‘I’d be all over that,’ the rapper told MTV News about the upcoming ‘Turtles’ reboot. By Josh Wigler, with reporting by Jim Cantiello Vanilla Ice Photo: MTV News There’s a lot happening within the “Teenage Mutant Ninja Turtles” universe that’s rubbed fans the wrong way. Chief among their grievances is a change to the Turtles’ origin: These heroes in a half-shell are no longer simply the mutated product of an ooze spill on some unwitting turtles — they’re now creatures from a different planet. But there’s at least one carryover from the original film trilogy that should put a smile on fans’ faces: Vanilla Ice is back, back, baby … maybe. MTV News caught up with the rapper during his Sneak Peek Week appearance for “That’s My Boy” ahead of Sunday night’s MTV Movie Awards , and he teased that he may very well be involved with the Michael Bay-produced “Ninja Turtles” reboot. “I can’t say anything,” Ice grinned when asked if he would be involved with the return of the Turtles. “I know that they’re not from the sewers now. They’re aliens now or something.” Ice, who famously performed “Ninja Rap” in “Teenage Mutant Ninja Turtles II: The Secret of the Ooze,” is a committed fan of Splinter’s reptilian warriors. Like, seriously committed, to the extent that he’s tattooed their likeness to his own shin. “I don’t mess around,” he said of his “TMNT” pride. “I’m still a Ninja Turtles fan.” And to that end, Ice said he’s very much interested in continuing his relationship with the fan-favorite franchise. Whether or not he’s actually involved with Bay’s planned reboot remains a mystery for now, but the rapper is wide open to the possibility at the very least. “Absolutely,” he said when asked if he’d want to join in on the new-age “Turtles” fun. “I’d get a tattoo of it. I’d be all over that. Aliens, sewers, whatever: They’re still Ninja Turtles, and I’m a ninja, so I get in where I fit in.” Head over to MovieAwards.MTV.com to vote for your favorite flicks now! The 21st annual MTV Movie Awards air live this Sunday, June 3, at 9 p.m. Related Videos Behind The Scenes At The 2012 MTV Movie Awards Related Artists Vanilla Ice
Young Money’s Mack Maine tells MTV News: ‘They said they’ll give him some tickets on the front row behind, but [not] courtside.’ By Rob Markman Lil Wayne Photo: Frank Micelotta/ Getty Images All Lil Wayne wanted to do is take in an NBA playoff game with his buddies, but on Thursday night (May 31) the Oklahoma City Thunder started baller blockin’. “Was going to go to the Thunder game tonight but was denied by the team to be in their arena. Wow. Smh. Go Spurs,” Weezy tweeted just hours before tip-off. Tunechi is a noted L.A. Lakers fan, but his friend and manager Cortez Bryant is a San Antonio Spurs die-hard, so Weezy thought he’d treat his buddy to a game — that is until OKC brass spoiled his plans. It was Young Money President Mack Maine who tried to score the tickets through a broker, but securing the seats proved to be difficult. “He finally just let me know, they not really tryin’ to sell tickets to him,” Mack Maine told MTV News minutes after the playoff game ended. “They said they’ll give him some tickets on the front row behind, but they’re not really tryin’ to have him sittin’ courtside.” Then things got even weirder Mack, told us. “Then they also sent a message back sayin’ the OKC policy was no special parking and no escort, so he gotta walk in like everybody else,” he explained. “Why would you actually want to cause pandemonium? That’s gonna make it harder for your security.” Mack explained that he and Weezy were just concerned about their safety and the safety of the fans. It’s hard to imagine that the multiplatinum superstar could just slip in and out of an arena unnoticed. “We’re not no prima donnas, but that’s just common sense, for our safety and the safety of your building,” the Billionaire Minds rapper said. “We were basically just tryin’ to take our brother to the game.” Chances are Tez wouldn’t have enjoyed himself anyway, as his beloved Spurs lost to the Thunder in a blowout, 102-82. “Yeah it worked out perfect anyway,” he said. Related Artists Lil Wayne
‘Look out for the unexpected when it comes to her,’ Gaga’s co-manager says of the follow-up to Born This Way. By James Montgomery Lady Gaga Photo: Jason Kempin/ Getty Images If there’s one positive that Lady Gaga fans can take from her decision to cancel a June 3 concert in Indonesia , perhaps it’s this: at least she’ll have more time to work on her album. Yes, though she’s currently in the midst of a two-year world tour, Gaga is already hard at work on the follow-up to 2011’s Born This Way and, according to her co-manager, she’s going to push the boundaries even further this time around (which is sure to please those Indonesian Islamic groups ). “There’s a lot of work to come, [I’m] very excited about it,” Vincent Herbert revealed in a new interview with website That Grape Juice. “[It’s] just [an] insane, great record. She’s on tour right now, but it’s just going to be a great record. Look out for the unexpected when it comes to her. We’re doing it on the road right now, so it’s a little hard, but it’s going to be great.” Herbert wouldn’t reveal specifics — tentative release date, title, who she’s been working with, etc. — about the new album, but the news that she’s recording on the road is actually in keeping with the way she began work on Born This Way, when standout tracks like “Marry The Night” took shape with producer Fernando Garibay during her long-running Monster Ball Tour. “I just kind of got on the American leg of the tour … and she goes, ‘I want to write another song that can define where I’m at with this album and my life,’ ” Garibay told MTV News last year. “I go back to the studio bus; I’m just working on parts … and then, two hours later, she comes offstage and she goes, ‘Do you have something to play me?’ And I go, ‘I do, actually.’ “So I played her the instrumental for ‘Marry the Night,’ and she goes, ‘Open up a mic,’ ” Garibay continued. “She starts laying down the whole song, like, off the cuff … right off the stage, using the energy of that crowd and going into the studio, it was amazing. I can’t compare it to anything.” What do you hope the Born This Way follow-up will sound like? Tell us in the comments section! Related Artists Lady Gaga
‘Look out for the unexpected when it comes to her,’ Gaga’s co-manager says of the follow-up to Born This Way. By James Montgomery Lady Gaga Photo: Jason Kempin/ Getty Images If there’s one positive that Lady Gaga fans can take from her decision to cancel a June 3 concert in Indonesia , perhaps it’s this: at least she’ll have more time to work on her album. Yes, though she’s currently in the midst of a two-year world tour, Gaga is already hard at work on the follow-up to 2011’s Born This Way and, according to her co-manager, she’s going to push the boundaries even further this time around (which is sure to please those Indonesian Islamic groups ). “There’s a lot of work to come, [I’m] very excited about it,” Vincent Herbert revealed in a new interview with website That Grape Juice. “[It’s] just [an] insane, great record. She’s on tour right now, but it’s just going to be a great record. Look out for the unexpected when it comes to her. We’re doing it on the road right now, so it’s a little hard, but it’s going to be great.” Herbert wouldn’t reveal specifics — tentative release date, title, who she’s been working with, etc. — about the new album, but the news that she’s recording on the road is actually in keeping with the way she began work on Born This Way, when standout tracks like “Marry The Night” took shape with producer Fernando Garibay during her long-running Monster Ball Tour. “I just kind of got on the American leg of the tour … and she goes, ‘I want to write another song that can define where I’m at with this album and my life,’ ” Garibay told MTV News last year. “I go back to the studio bus; I’m just working on parts … and then, two hours later, she comes offstage and she goes, ‘Do you have something to play me?’ And I go, ‘I do, actually.’ “So I played her the instrumental for ‘Marry the Night,’ and she goes, ‘Open up a mic,’ ” Garibay continued. “She starts laying down the whole song, like, off the cuff … right off the stage, using the energy of that crowd and going into the studio, it was amazing. I can’t compare it to anything.” What do you hope the Born This Way follow-up will sound like? Tell us in the comments section! Related Artists Lady Gaga
‘The boy is talented, and you can’t take talent away. He’s a bona fide entertainer,’ veteran singer tells MTV News. By Nadeska Alexis, with reporting by Sway Calloway Chris Brown Photo: Noel Vasquez/ Getty Images Bobby Brown has been on the road with New Edition over the past few months for the group’s 30th anniversary tour, and as the veteran entertainer gets ready to drop his fifth album, The Masterpiece, he’s showering praise on contemporary stars like Chris Brown, Trey Songz and Usher who have furthered his R&B legacy. During the height of New Edition’s popularity in the ’80s, Brown cemented a bad-boy image that stuck with him throughout the years, sometimes to his detriment. The new generation of R&B singers have faced their own unique challenges after being thrust into the spotlight, and maybe none as obvious as Chris Brown. Still, Bobby Brown thinks the young star isn’t doing too badly for himself. “He’s good; he’s a church boy compared to me,” Brown told MTV News matter-of-factly. “Chris Brown is incredible. [He’s] an incredible dancer, incredible singer. I respect him a lot because he’s held his head up throughout everything that he’s been through,” Brown said, addressing the singer’s much-publicized assault case against ex-girlfriend Rihanna. “He’s only been through a little bit, but the boy is talented and you can’t take talent away. Talent is given from God, you can’t learn what he does. He’s a bona fide entertainer and he should be respected.” Despite the setbacks Chris Breezy has faced, Bobby Brown is confident that he has what it takes to stick around in the long run. “He’s still young and he’s got a long way to go. I’m 30 years deep into this entertainment thing and I could see him 30 years from now, still doing what he does — flipping and singing and dancing,” Brown continued. “And now he’s getting ready to do a movie, so he’s covering the spectrum of entertainment.” Chris isn’t the only millennial entertainer who gets praise from Bobby Brown, though. “Trey Songz is definitely a talented brother, he’s a talented writer, talented singer,” he adds. “I just love the new generation of R&B singers, I think they’re upholding what entertainment is about. I got it from Rick James and Michael Jackson, and I’m just grateful that they’re taking what I love, what I’m passionate about, to the next level and keeping it young and fresh.” Usher, who will release his new album, Looking 4 Myself, just one week after The Masterpiece drops on June 5, is also on top of the list. “Before Usher even had a record out, I was training him, I’m surprised I didn’t put him out,” Brown said. “I worked with him a lot, teaching him different ways of training your body to dance and I’m proud of him. I’m glad he kept everything together.” Brown will continue his mission to entertain the masses with The Masterpiece , which is his first album in 14 years. And although he’s got respect for the new crop of singers, he maintains that he needed to fly solo this time around. “This project is about me as an individual and me as far as growth in my life, so I didn’t really want to go all commercial with it, and to make it something that became a spectacle.” Brown admitted. “This is all about Bobby right now. It’s just to get this off my heart and once this is released and people are able to hear it and appreciate it, then I can move forward with my life.” The The Masterpiece , is set for release on June 5, led by the single “Don’t Let Me Die.” Do you agree with Bobby Brown’s praise of Chris Brown? Leave your comment below! Related Artists Chris Brown Bobby Brown
Mac gives MTV News his take on ‘The Baddest,’ amateur rapper Krispy Kreme’s viral video that features a shout-out of sorts to the Pittsburgh MC. By Rob Markman Mac Miller Photo: MTV Internet sensations come and go, sometimes with no rhyme or reason. Though they may be elementary, rapper Krispy Kreme has rhymes; it’s the reasoning behind “The Baddest,” his viral video that has folks scratching their heads. The clip has amassed more than a million views on YouTube since the end of April. In it, Kreme raps in his basement, bragging of his street cred and sexual prowess, all while brandishing a fake pistol. His partner, Money Maker Mike, doesn’t say a word; instead he just stares into the camera, holding a pellet rifle, wearing a light blue Mac Miller T-shirt. When MTV News caught up with Mac Miller , we asked what he thought of the clip he makes a sort of cameo in. “I don’t know, but that sh– is hilarious though,” he said. “That’s my artist. Sike, I’m just playin’. “I don’t know if he’s serious or not, but the dude with the Mac Miller shirt on has the rifle from ‘A Christmas Story’ aimed at the camera all the time and that was tight,” Mac said hours before he performed at the Bamboozle Music Festival on May 18. Clearly a parody, a snot-nosed Kreme taunts, “I bet I got more money than Jay-Z/ Compared to me Jay-Z is lazy/ Plus Beyonc— thinks that I’m cute/ It’s OK, Beyonc—, I think you’re cute too.” Krispy’s second video , “Haters Wanna Be Me” features more of the same tomfoolery. “I been shot about 500 times and I’ve done about one million crimes,” he spits in a slow, amateur drawl. Once again Money Maker Mike appears in that same Mac Miller tee. “That type of sh– is cool to me because I’m like, ‘Man I’m really makin’ it when random big videos on YouTube, they’re wearing my clothes,” the Blue Slide Park MC said. “That’s hella promotion for my clothes.” What do you think of Kripsy Kreme’s “The Baddest” video? Let us know in the comments! Related Photos Bamboozle Festival Performances Related Artists Mac Miller
Despite rumors that the track takes aim at Weezy and Drake, producer Rico Beats says they weren’t part of the conversation. By Rob Markman Pusha T in his “Exodus 23:1” video Photo: Universal If Pusha T intended to dis anyone on his “Exodus 23:1” single, the track’s producer, Rico Beats, wasn’t aware. “Honestly, when we were in the room listening to that record, I didn’t hear none of these guys’ names brought up,” Rico told MTV News on Wednesday of rumors that Pusha was taking shots at Drake and Lil Wayne on the track. “It was none of that. Dream got in his zone and he went in the booth. Pusha got his pen, like I didn’t hear nobody mentioned.” On the track, the Clipse rapper spits, “You signed to one n—a, that’s signed to another n—a, that’s signed to three n—as now that’s bad luck,” a verse that many fans thought targeted the two rappers and their YMCMB squad. Wayne took immediate offense to the song, tweeting, “F– pusha t and anybody that love em,” and firing back with a dis song “Ghoulish” two days after. But before making the beat for “Exodus 23:1,” Rico says that the only instruction he received from Pusha was to make him something with a dark sound. He immediately went to work found inspiration in Notorious B.I.G.’s 1997 underground favorite “What’s Beef,” which he sampled from and then built his sounds around. “Pusha kept tellin’ me, ‘I need something dark, man. The album sounds crazy, but I still need somethin’ for my fans’. So I was like, ‘I got you, give me by six o’clock,’ ” Rico recalled. “I went down to the studio and I was just listening to Biggie. I was just playin’ pure Biggie. So [“What’s Beef”] came on and once I heard [B.I.G.’s] ‘ha-ha-ha-ha’ [vocal] I was like, ‘Oh sh–‘.” If Pusha’s “Exodus” left things up to interpretation, Weezy’s dis did not. On “Ghoulish,” Tunechi took direct aim with lines like “Brrrr, what happened to that boy/ He was talkin’ sh– we put a clappin’ to that boy” making direct reference to Birdman and Pusha’s 2002 single “What Happened to That Boy.” Rico, a Brooklyn native, says he hasn’t heard Wayne’s record in its entirety, but did admit that it was playing in the background during a Memorial Day weekend barbecue. And while he doesn’t know whether Pusha plans to respond, the producer confirmed that he and the Virginia lyricist will collaborate more in the future, as he is slated to produce about half of Pusha’s next solo album. What do you think of Rico Beats’ “Exodus 23:1” beat? Let us know in the comments Related Artists Pusha T Lil Wayne
Pair, who recently collaborated on Drake’s ‘Take Care,’ allegedly took part in some dirty dancing at Liv nightclub. By Jocelyn Vena Photo: Kevork Djansezian/ Getty Images Rumor has it that Rihanna and her onetime paramour and frequent collaborator Drake got their dance on while clubbing together in Miami on Sunday night. According to an onlooker, their dancing got somewhat dirty while they partied at Miami’s Liv nightclub. The source told Usmagazine.com that the twosome got “hot and heavy” while out together, saying, “Rihanna was all over Drake this weekend. They were holding hands and dancing all close on the dance floor.” This is hardly the first time these two have sparked romance rumors. They briefly dated in 2009, but the relationship fizzled from romance to friendship. Since their platonic transition, they have collaborated on several hit tracks including Rihanna’s “What’s My Name?” and most recently Drizzy’s “Take Care.” They even steamed up the videos for both tracks by playing lovers. “We weren’t really sure what it was,” Rihanna told Elle magazine in 2011 about her relationship with the MC. “I definitely was attracted to Drake , but I think it is what it is, like what it was. We didn’t want to take it any further. It was a really fragile time in my life, so I just didn’t want to get too serious with anything or anyone at that time.” While it seems the twosome have since moved on from their ’09 fling , at the time, Drake had some strong emotions about the breakup. “She’s just such an overwhelming and incredible person,” Drake said. “And such a talented person and someone that I was like, ‘I can’t believe I’m here talking to this individual,’ that she just gave me that feeling like when I was 17 years old trying to take Nikki Ramos, this girl from Toronto, out on a date and she never wanted to go with me. She never would go; she would have a million excuses why she couldn’t talk to me. That’s how [Rihanna] made me feel, she made me feel small; she made me feel nervous. It just put me back to the Acura in Toronto, feeling like Aubrey Graham, not Drake.” Related Artists Rihanna Drake
With the band (apparently) calling it quits after 25 years, Bigger Than the Sound offers a eulogy. By James Montgomery Dean Ween Photo: Chris McKay/ WireImage In my review of Ween ‘s 2007 album La Cucaracha (which also happens to be the last time they were mentioned on this website), I referred to them as “musical cockroaches,” the kind of scurrying, scrounging band that — much like the titular (and totally gross) arthropod on the record’s cover — was capable of surviving nuclear holocausts and subsisting on a bar of soap for weeks at a time. “In essence, Ween are indestructible,” I wrote. “They will be here long after you and I are gone.” It turns out, I was wrong about that last point. Because on Tuesday, Aaron Freeman, better known to bong-rippers and Scotchgard-huffers everywhere as Gene Ween, told Rolling Stone that he was retiring the mantle and ending Ween, saying, simply, “It’s been a long time; 25 years. It was a good run.” Of course, this apparently came as a surprise to Freeman’s partner for the past quarter-century, Mickey “Dean Ween” Melchiondo, who reportedly wrote on his private Facebook page that the band’s breakup “is news to me, all I can say for now I guess.” There’s been no official announcement on Ween’s site , and as late as 2010, the duo were talking about entering the studio to begin work on the follow-up to Cucaracha, though, from the sound of things, those sessions probably didn’t go all that well … if they ever happened at all. But if this really is the end of the band, well, most fans probably saw it coming. After an infamous onstage meltdown at a Ween show last year, Freeman entered rehab (and just released a solo album, Marvelous Clouds ), and in recent years, Melchiondo has devoted most of his time to his side-job as a fishing guide (he describes himself as both a “pretty good conversationalist” and “fully insured”). Still, none of that makes the news any less of a bummer, especially for folks like me, who grew up with Ween, got sh–faced at their live shows — a genuine rite of passage for any fan — spent endless smoky nights dissecting their wildly divergent back catalog and, as a result, would go on to process popular music through their own uniquely cracked spectrum. Freeman is right: It was a good run. And that’s why it’s taken me almost a day to write this column. After all, how does one encapsulate their 25-year career, which began in eighth-grade typing class and has encompassed tape-machine schlock, bizarre, brain-addled semi-hits — 1993’s “Push Th’ Little Daisys” — critical acclaim and Pizza Hut commercials (and master classes in old-school country & western, nautical prog, Beatles-y psych, Buffett-y calypso and, uh, Philly Soul, to name just a few of the dozens of genres they’ve skewered)? Because of all that, they most certainly rank up there as one of weirdest acts of all time, earning their rightful place alongside the likes of Zappa, Spike Jones, Screamin’ Jay Hawkins and Captain Beefheart … though, to me, Ween were always something more: They were an entry point to all that oddity, the first of their kind. The moment I heard “Dr. Rock” or “The Stallion, Pt. 1” (from 1991’s The Pod ), I could practically feel my musical consciousness being expanded, and from that moment on, everything was different. In a lot of ways, Ween made me. I followed them through every twist and turn, often as puzzled as I was delighted ( 12 Golden Country Greats and The Mollusk remain two of my favorite albums ever). But through it all, Ween remained an important band for me, an old favorite, a reminder of the good times when I didn’t know better and when it was socially acceptable to wear basketball shorts and sit cross-legged in smoky dorm rooms all day long. And while nothing I write can effectively eulogize them, I do think that, in closing, it’s important to defend them in one regard: No matter what anyone tells you, Ween were never a “joke” band. They were a terrific band, one adept at doing anything — mostly because they wanted to — and brilliant enough to carry it out to the nth degree. The attention to detail on albums like White Pepper or Mollusk was the kind of thing only true musicians (and music aficionados) could muster — if Ween were gonna do a prog record, you’d better believe it was gonna sound like a prog record — and that held true to the very end. On what might very well end up being their final album track (the smooth-jazz-slaying “Your Party,” from La Cucaracha ), not only did they nail the buttocks-clenching uprightness of the genre, but they went out and got none other than David Sanborn to play satin-sheet sax on the thing. That goes beyond mere humor; it’s pure genius. And that’s what Ween were, to me, and to a whole lot of other people too: musical geniuses. They just managed to hide it for 25 years — though those of us who worship at the altar of the Boognish knew otherwise. Ween may not have lasted forever, but the memories they’ve soundtracked certainly will. It’s a Brown day, indeed. Related Artists Ween
With the band (apparently) calling it quits after 25 years, Bigger Than the Sound offers a eulogy. By James Montgomery Dean Ween Photo: Chris McKay/ WireImage In my review of Ween ‘s 2007 album La Cucaracha (which also happens to be the last time they were mentioned on this website), I referred to them as “musical cockroaches,” the kind of scurrying, scrounging band that — much like the titular (and totally gross) arthropod on the record’s cover — was capable of surviving nuclear holocausts and subsisting on a bar of soap for weeks at a time. “In essence, Ween are indestructible,” I wrote. “They will be here long after you and I are gone.” It turns out, I was wrong about that last point. Because on Tuesday, Aaron Freeman, better known to bong-rippers and Scotchgard-huffers everywhere as Gene Ween, told Rolling Stone that he was retiring the mantle and ending Ween, saying, simply, “It’s been a long time; 25 years. It was a good run.” Of course, this apparently came as a surprise to Freeman’s partner for the past quarter-century, Mickey “Dean Ween” Melchiondo, who reportedly wrote on his private Facebook page that the band’s breakup “is news to me, all I can say for now I guess.” There’s been no official announcement on Ween’s site , and as late as 2010, the duo were talking about entering the studio to begin work on the follow-up to Cucaracha, though, from the sound of things, those sessions probably didn’t go all that well … if they ever happened at all. But if this really is the end of the band, well, most fans probably saw it coming. After an infamous onstage meltdown at a Ween show last year, Freeman entered rehab (and just released a solo album, Marvelous Clouds ), and in recent years, Melchiondo has devoted most of his time to his side-job as a fishing guide (he describes himself as both a “pretty good conversationalist” and “fully insured”). Still, none of that makes the news any less of a bummer, especially for folks like me, who grew up with Ween, got sh–faced at their live shows — a genuine rite of passage for any fan — spent endless smoky nights dissecting their wildly divergent back catalog and, as a result, would go on to process popular music through their own uniquely cracked spectrum. Freeman is right: It was a good run. And that’s why it’s taken me almost a day to write this column. After all, how does one encapsulate their 25-year career, which began in eighth-grade typing class and has encompassed tape-machine schlock, bizarre, brain-addled semi-hits — 1993’s “Push Th’ Little Daisys” — critical acclaim and Pizza Hut commercials (and master classes in old-school country & western, nautical prog, Beatles-y psych, Buffett-y calypso and, uh, Philly Soul, to name just a few of the dozens of genres they’ve skewered)? Because of all that, they most certainly rank up there as one of weirdest acts of all time, earning their rightful place alongside the likes of Zappa, Spike Jones, Screamin’ Jay Hawkins and Captain Beefheart … though, to me, Ween were always something more: They were an entry point to all that oddity, the first of their kind. The moment I heard “Dr. Rock” or “The Stallion, Pt. 1” (from 1991’s The Pod ), I could practically feel my musical consciousness being expanded, and from that moment on, everything was different. In a lot of ways, Ween made me. I followed them through every twist and turn, often as puzzled as I was delighted ( 12 Golden Country Greats and The Mollusk remain two of my favorite albums ever). But through it all, Ween remained an important band for me, an old favorite, a reminder of the good times when I didn’t know better and when it was socially acceptable to wear basketball shorts and sit cross-legged in smoky dorm rooms all day long. And while nothing I write can effectively eulogize them, I do think that, in closing, it’s important to defend them in one regard: No matter what anyone tells you, Ween were never a “joke” band. They were a terrific band, one adept at doing anything — mostly because they wanted to — and brilliant enough to carry it out to the nth degree. The attention to detail on albums like White Pepper or Mollusk was the kind of thing only true musicians (and music aficionados) could muster — if Ween were gonna do a prog record, you’d better believe it was gonna sound like a prog record — and that held true to the very end. On what might very well end up being their final album track (the smooth-jazz-slaying “Your Party,” from La Cucaracha ), not only did they nail the buttocks-clenching uprightness of the genre, but they went out and got none other than David Sanborn to play satin-sheet sax on the thing. That goes beyond mere humor; it’s pure genius. And that’s what Ween were, to me, and to a whole lot of other people too: musical geniuses. They just managed to hide it for 25 years — though those of us who worship at the altar of the Boognish knew otherwise. Ween may not have lasted forever, but the memories they’ve soundtracked certainly will. It’s a Brown day, indeed. Related Artists Ween
