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Robert Pattinson Relishes Kristen Stewart’s Contact-Lens Discomfort

Stewart didn't understand why her co-star complained about his 'Twilight' vampire contacts until she had to wear her own.
By Kevin P. Sullivan, with reporting by Josh Horowitz

Robert Pattinson in "Breaking Dawn"
Photo: Summit Entertainment

Aside from ending what has been roughly five years of hard work and incredibly pale skin, "Breaking Dawn" brought a different type of satisfaction to Robert Pattinson. The end of the "Twilight Saga" meant that his co-star Kristen Stewart would finally understand the pain he's had to endure the entire time they've spent shooting the films.

It's not a great spoiler to say that Stewart's Bella will become a bloodthirsty, red-eyed vampire at some point during the two-part finale, whose first installment opens on November 18. This has been a long time coming for Bella, the fans and, it turns out, Pattinson.

Getting into character meant a change of eye color for Stewart and some vindication for her co-star. In the nicest way possible, Pattinson explained to MTV News' Josh Horowitz that knowing Stewart would have to experience the discomfort of his vampire contact lenses was "a great feeling."

Stewart had her own set of contacts to wear as the human version of Bella to turn her eyes brown, but those apparently did not hurt, unlike the gold contacts that Pattinson had worn since the beginning of the series. "She's like, 'I wear contact lenses. Why do you always complain about yours?' " Pattinson said.

When Stewart finally did change into her vampire eyes, Pattinson got what he had been waiting for. "When she finally wore them and then was complaining about them every second of the day," he admitted, "it was kind of satisfying."

Check out everything we've got on "The Twilight Saga: Breaking Dawn - Part 1."

For young Hollywood news, fashion and "Twilight" updates around the clock, visit

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Kate Bush Preps Live Album of 2014 London Residency

Kate Bush will release a new live album, Before the Dawn, which captures the titular three-act show she performed during her 22-day residency at London's Hammersmith Apollo in 2014. The LP arrives November 25th via Concord/Fish People.

Before the Dawn is split into three discs, one for each set of the live show. The first boasts seven hits from throughout Bush's career, the second centers around Bush's seminal 1985 LP, Hounds of Love, while the third features selections from her 2005 double album, Aerial, and includes an unreleased song, "Tawny Moon." 

Bush has also released her performance of Aerial's sprawling "Prologue," which slowly builds from a delicate piano ode into an rousing orchestral ballad.

Before the Dawn will be available to pre-order as both a three-CD set or four-LP vinyl set. 

Bush's "Before the Dawn" residency marked the reclusive British singer's first live performances in 35 years. "I was really delighted that the shows were received so positively and so warmly, but the really unexpected part of it all was the audiences," she wrote after the residency. "Audiences that you could only ever dream of. One of the main reasons for wanting to perform live again was to have contact with that audience. They took my breath away."

As for Bush's studio output, the singer has been silent since releasing two albums in 2011, Director's Cut — a collection of reworked songs from The Sensual World and The Red Shoes — and 50 Words for Snow

Before the Dawn Track List

1. "Lily"
2. "Hounds Of Love"
3. "Joanni"
4. "Top Of The City"
5. "Never Be Mine"
6. "Running Up That Hill"
7. "King Of The Mountain"

CD 2
1. "Astronomer’s Call (Spoken Monologue)"
2. "And Dream Of Sheep"
3. "Under Ice"
4. "Waking The Witch"
5. "Watching Them Without Her (Dialogue)"
6. "Watching You Without Me"
7. "Little Light"
8. "Jig Of Life"
9. "Hello Earth"
10. "The Morning Fog

CD 3
1. "Prelude"
2. "Prologue"
3. "An Architect’s Dream"
4. "The Painter’s Link"
5. "Sunset"
6. "Aerial Tal"
7. "Somewhere In Between"
8. "Tawny Moon"
9. "Nocturn"
10. "Aerial"
11. "Among Angels"
12. "Cloudbusting"

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Lewis Merenstein, Van Morrison’s ‘Astral Weeks’ Producer, Dead at 81

Lewis Merenstein, producer on Van Morrison's classic Astral Weeks and Moondance LPs, died Tuesday from complications due to pneumonia. He was 81. Merenstein's daughter Ilene confirmed his death to Rolling Stone. Merenstein's death was first reported by Ryan Hamilton Walsh.

An associate of famed Columbia Records producer Tom Wilson, Merenstein worked largely with jazz musicians until he was approached by Morrison's label Warner Bros. in 1968 to work on the Irish singer's new LP.

"Warner Bros. had contacted Bob Schwaid [Morrison's manager at the time], and he contacted me. And they had sent some producers, and they didn't know what he was talking about; people went up expecting to hear 'Brown Eyed Girl,' because the year before he had had 'Brown Eyed Girl' on Bang Records and that's what he was last known for," Merenstein told Dark Forces Swing Blind Punches in 2009.

"And I went up and it was at Ace Recording Studio at 1 Boylston Place, and there was Van Morrison, very timidly sitting on a stool and I came in very timidly sitting on a stool and he played!," Merenstein added. "And the first tune he played was 'Astral Weeks.' Thirty seconds into it, my whole being was vibrating, because having spent all that time with jazz players, when he was playing, I could hear—the lyric I got right away; I knew he was being reborn. I heard 30 seconds, a minute and it went right through me, and I got the poetry of it. It was just stunning, and I knew I wanted to work with him at that moment."

Thanks to his jazz background, Merenstein is also credited with assembling and surrounding Morrison with the expert backing band – bassist Richard Davis (who Merenstein called "the soul of the album"), guitarist Jay Berliner, percussionist Warren Smith Jr. and drummer Connie Kay – that gave Astral Weeks its distinctive, ethereal sound.

"It was just beautiful, just beautiful," Merenstein said of the Astral Weeks sessions. "I forget if we did one take, two takes, how many times I may have interrupted it and asked the band to soften it up a little bit and maybe move the tempo a little bit. Van had nothing to say. He just went and sang the song. That's primarily the way the album preceded."

Although not a commercial success at the time of its release – it took 33 years for the album to go gold – Astral Weeks has since been recognized as one of the greatest artistic statements in music, landing on Rolling Stone's list of the 500 Greatest Albums along with its 1970 follow-up Moondance, with Merenstein serving as executive producer on that LP.

Merenstein is also credited as producer on albums like John Cale's Vintage Violence, Spencer Davis Group's Funky and Cass Elliot's 1972 self-titled LP.

Merenstein is survived by his brother Noel, daughters Ilene and Emma Terese, grandchildren Kyle and Devyn and son-in-law Linkoy.

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Max and Iggor Cavalera Talk Revisiting Sepultura’s ‘Roots’ for Tour

Released in 1996, Sepultura's sixth album, Roots was a major step forward for the Brazilian metal band — artistically, conceptually and commercially. The Ross Robinson-produced record featured lyrics about Brazil's tumultuous history and culture, and combined down-tuned nü-metal-style riffs with Brazil's rhythms and folk instruments. The band even ventured into the heart of their country to collaborate on a track with musicians from the Xavante tribe.

But while Roots was a critical and chart success, it would also be the final Sepultura record with leader Max Cavalera on vocals and guitar. Tensions between the rest of the band – which included his younger brother Iggor on drums – and their manager Gloria Bujnowski (who also happened to be Cavalera's wife) caused Max to leave Sepultura following their December 16, 1996 show at London's Brixton Academy. His abrupt departure precipitated a 10-year feud between the Cavalera brothers, who'd co-founded the band in 1984. Max went on to form Soulfly, Iggor would remain with Sepultura for another decade.

Thankfully, that's now all water under the bridge: The Cavalera brothers reconciled in 2006, and have since recorded three acclaimed albums together as the Cavalera Conspiracy. And now, in celebration of the 20th anniversary of Roots' release, they're joining forces for the Return to Roots tour, which will see the brothers performing the album in its entirety with the help of Cavalera Conspiracy guitarist Marc Rizzo and bassist Johny Chow. The tour, which kicks off September 12th in Las Vegas, will also see the band employing some of the same stage props (including the original Roots backdrop) that Sepultura used during their 1996 tour.

"We are very much looking forward to this," Max tells Rolling Stone. "I think it's going to be a blast. If you never saw the real thing, this is the closest you're going to get to it!" We caught up with the brothers to find out what fans can expect.

When did you come up with the idea to do this tour?
Max Cavalera: I did a Soulfly show in England last year, and Iggor was living there. We jammed "Roots Bloody Roots," and the place went nuts; it was wild! And I remember Gloria backstage talking to us; she was like, "I think you guys should do the whole record. I think it would be great!" I looked at Iggor and said, "I think we can do it!" And Iggor was like, "Yeah, I think we can do it, too!" There's a lot of cool stuff on it that we've never played live, not even when we were on tour for it. So we have the chance to do that now, and it's killer.

Iggor Cavalera: It is quite exciting, and for me it's quite a challenge. When you go on tour and play a record from start to finish, you're not just thinking of how to make a setlist; it's like the audience is listening to the whole record, but they're also watching you play it.

Roots is a groundbreaking record. What was your concept going into the recording?
Max: I remember being very happy with what we'd achieved with [1993's] Chaos A.D., especially concerning the percussion. I loved what Iggor brought to the table on Chaos, like on "Refuse/Resist" — it's like a real traditional Brazilian pattern that he plays on the beginning — and on [the acoustic instrumental] "Kaiowas." I think Roots actually started on Chaos A.D., you know? I think we just took one step further by doing an album that looked back on our own culture, and really explored some of the fundamental Brazilian music that was before samba, before bossa nova – the actual Indian music that has been there since 500 years ago, or whatever. 

How did your recording session with the Xavante tribe come about?
Max: Oh, that was crazy, man! I was watching this movie At Play in the Fields of the Lord, and it gave me the idea. [Gloria] just laughed and said, "You're not Michael Jackson – you don't have that kind of money!" And I was like, "No, we make it happen!" We started making contacts; I contacted this lady who was the head of the Indian affairs in Brazil, and she was very, very helpful. My original idea was to record with the Kayapós, but the Kayapós don't want nothing to do with white people – if we went in there, we'd end up killed, we'd end up cannibal soup! [Laughs.] So she suggested the Xavantes, who live in the very center of the country, and that was great. It was almost like metal meets National Geographic expedition, really wild! We had a generator to record the stuff, an eight-track or 12-track that Ross brought, and we just hung out with them for three days. We got painted, and listened to their music, and we played some of our music for them.

So they were very accepting of you?
Iggor: The great thing about the Xavantes is that they were really open-minded about working with a bunch of crazy kids who were also from Brazil, but who came from a completely different background. The only thing we wanted to do was play music together, and I think that really captivated them in a very positive way – rather than us going there and promising to help, like all the politicians who have been there in the past. For us, it was just like, "We want to make music together! We want to record this to expand it to the rest of the world!" At the time, we had no idea how they wrote their music; we found out that the only way they write their music is through their dreams – so if they don't dream a song, it doesn't get written. Stuff like that, for us, it was mind-blowing!

Max: I remember the little tribal kids, they were fascinated by our tattoos. This one little kid, he was trying to erase my tattoo – he kept spitting on his hand and then rubbing on my tattoo to see if it would come off. I'm looking at him, saying, "It doesn't come off, man! This is forever!" That kind of exchange with them was really cool. In Brazilian society, metal people like us are looked at with prejudice; if you're on the bus, sometimes somebody won't sit by you because you're a metalhead. It's fucked up, you know? But that doesn't happen in the tribe. They are curious, but they have no prejudice, which was great.

You also recorded "Lookaway" with Jonathan Davis and Mike Patton. What was that experience like?
Iggor: I'd been friends with Mike forever, and we always tried to collaborate together on different projects. … He delivered an amazing, totally Mike Patton thing, where he totally goes off using his voice as an instrument.

Max: I remember the first day that he showed up in the studio, he had a briefcase with him. I was like, "What's in the briefcase, Mike?" And he said, "This is what I need to record!" He opened it up, and there was some kind of vocal delay effects box in there, and a bottle of red wine! [Laughs.] That was just so cool – it was like a 007 thing!

Which are some of the songs that you'll be playing live for the first time on this tour?
Max: "Lookaway," of course. We won't have Mike and Jon there for it, but I think we can still do a really cool version live, because the riff is real heavy and real catchy. And Iggor suggested that we do "Itsári" together with the playback of the original recording from the tribe. And then there's some other stuff like "Ambush" and "Dictatorshit" that I don't think we've ever really played live.

Iggor: We've been working with using a lot of samples through my drum machine, so I think part of "Canyon Jam" [the album's 13-minute hidden instrumental closing track] is definitely going to be in the show, but we don't want it to be something where we're just sitting there listening to it – we have to participate, somehow, by adding stuff to it. It's another cool challenge that I'm looking forward to trying out with the guys.

Marc and Johny from Cavalera Conspiracy are going out with you on the tour. How is it playing this album with them?
Iggor: For me and Max, it's about having people that we love on the road with us. Marc, he was like a massive Sepultura fan from day one, so it's been easy for him; Johny, he had to go deep into the record to learn everything. But really, it's about enjoying ourselves, and having a nice time; that's why we chose those two guys to do this with us.

Max: Also, they are very capable musicians. Marc is a guy that can play everything perfectly note-for-note, and he even puts his own spin on things that makes it even better. Same with Johnny. We want to go on the road with people we like, and that we can count on. When we created Cavalera Conspiracy, that was one of the things we talked about: How can we eliminate the stress factor that was present so many times in our career before and kind of ruined stuff for us. I remember being on the road with Roots and being so stressed out; so when the time came to do Cavalera with Iggor, I was like, "Let's have fun! Let's take the stress out of it!"

Will you guys be playing any other Sepultura songs on this tour?
Max: If there's time! [Laughs.] Roots is quite a long album; but I think on the headline shows, we probably can squeeze in some other cool stuff for the fans to hear.

Any thoughts about what's next? Another Cavalera Conspiracy record, maybe?
Max: I think as you can see, we don't really have a master plan – right now, we're telling you stuff that we don't even know! [Laughs.] This is just how we roll. 

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