In the midst of its sold-out, seven-night residency in New York, LCD Soundsystem has announced a similar sit-down in Los Angeles, with five nights scheduled for Nov. 17-21 at the Hollywood Palladium.

Monday's news coincides with the announcement that Columbia/DFA will release "American Dream," the reunited band's first album in seven years, on Sept. 1.

Following LCD’s run in New York, which continues through Saturday at the new Brooklyn Steel theater, the band will resume touring on July 12 in Ottawa, Ontario, and continue into December. 

Jay Z's new album, "4:44," will be a Tidal exclusive released June 30, he announced Monday along with the music service's partner, Sprint. 

A 30-second video tease to the record's first single, "Adnis," was released, starring "Moonlight" actor Mahershala Ali, who (coincidentally?) is also on the cover of the July issue of GQ. 

"Jay Z is a global icon," Marcelo Claure, Sprint president and CEO, said in a statement that included details on how to get six months of free Tidal access by switching mobile providers. 

Olympic legend and longtime Republican Caitlyn Jenner raised eyebrows over the weekend with a joke at the College Republican National Committee convention on Friday.

Though the event was closed to the press, video was posted to Facebook Live by the College Republican Federation of Virginia, which has since removed the post. 

"Nobody deserves what happened out there," Jenner said of Wednesday's shooting, in which four were injured by a gunman said to be targeting GOP lawmakers.

"Star Trek" is still living long and prospering with its newest fleet landing on CBS' streaming service in September.

"Star Trek: Discovery," a 15-episode prequel to the iconic adventures of Capt. Kirk, Spock and the Enterprise, will launch on CBS on Sept. 24. The first and second episode will be available for streaming that same night immediately following the broadcast premiere, CBS said in a statement Monday morning.

After that, new episodes of the sci-fi drama will be available to CBS All Access subscribers on demand on Sundays. The full season will be released in two chapters: The first eight episodes will run from Sept. 24 through Nov. 5, and the latter seven will resume in January.

On Sunday's "Last Week Tonight," John Oliver dug deep on President Trump's favorite industry, coal mining. 

The comedian scrutinized the president's repeated promises to bring back high-paying coal jobs to depressed areas like West Virginia and Kentucky. 

Setting aside the "fact that [coal] is environmentally catastrophic," Oliver argued that Trump is less concerned with helping coal miners than in bolstering the coal industry -- two groups whose interests do not always align. With assistance from a giant talking squirrel, naturally, he focused on "the divide that can exist between a coal company’s interests and those of its workers." 

I can't proceed as a human being and I certainly can't proceed as an artist if I focus on racism. I learned that from my mother early on, who did everything to keep her young children from being permanently scarred. From her I learned that the spirit is much bigger than man-made law.

FROM THE ARCHIVES: It's the Second Time Around for 'Mrs. Cosby'

Did you feel it? The sky recently (allegedly) gave way to the ninth and 10th wonders of the world. (Blue Ivy is the eighth, obviously.)

According to reports, Beyoncé has finally given birth to a set of twins. While neither the pop culture icon nor her mogul husband, Jay Z, have made public statements about the additions to their family, Beyoncé's father did post a confirmation of sorts to his Instagram early Sunday.

"Happy birthday to the twins! Love, Granddad," it reads with the caption "They're here!"

I don't know what shaped my outlook. I'm grasping at straws when I try to talk about it. But a lot of it probably has to do with my family. I think I got a good grounding. I can't even remember my parents having an argument. The biggest tragedy for me is that my mom died when I was 14.

FROM THE ARCHIVES: When he's 64

On what would've been Tupac Shakur's 46th birthday, Lionsgate-Codeblack released the long-gestating biopic “All Eyez on Me" pulling an estimated $27.1 million in its debut weekend. Though only a third-place finish, it far surpassed analyst expectations of $17 million to $20 million, an unsurprising feat considering the industry's historical inability to properly track films targeting black audiences.

“All Eyez on Me” follows the rise of Tupac, the Harlem-born hip-hop hit maker who, in just 25 years of life, came to define a generation through his music, acting and poetry before that fateful 1996 drive-by shooting. Starring first-time actor Demetrius Shipp Jr., a doppelganger for the “California Love” rapper, the film is titled after Tupac’s final album released before his death. It also stars Danai Gurira as his mother and former Black Panther Afeni Shakur, Kat Graham as Jada Pinkett (Smith) and Annie Ilonzeh as Kidada Jones.

A film that according to producer L.T. Hutton finally got made because of the massive success of 2015’s “Straight Outta Compton” — despite countless biopics about black musicians doing well at the box office before the film charting N.W.A’s rise — “All Eyez” is an audience favorite. Moviegoers (53% male; 62% 25 and older) gave the picture an A-minus CinemaScore. Just about every critic review however is negative, leaving the film, directed by Benny Boom and shepherded through a 20-year gestation period by former Death Row Record producer and Pac confidant Hutton, at a 24% Rotten Tomatoes rating.

It’s been noted that the director who gave us two of the most cherished underdog sagas in American movies remained, to the end, something of an underdog himself. John G. Avildsen may have secured his place in the Hollywood firmament with “Rocky” (1976) and “The Karate Kid” (1984), both fitting tributes to the importance of working hard, staying tough and keeping your eyes on the prize. But those soaring career highs stood out in a career that also encompassed high-profile duds, ill-advised sequels, Troma sexploitation flicks and a trio of Razzie nominations. It was not, to be sure, your typical Academy Award winner’s résumé.

But so what? Avildsen, who died on Friday at 81, was more uneven journeyman than exacting artist, the kind of director who gamely tried his hand at any number of genres, misfired often and seemed to stumble onto his successes almost by accident. But that lack of pretension — another word for it might be subtlety — made sense for a filmmaker who was, at his best, a master of the sturdy and the sentimental, who excelled at telling scrappy, emotionally generous stories about improbable winners, perpetual losers and everyone in between.

That so many of these characters spring so vividly to mind is a reminder that Avildsen, while not always inspired in his choice of material, had an often sure-handed touch with actors. Sylvester Stallone’s original appearance as Rocky Balboa, for all its endlessly imitable meathead toughness, seems all the more striking today for its delicacy. The performances given by Peter Falk in “Happy New Year” (1987), Molly Ringwald in “For Keeps?” (1988) and Morgan Freeman in “Lean on Me” (1989) rank among their personal bests.