campbell. Something Beautiful begins with a poetic 'Prelude' where Miley shares her thoughts about letting go of the past and moving on to the future, 'aching to be seen, aching to be real.' 'Walk of Fame' is one of the peaks, her electro pep talk on self-esteem ('Every time I walk, it's a walk of fame') with Howard making herself right at home in the disco glitz. It's essentially a tribute to Seventies producer Giorgio Moroder, just as 'Easy Lover' and 'Golden Burning Sun' go for the laid-back vibe of Fleetwood Mac. 'End of the World' goes for Abba-tooled Euro-pop, vowing to 'throw a party like McCartney with some help from our friends.' The title track begins as a soft neo-soul ballad until it flips into distorted electro-noise. 'More to Lose' is a massive Eighties-style power ballad that addresses the end of a relationship, where she sees her once-cherished ex as 'a movie star in a worn-out coat.' But the sentimental favorite has to be 'Every Girl You've Ever Loved,' a fantastic disco twirl with Campbell. It's a welcome musical comeback for the Nineties fashion icon, 30 years after her unjustly forgotten one-off trip-hop oddity Baby Woman, not to mention her famous Vanilla Ice duet 'Cool As Ice (Everybody Get Loose).' Miley sings an invitation to romance, purring, 'Aren't I pretty enough for more than fun in the dark?' Campbell plays the spoken-word hype woman, telling us all how awesome Miley is: 'She's got that kind of grace/Did Botticelli paint her face?/She's got the perfect scent/She speaks the perfect French.' It ends with a walk-off where both women chant 'Pose, pose, pose!' It's also got the album's gnarliest Eighties sax solo — and there's a load of those, because Miley is obviously in a very sax-solo place right now. 'Every Girl You've Ever Loved' is the loosest, most playful song on the album, but also the one that best illustrates the redemptive spirit she's going for on Something Beautiful. All over the album, Miley sings about keeping her chin up and looking on the positive side, even in times of trouble, which makes this album basically the opposite of The Wall, which was all about having a bad time at a rock show. But Something Beautiful is another bold swerve in one of pop's most delightfully unpredictable careers. Best of Rolling Stone The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked The 500 Greatest Albums of All Time
Sydney Morning Herald
03-06-2025
- Entertainment
- Sydney Morning Herald
Miley Cyrus, pop's new queen of reinvention, goes for broke on her new album
Miley Cyrus, Something Beautiful Most pop stars will tell you that any shot at longevity demands reinvention, often multiple times over. At 32, having started her showbiz career as a kid, Miley Cyrus has already cycled through a lifetime's worth of guises. As the teen star of Hannah Montana in the mid-'00s she made age-appropriate power pop; by 2013 she was twerking at the MTV Awards and burying her Disney persona with the impudent, chaotic Bangerz. Miley Cyrus & Her Dead Petz, a 2015 psychedelic collab with the Flaming Lips, was nothing if not bold. Her albums of the past decade have modelled a maturing look and sound as Cyrus tried to stake a place in the pop landscape that went beyond mere provocation, most recently with the vampish glam rock of 2020's Plastic Hearts and the yacht rock and hazy electronica found on 2023's Endless Summer Vacation. That last one contained Flowers, one of her biggest hits and the track that won Cyrus her first Grammy. In a recent interview Cyrus confessed she'd been yearning for that recognition for a long time, a validating achievement that gave her the freedom to do whatever she wanted this time around. Whatever she wanted isn't quite as out-there as the marketing around Something Beautiful would have you believe, but it's a solid record all the same. Allegedly inspired by Pink Floyd – The Wall, the 1982 surrealist musical drama that riffs on the Pink Floyd album of the same name, Something Beautiful is significantly less psychedelic and more glamorous than that film; a 'visual album' that succeeds more as art project than artistic evolution. The title track is probably the most ambitious on the album. It starts as a bluesy lounge ballad, busts into a rock-opera chorus about 90 seconds in, then repeats the process for the track's remainder. The entire album plays in a similar fashion, sprinkled with moments of true daring without ever fully committing to the part. End of the World plays like a hazy, soft-rock homage to ABBA's Mamma Mia – polished and tasteful without being overly arresting. What is memorable is the accompanying music video, in which Cyrus – a vision in a spangly emerald-green minidress, her long hair worn in loose waves like a '70s pin-up – preens and prowls across the stage under soft, gorgeous lighting.
The Age
03-06-2025
- Entertainment
- The Age
Miley Cyrus, pop's new queen of reinvention, goes for broke on her new album
Miley Cyrus, Something Beautiful Most pop stars will tell you that any shot at longevity demands reinvention, often multiple times over. At 32, having started her showbiz career as a kid, Miley Cyrus has already cycled through a lifetime's worth of guises. As the teen star of Hannah Montana in the mid-'00s she made age-appropriate power pop; by 2013 she was twerking at the MTV Awards and burying her Disney persona with the impudent, chaotic Bangerz. Miley Cyrus & Her Dead Petz, a 2015 psychedelic collab with the Flaming Lips, was nothing if not bold. Her albums of the past decade have modelled a maturing look and sound as Cyrus tried to stake a place in the pop landscape that went beyond mere provocation, most recently with the vampish glam rock of 2020's Plastic Hearts and the yacht rock and hazy electronica found on 2023's Endless Summer Vacation. That last one contained Flowers, one of her biggest hits and the track that won Cyrus her first Grammy. In a recent interview Cyrus confessed she'd been yearning for that recognition for a long time, a validating achievement that gave her the freedom to do whatever she wanted this time around. Whatever she wanted isn't quite as out-there as the marketing around Something Beautiful would have you believe, but it's a solid record all the same. Allegedly inspired by Pink Floyd – The Wall, the 1982 surrealist musical drama that riffs on the Pink Floyd album of the same name, Something Beautiful is significantly less psychedelic and more glamorous than that film; a 'visual album' that succeeds more as art project than artistic evolution. The title track is probably the most ambitious on the album. It starts as a bluesy lounge ballad, busts into a rock-opera chorus about 90 seconds in, then repeats the process for the track's remainder. The entire album plays in a similar fashion, sprinkled with moments of true daring without ever fully committing to the part. End of the World plays like a hazy, soft-rock homage to ABBA's Mamma Mia – polished and tasteful without being overly arresting. What is memorable is the accompanying music video, in which Cyrus – a vision in a spangly emerald-green minidress, her long hair worn in loose waves like a '70s pin-up – preens and prowls across the stage under soft, gorgeous lighting.
