News

The new single is a catchy tune with meaning – but it’s missing the magic. Ivy Levan turned heads towards her 2015 debut for her quirky image and not-from-this-world vocals. When I was first introduced to her, my friend told me he “[wasn’t] convinced she’s not a drag queen”, a reference to her over-the-top antics in visuals and deep, colorful voice. Her single “Biscuit” had attitude and sass with witchy visuals befitting the likes of 2011 Lady Gaga. All this is to say, Ivy Levan stood out. She was no run-of-the-mill pop star, even if her popularity didn’t show it. One of many interesting hair and style shots from the “Biscuit” video. Courtesy of coub.com.And after her album No Good’s August 2015 release, the music scene heard nothing from Ivy until last Friday. Her new single “Her” off an upcoming EP could have been her thunderous return to the music industry, and for about 10 seconds of the song, it seems to be just that. However, the production quickly loses energy, which would have been recoverable if it didn’t turn to half-time when the chorus hits. Ivy’s contributions to this song are fully to her standard, in my opinion. The melody is killer and her vocals are still serving the fresh colors of her debut. However, the instrumental unfortunately kills any momentum “Her” builds and makes it impossible to invest in. The stripped-down, “authentic” look from the “Her” music video. Courtesy of People Magazine.Even the video is strikingly minimalistic, and not to its advantage. Featuring only black and white is a solid visual choice, but the entire video is stuck inside a box – literally, it shows Ivy in a box and never leaves this one scene. Static shots of lip-syncing without movement don’t help the song’s feeling of stalling, failing to move forward. I think the song is good. It’s catchy, there’s inspiration behind the lyrics, the melody is dynamic. Yet, I find it hard to enjoy it, coming from someone who very much enjoyed Ivy’s debut album. I think this song and video worked hard to strip back, and in the process, they lost the quirky spark that made No Good so special. The post [Watch]: Ivy Levan Breaks 3-Year Hiatus With ‘Her’: Worth The Wait? appeared first on Verge Campus. Source

Well, you can let your cats loose again because ALF isn’t coming back. Back in August, we reported that Warner Bros. was looking to bring back everyone’s favorite feline-feasting alien, even tagging original writers Tom Patchett and Paul Fusco. Sadly, that doesn’t appear to be in the cards anymore. According to TV Line, they’re reporting that the potential reboot has failed to attract a suitor. Now, this doesn’t mean the project is necessarily dead, but nostalgic fans probably don’t need to rummage through their closet for their ALF merch. And, sadly, with Stranger Things 3 having wrapped already, there’s not a chance in hell the little bugger will be joining the Wheelers or Steve Harrington on any adventures in the Upside Down anytime soon. Here’s hoping for season four. Sorry, ALF. Source

Douglas Rain, the iconic voice behind the haunting HAL 9000 computer in Stanley Kubrick’s 2001: a space odyssey, has passed away at the age of 90. According to the Stratford Festival, which Rain co-founded in 1952 and performed at for over 45 years as a longtime Shakespearian thespian, the actor died of natural causes at St. Marys Memorial Hospital in St. Marys, Ontario. “Canadian theatre has lost one of its greatest talents and a guiding light in its development,” the festival’s artistic director, Antoni Cimolino, said in a press release (via Variety). “Douglas Rain was that rare artist: an actor deeply admired by other actors.” Listen and subscribe via iTunes | Spotify | Stitcher | Google Play | RSS Born in Winnipeg, Manitoba in 1928, Rain went on to study acting at the Banff School of Fine Arts in Banff, Alberta and the Bristol Old Vic Theatre School in Bristol, England. Largely a theater actor, Rain starred in a Stratford production of Henry V, which was adapted for television in 1966, and nabbed a Tony nomination for his performance in Vivat! Vivat Regina!. In addition to his vocal performance in 2001, a role he revisited 16 years later for its sequel 2010, Rain’s voice was also featured in Woody Allen’s tongue-in-cheek sci-fi comedy Sleeper, and documentaries such as Fields of Sacrifice, The Man Who Skied Down Everest, One Canadian: The Political Memoirs of the Rt. Hon. John G. Diefenbaker, and The Russian-German War. Earlier Sunday evening, director Edgar Wright paid his respects on Twitter: RIP Douglas Rain, the chillingly calm tones of HAL 9000 in '2001: A Space Odyssey'. One of the best performances in film, with just his voice. pic.twitter.com/79Jr8iOWK6 — edgarwright (@edgarwright) November 12, 2018 Source

Like many other Californians, Neil Young has lost his home to the wildfires currently ravaging the state. In a post to his website, the legendary rocker revealed that his home in Malibu was burned down over the weekend. Never one to mince words, Young proceeded to take his anger out on Donald Trump over a tweet Trump made blaming California for the ongoing crisis. “California is vulnerable – not because of poor forest management as DT (our so-called president) would have us think. As a matter of fact this is not a forest fire that rages on as I write this,” Young wrote. “We are vulnerable because of Climate Change; the extreme weather events and our extended drought is part of it.” “Our temperatures are higher than ever here in our hottest summer on record. That has not helped,” he added. “DT seems to be the Denier. (I’m holding back and not using the word liar because it rhymes with denier). It really is time for a reckoning with this unfit leader. Maybe our new congress can help. I sure hope so.” To conclude his comments, Young posed the following: “Imagine a leader who defies science, saying these solutions shouldn’t be part of his decision-making on our behalf. Imagine a leader who cares more for his own, convenient opinion than he does for the people he leads. Imagine an unfit leader. Now imagine a fit one.” In a tweet posted Saturday morning, Trump blamed poor forest management for the ongoing crisis and threatened to pull federal funding in the future. What Trump failed to point out, however, is that over 90% of the land burned thus far is federally owned and his administration cut fire service programs in its federal budget. Trump also believes climate change is a hoax. There is no reason for these massive, deadly and costly forest fires in California except that forest management is so poor. Billions of dollars are given each year, with so many lives lost, all because of gross mismanagement of the forests. Remedy now, or no more Fed payments! — Donald J. Trump (@realDonaldTrump) November 10, 2018 Along with Young, the likes of Limp Bizkit’s Fred Durst, Doctor Strange director Scott Derrickson, and actor Gerard Butler have all lost their homes to the fire. Paramount Ranch, where HBO’s Westworld was filmed, also burned down. Source

On screen, immortal hunk and action star Gerard Butler can save anything and anyone — Washington D.C., London, Jennifer Aniston, the list goes on — but in real life, not even a man of his measure can stop the terror of Mother Nature. After evacuating Malibu to avoid the raging California wildfires, Butler returned to his home on Sunday afternoon, only to discover that his entire residence had been disastrously claimed by the Woolsey Fire. He shared an image of the wreckage on his Twitter account: Returned to my house in Malibu after evacuating. Heartbreaking time across California. Inspired as ever by the courage, spirit and sacrifice of firefighters. Thank you @LAFD. If you can, support these brave men and women at https://t.co/ei7c7F7cZx. pic.twitter.com/AcBcLtKmDU — Gerard Butler (@GerardButler) November 11, 2018 He’s not alone. Doctor Strange director Scott Derrickson lost his house in Thousand Oaks to the wildfires, though, much like Butler, he also remains in good spirits and extends his gratitude to those who send their support. Just a quick update to say that I’m overwhelmed by the incredible outpouring of love and support. Thank you to everyone who messaged me, and for the dozens upon dozens of you who offered us a place to stay. We are blessed and grateful to be safe and so loved. pic.twitter.com/5i4InDTs8S — Scott Derrickson (@scottderrickson) November 10, 2018 According to The Hollywood Reporter, other stars who were forced to evacuate their homes include director Guillermo del Toro, Kim Kardashian, Alyssa Milano, and Rainn Wilson. Luckily, none of them have lost their homes, though Wilson tweeted that the fire “missed it by a dozen yards!” As Heavy Consequence pointed out earlier this afternoon, the wildfires also destroyed the home of Limp Bizkit frontman Fred Durst and affected his guitarist Wes Borland, whose equipment was lost in another house claimed by the fire. For those looking to offer support, visit the California Community Foundation’s Wildfire Relief Fund for information on how to make the appropriate donations. Source

To see Avicii‘s struggles play out in his True Stories documentary is one thing and to hear them embedded in his work is perhaps even more chilling. Newly discovered lyrics dug up from one of the producer’s potential songs seem to mirror some of the internal conflicts Avicii was facing leading up to his death by suicide. In an exclusive report, Variety reveals deep, emotional lyrics from the “Levels” creator and cites the work of others that have passed over the last year, including Lil Peep, Mac Miller, and XXXTentacion. The untitled song below from Avicii has a common theme throughout… We don’t get to die young / We just have to push on / We don’t get to give up this life Last we knew, a posthumous album release from the producer was up for discussion among his family and label. It’s unclear whether this would be one of the tracks on the record or not. Read more on all that here. It is also being reported that over 100 demo tracks exist from Avicii. How many end up making it to our ears, time will only tell. Whatever troubles Avicii was facing in his personal and professional life, we hope they are eased now. RIP. Avicii Lyrics Crossbows and arrows The smoke in the shadows You’ll lose your mind Standing on the battle line Starting to choke on Your heart in your throat and It feels just like You can’t remember how to fight We’ll crack before we shatter We can’t fall apart We don’t get to die young Trouble keeping our head sometimes We just have to push on We don’t get to give up this life All the breath in your lungs Is stronger than the tears in your eyes It’s do or die But we’re alive And while we’re here Will hold the line Don’t hold your hands up It’s your final stand Put your white flag down Oh don’t you surrender now No hero’s story There’s no blaze of glory But dawn only comes At the end of the night We’ll crack before we shatter We can’t fall apart We don’t get to die young Trouble keeping our head sometimes We just have to push on We don’t get to give up this life All the breath in your lungs Is stronger than the tears in your eyes It’s do or die But we’re alive And while we’re here Will hold the line This article was first published on Your EDM. Source: Newly Surfaced Avicii Lyrics Seem To Describe His Personal Struggles Source

Ten years after the release of their first LP, Fleet Foxes recounts their beginnings with a new compilation. Photo by The New York TimesOn November 9, Fleet Foxes released First Collection: 2006-2009. The four-disc compilation contains their self-titled debut album, the Sun Giant EP, The Fleet Foxes EP (formerly an extremely rare, self released EP), and B-sides & Rarities. The release hearkens back to the band’s early days, when their music could be described as innocent, dreamy folk-pop. In doing so, it directly contrasts the complex, moody soundscape people associate with them today, with projects like Crack-Up, their latest album. Photo by Sub PopRevisiting their early works is a like a much needed breath of fresh air. In a musical landscape where music production is often overbearing and predictable, Fleet Foxes’ natural sound and—in the cases of the B-sides and unreleased demos—lack of production creates an intimate feeling that is often lost in pop releases. Of the four discs, the first, and longest, is their debut album Fleet Foxes, released in 2008. The record contains classics like “White Winter Hymnal” and “Blue Ridge Mountains.” It is a perfect example of the cosy, simple sound people fell in love with. Fleet Foxes circa 2008. Photo by IndependentThe second disc contains the Sun Giant EP, their first major release. With earworms like “Mykonos,” Sun Giants paved the way for many folk-pop acts, and even landed itself as the #1 album of the year by Pitchfork. Photo by Sub PopThe third disc contains the relatively unknown Fleet Foxes EP Unlike the Fleet Foxes album, the EP, self-released in 2006, has almost never seen the day of light. Sold directly by the band in local shows, only fifty copies were ever made. Surprisingly, the melodies seems to take a more traditional pop-like stance, albeit with the acoustic instrumentalization we’ve come to love. It is definitely worth a listen. The fourth, and perhaps most interest disc, is titled B-Sides and Rarities. It contains never before released tracks, folk covers, and old demos. The first half of the disc is a mix of unreleased songs and yes, covers of folk tunes like “Silver Dagger.” The second half are demos of their other tracks. This last disc, in my opinion, is Fleet Foxes at their purest: pared-down production, beautiful harmonies, and dreamy lyricism. While I wait for a new album to come out of Fleet Foxes, Collection is a reminder to revisit what made me fall in love with them in the first place. If you are looking to get into Fleet Foxes, look no further. The post Fleet Foxes Mix B-Sides and Old Classics in Compilation: First Collection 2006-2009 appeared first on Verge Campus. Source

It was one of the most gripping weeks of 2018 as Australia found itself in the unfamiliar position of a nationwide fruit tampering scandal. In terms of surrealness, I think we’ll look back on this incident with the same bewildered astonishment as when we all got attacked by murderous clowns a couple years back. Well, after a tense couple of months that felt like a less-high stakes version of the family Christmas Cluedo game, we’ve finally found out who one of the culprits is. Police have identified Berryliscious and Berry Obsession farm supervisor My Ut Trinh as the strawberry assassinator, after a national investigation which involved numerous Government agencies. She’s expected to be tried at Brisbane Magistrate courts this evening, and she’s looking down the barrel of seven counts of contaminated goods each of them carrying a 3-year max sentence. However, if Queensland Police can prove the contamination was aggravated, it would bump the sentence up to 10 years. Additionally, the fact that Trinh talked shit about her bosses in the workplace before the incident could be her downfall. This incident is likely the one that caused a string of copycats to also spike our precious strawberry’s, let’s hope they throw the book at her. Source

The other day, there was this meme on Instagram featuring a picture of John Mayer making a pained open mouth, with a spoon being forced upon him. The caption imagined something like “A BEATLEMANIAC TRYING TO SHARE TRIVIA AGAIN EVEN THOUGH YOU DIDN’T ASK.” We’re not there yet with the Beatles, are we? Meme-able? Resentfully popular? Dating them as bygone in a way resembling how we talk about James Bond’s machismo, or Woodstock’s Boomer naiveté? Oh, those Beatles and their lollipop lyrics and LSD-fueled hijinks. Such is the danger of reflecting on 50 years of pop cultural bedrock: natural weathering. But this reflection, right here, is less about trivia, and more about just how damn good those Beatles were, and the movies they could inspire. They rivaled the French New Wave with A Hard Day’s Night in what could be called the proto-music video experience. They gamely satirized Bond-like adventures with their marvelous HELP!. Yellow Submarine, well. Just how many cartoons can say that they play like Disney on acid? Like Bakshi, before Bakshi? Like riding a boat on a river with tangerine trees and marmalade skies? Here we are, tickled pink to dive into Yellow Submarine. But how to appraise Yellow Submarine when volumes of encyclopedic literature and paraphernalia have been produced on the matter? It’s the Beatles, man! What more can be said? There are enormous books on the film’s making. Countless digital reissues of the film have come and gone with new featurettes and commentaries, new generations each getting curious vantages on the legendary quartet’s output. Toys, t-shirts, even a Lego set of the titular submersible. Arrested Development goofed on it. Simpsons, too. One could surmise there’d be no Terry Gilliam animation without it. Yellow Submarine is just plain awesome. All your friends are aboard. We all still live on it, in some way or another. Sure, we can get balled up in production factoids and what each band member’s contributions were, but that feels so beyond the film itself. Step back. Let your mind wander. Think visual. And recall Yellow Submarine for its best and purest quality: It’s a parade of color, swirling and ebullient. Fantasia for the head shop set. Perhaps the best and most enjoyable way to view the Beatles’ third feature is to look at it for its lasting aesthetic. One might chalk that up to the trendy Peter Max lines and color choices of the 1960s, but that’s (again) too referential. Yellow Submarine’s look? Plain magnificent. Plain in broad hues: yellows, blues, purples, greens, and beyond burst within every frame. Each shot is like a child’s coloring book: shaggy around the line, but bright and confident in presentation. It’s candy. Zebra Stripe gum as a movie. But the magnificence is in the mood. It’s a fizzy lifting drink. It delights. Bubbles. Pops. Tickles the eyes, the ears, and even the heart. It’s a real thing of beauty. It’s also magnificent in imagination. John Lennon emerging from a Frankenstein monster. Baby Ringo weeping for his mom. George cruising through a buttressed hall in a convertible. Paul’s adorably smoky eyes, under his affectionately simplified helmet of black hair. Can-can dancers traced with neon light, bumping around to “Lucy in the Sky with Diamonds” like Toulouse Lautrec’s dreams coming true. “Eleanor Rigby” laments gorgeously against the soot and dreary doldrums of 1960s London. An Escher-like “Sea of Holes” feels like home in a Bugs Bunny cartoon, or the cashed basin of a bong – whichever you prefer. It’s a parade of great sights, ranging from witty to silly to occasionally life-affirming. A proudly aged ‘64’, a jovial blue cherub by the name of Jeremy, the triumphant actualization and reprise of the Sgt. Peppers Lonely Hearts Club Band. Two-legged monsters, flying hands. And of course, that floating organ and banana-like tube in the sky that carries the Fab Four from scene to scene: the yellow submarine. It makes you feel giddy just thinking about all this, doesn’t it? Ah, but what’s the point of all this nonsense, you might ask. It’s because the story’s, well, slim. The Beatles are collected to save Pepperland from Blue Meanies that have robbed the underwater world of music and feeling with evil green apples (perhaps a shot at the Beatles’ newly developed corporate record label – you decide). The Beatles, not voiced by their actual counterparts, are cute exaggerations, playful lads with swishy pants and a game sense of adventure. It’s idol worship for sure, but so sincere. Is this movie about fighting commerciality and square-dom? A paean to the unifying power of a Beatles hook? Or is this just great company while getting stoned? Not to get all Willy Wonka about it, but it’s whatever you make of it. Yellow Submarine is ambient nonsense, pleasurable to all in some strange way or another. Style-over-substance is the gut reaction, until you accept and embrace that style as the work’s very substance. Yellow Submarine isn’t about anything overt. It’s about being inspired by music, by love, by the basic joys of giddiness and human feeling. Take the “When I’m 64” sequence. There’s a certain dreadful ceremony to the movie’s insistence on animating each number leading up to 64. It matches time’s dread and inevitability, and yet, each letter gets bolder and sillier. Aging doesn’t have to be this thing. Dogs jumping through hoops. Colorfully designed and diverse displays on each number. 60 features a couple kissing between the numbers. And for every person that dreads hearing “All You Need Is Love” at every wedding they attend (Richard Curtis’ fault, really), it’s used here with such triumphant vigor that you’ll be hard-pressed not to buy into that song’s mantra. Cynicism fades, Pepperland comes to life, money and anger evaporate in favor of that all-time classic emotion: love. 50 years on, it’s funny how timeless so much of the Beatles catalogue feels. Even their movies are holding up better than many of that era. Ignore the fandom, and just run a Google image search for all the pop art this film alone inspired. Yellow Submarine is a journey to the very brightest spots of our imagination, and it’s a vibrant reminder of how joyful, inventive, and freeing animation can be. Trailer: Source

Alison Wonderland took EDC Orlando to church this weekend — and she came ready with a brand new edit of an unexpected, but appropriate track. “God Is A Woman” by Ariana Grande was reimagined AW style and we have to say we love her perspective on this. The soft, angelic track was buffed up just for the occasion as the producer transformed the pop single into a grand trap anthem more suitable for her set. Alison has been working hard on making every performance count. Here’s what she had to say following the show… My set last night at EDC Orlando felt really special. I spent all my time recently focusing on making new things & creating something really memorable. I really care about the experience between crowd & artist. And last night u guys really gave it back. Thank you We absolutely love the energy she brought to this set and her new version of “God Is A Woman.” Watch below. I may or may not have made my own version of God is a Woman for my set tonight — ALISON WONDERLAND (@awonderland) November 10, 2018 pic.twitter.com/R0kKDmZnUX — Ben recovering from EDCO (@jbrawleyPV) November 11, 2018 Did u guys hear the Ariana thingy I did — ALISON WONDERLAND (@awonderland) November 11, 2018 Photo via Jake West for Insomniac This article was first published on Your EDM. Source: Alison Wonderland Shares Epic Edit Of Ariana Grande’s “God Is A Woman” [WATCH] Source

Illenium has done wonders with Halsey’s “Without Me,” to the point where fans are now calling this song his. The producer unleashed his version of the track for the first time ever at EDC Orlando and it was truly special. But, a fun, little backstory first… I remember Halsey taking the mic at Okeechobee this year and she said something along the lines of — “What’s the worst song you can imagine? The absolute worst? What song is so annoying that you just can’t stand it?” etc. etc. There was chatter amongst the crowd and she took to the mic again, “Oh yeah, I’m going there…” Then, she proceeded into a gorgeous, ballad-like version of her collaboration with The Chainsmokers, “Closer.” No doubt, that insanely popular song has become notorious — people either love it, or love to hate on it. Anyways, this is definitely not that song. We just hope Halsey gets some credit where the credit is due, because she’s an amazing artist. Her and Illenium together sound like pure, unfiltered magic. Watch below and let us know if you’re loving it as much as we are! Halsey – Without Me (Illenium Remix) Halsey – Without Me (Illenium Remix) @ EDC Orlando from EDM Photo via Rukes.com This article was first published on Your EDM. Source: Illenium Drops Incredible Halsey Remix At EDC Orlando [MUST WATCH] Source

Martin Garrix is a man of many talents. He recently appeared on Good Morning America with collaborator Mike Yung to perform their standout single “Dreamer” and he left his DJ equipment at home. Mike Yung and all of his soul certainly stole the show, but to his left Martin Garrix stood tall and proud, strumming on the guitar and fading into the music. The acoustic, stripped-down version of the track proved to be just as amazing — if not more than the original. And not only did the song sound damn good live, it inspired. I’m a dreamer Don’t tell me not to dream I got freedom And that’s everything to me The opening lyrics are an instant hook and it only gets better. Watch this stellar performance from Martin Garrix and Mike Yung below — and let “Dreamer” bring out the best in you! Martin Garrix & Mike Yung On GMA This article was first published on Your EDM. Source: Martin Garrix & Mike Yung Inspire On Good Morning America [WATCH] Source

The wildfires raging in California right now are leveling entire towns and displacing thousands of people, with at least 25 people reported dead as of this posting. Among those affected are musicians like Limp Bizkit’s Fred Durst and Wes Borland, Tool’s Adam Jones and Red Hot Chili Peppers’ Flea. Durst reported via an Instagram story [captured by Metal Injection] that his house had burned down, somehow with a sense of humor, photoshopping his face over a picture of Steve Martin from the movie The Jerk, and writing, “When you wake up and you’re house has burned down, but you were able to salvage your chair and thermos and paddleball.” Meanwhile, Durst’s bandmate, Limp Bizkit guitarist Wes Borland, shared footage of a house on fire, writing on Instagram, “My pedalboard, 2 guitars, 2 amps, a 2×12 cabinet, several other pedals and misc equipment were inside this house.” It’s unclear whether the house was owned by Borland, or if his equipment just happened to be in that structure, or if it was Durst’s house to which he was referring. Tool guitarist Adam Jones is another rock musician affected by the fires, posting on Instagram, “Thank you for all the concern love and support. This is crazy & heartbreaking. God bless all those affected by these horrific wildfires. I hope our home survives. If not – it’s just “stuff” and I have my best friend Korin & our 2boys safe & sound.” Red Hot Chili Peppers bassist Flea, meanwhile, is thanking his neighbor for saving his house, writing, “Jimi Hendrix saw these Southern California daze when he sang look at the sky turn hellfire red someone’s house is burning down down down down. The Los Angeles air is thick with smoke, ash, and ember and the danger has not passed. My house might have burned down down last night were it not for my friend Eric (in the second pic) who defied the evacuation orders and stayed up all through the night armed with his wits and a garden hose, and put out all the little fires at my house and my neighbors, saving our asses. He is a brave and beautiful, a selfless and kind man. So I was able to go be silly with my kids today and go get our nails painted funny colors, without bearing the heavy weariness of having lost all my stuff. We are not out of the woods yet, but with people like eric around we are gonna be ok. Times like these we have to do everything we can to help each other, listen to each other, step up for our neighbors. Empathy is everything, our greatest trait.” In the midst of all the destruction, several celebrities have lambasted President Trump, who blamed the fires on poor forest management in a Tweet. There is no reason for these massive, deadly and costly forest fires in California except that forest management is so poor. Billions of dollars are given each year, with so many lives lost, all because of gross mismanagement of the forests. Remedy now, or no more Fed payments! — Donald J. Trump (@realDonaldTrump) November 10, 2018 Our thoughts go out to all of those affected by these horrific wildfires in California. Source

While the peak of music festival season is over, Electric Daisy Carnival is going out with a bang. EDC Orlando has seen an incredible showing of EDM’s finest over the weekend — and now fans can experience the magic from home. From Alesso to Pendulum, Tchami to Vini Vici, Alison Wonderland to Illenium, there were tons of crowd-pleasing acts booked for the colorful festival over Friday and Saturday. Not to mention, a spicy selection of b2b sets including 4B b2b GTA b2b Valentino Khan and Nervo b2b Alok. Nitti Gritti, Malaa, Joyryde and more all brought the heat. As you can hear below, EDC Orlando went out with a bang this year! The kind of energy that radiates off any EDC event truly sets it apart from the rest. There’s a certain spark that can be felt through any of these sets if you listen close enough. Listen to some of the very best sets to come out of the weekend below and get caught up on all things EDC Orlando via the official website here. EDC Orlando 2018 Live Sets Alesso Tchami Illenium Malaa Mercer Joyryde Pendulum Dombresky Henry Fong Vini Vici Nervo b2b Alok 4B b2b GTA b2b Valentino Khan Gryffin Alison Wonderland Timmy Trumpet Moksi Nitti Gritti This article was first published on Your EDM. Source: Relive All The Best Sets From EDC Orlando Right Here [FULL SETS] Source

Back in October, we reported that Suzanne Desrocher-Romero, the wife of the late zombie grandfather George A. Romero, had established the George A. Romero Foundation as a way to restore both his past works and help inspire future filmmakers. At the time, she hinted at unused scripts, Living Dead sequels, and a forgotten film of his from 1973, to which she stated: “We’re gonna restore it, and we’re gonna show it to Romero cinephiles. It’s a scary movie, but it’s not a horror movie, and it’s about ageism.” That film is The Amusement Park, an unnerving, 60-minute experience that’s been likened to a PSA on age discrimination. Although it was shot for TV, it was never used, which is why most Romero scholars have never heard of it. However, that will soon change, according to author Daniel Kraus. (Classic Film Review: Night of the Living Dead Will Scare the Hell Out of Every Generation) On Saturday night, the best-selling writer behind Trollhunters and The Shape of Water blew up the horror-verse on Twitter when he announced that he was watching the rare print, calling it “a revelation” and “Romero’s most overtly horrifying film.” Similar to Romero’s Night of the Living Dead, the premise is rather straightforward and uncomplicated: An old man simply attends an amusement park, only to stumble into a real-life nightmare. If anything, it sounds like material ripe for Tobe Hooper. “The people who funded it wouldn’t allow it,” Kraus wrote in his lengthy Twitter thread. “And no wonder. It’s hellish. In Romero’s long career of criticizing American institutions, never was he so merciless. Where can you see this savage masterwork? You can’t. But I’m dedicating myself to changing that. Can you help? Yes, probably. Give me some time to figure out what’s what.” As one fan pointed out, you can help drag this forgotten gem from the grave by sending $10 donations to the George A. Romero Foundation. Based on everything Kraus has shared, it’ll be worth every penny. Read the full thread below. I’m about to watch George A. Romero’s virtually unseen 1973 movie THE AMUSEMENT PARK (shot between Season of the Witch & The Crazies). Been trying to find this for 20 years. pic.twitter.com/ng6WqOeR6y — Daniel Kraus (@DanielDKraus) November 10, 2018 Source