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Coming to you live from Africa… it’s a Kanye Twitter rant about mind control. Kanye is currently in Uganda getting inspiration for his next album. If the video he posted to Periscope on Saturday night is any indication, mind control and the programing of culture look to be central themes… which I guess is better than an entire album about Trump. The video began with Kanye boasting about his own genius: “I just got back my IQ scores. It’s Mensa level — [a score of] 133, 98% percentile. Straight up Sigmund Freud, Tesla vibes.” From there, Kanye likened “when people try to tell me what to do” to someone “touching my brain,” and he described the attempt to control his thinking as on par to someone trying to control a woman. “She wants to be in control of her body and choose who she gives it too. And no one can come up and touch it, or take it, or tell her what to do with it. It’s up to her what she does with it. I feel like that with my mind.” “Black people… people on social media, people trying to control us and make us all monolithic thought. They’re trying to control my mind, when someone tells me what to do, what I can wear… I feel like they’re touching my brain,” Kanye remarked. “Imagine if you cut your skull open and someone were to touch your brain with their hand… how that would hurt you. That’s how it hurts me when people try to tell me what to do.” Kanye then used his social media rant to chide social media for manipulating people’s thinking. “I’m not worried about any type of blog or social media….You already saw it’s a lie. Social media told you Hillary [Clinton] was going to win and she didn’t win. Social media told you that people don’t like me, but everybody loves me. Everybody loves Ye. But if you read social media, you it makes you think something different. Unprogram your mind, open up your head, let the spirit guide you, let your conscious be free.” Elsewhere in the video, Kanye expressed his desire to buy back his publishing rights from Sony/AV, but has thus far been unsuccessful. Regarding his next project, he said “the music is the best on the planet. I am the best living recording artist.” He said he got rid of his laptop, including a number of reference tracks. “I don’t need the references, the spirit will give me new ideas… The spirits flow through me. The spirit of Fela, the spirit of Marley, the spirt of Pac… they flow through me.” Kanye assured his fans that he’s “not crazy,” but “I can ramp up if I suffer from sleep depravation.” He then said he was going to sleep. If you so choose, watch Kanye’s full comments below. Mind control https://t.co/YDYXQ45bDL — ye (@kanyewest) October 13, 2018 Source

The Pitch: Beleaguered kindergarten teacher Lisa (Maggie Gyllenhaal) sees the world going to hell in a handbasket, thanks to a “materialistic culture that doesn’t support art or language or observation.” Her modest life gives her little intellectual satisfaction; her teenage kids are lost in a world of partying, Instagram and prospective military service. The only respite she gets is the satisfaction she gets from teaching her kindergarten class, and plinking away at her nighttime poetry class taught by the rugged, passionate Simon (Gael Garcia Bernal). However, one day she catches one of her kids – the shy, withdrawn Jimmy Roy (Parker Sevak) – pacing back and forth after class, reciting a beautiful poem he composed himself. She’s moved by this, and more than a little jealous. Partly out of a desire to cultivate Jimmy’s gift (and pass off his poems as her own to impress her poetry class), Lisa takes him under her wing in a desperate attempt to get close to his level of greatness. The Agony of Education: A remake of the 2014 Israeli film of the same name, The Kindergarten Teacher sneaks up on its audience in unexpected ways. In its opening scenes, writer/director Sara Colangelo (Little Accidents) sells the same kind of inspirational-teacher story audiences have seen since Dead Poets Society, the heartwarming tale of a dedicated public servant bringing out the best in her student. However, as the story slowly, excruciatingly unfolds, Colangelo hints that Lisa’s altruism is borne just as much of professional jealousy and a craven desire to feel special as it is her concern for Jimmy’s talent. Yes, she loves children, and wants to see them succeed; in Jimmy’s case, however, the way that success reflects on her becomes more disturbingly apparent. Once she has her eyes on the prize, Colangelo slowly but surely reveals the lengths to which Lisa’s moral barriers will break down to capture Jimmy’s spontaneous poems, revealed to him in the grip of inspiration at a moment’s notice. Her direction matches Lisa’s own descent into obsession, the film starting out quiet and understated but steadily focusing more on Lisa’s calculations as she begins to cross ethical lines. The piano-driven score from Asher Goldshmidt is similarly invisible, only becoming apparent as Lisa’s anxiety about her grip on Jimmy grows. Teacher’s Pet: Gyllenhaal’s bonafides as a performer are well known, but The Kindergarten Teacher might be one of the most effective showcases for her considerable talents since Secretary. Her Lisa is the kind of soft, caring, diplomatic teacher everyone would love to have teach their kids, her eyes beaming with warmth and passion for her children’s accomplishments. When those eyes turn to Jimmy, however, they turn glassy with want for the child’s seemingly preternatural talent for poetry. She’s a master of subtle, understated performance, resisting the urge for showy theatrics even in Lisa’s darkest moments. Whether she’s manipulating parents to let her nanny him after school, or playing hooky to take him to a poetry reading in Manhattan, Lisa’s desperation to maintain Jimmy’s innocence while capitalizing on it reveals her own mid-life ennui at the perceived mediocrity that surrounds her. “This world is going to erase you” she tells Jimmy at one point; one gets the impression that she feels that it erased her at one point, and he’s the only hint that she’ll ever get it back. Just as the mediocrity of her own poems frustrates, so too does her family and friends’ satisfaction with what she sees as a boring, provincial, anti-intellectual life. It’s a testament to Gyllenhaal’s delicate, layered performance that Lisa modulates so eerily between caregiver and leech in the space of a line. The Verdict: The Kindergarten Teacher is a kind of Taxi Driver for the Baby Einstein set – a deep, disturbing character study of a person who believes the world has gone to shit, and takes great, morally dubious lengths to preserve what beauty is left. Gyllenhaal gives one of the most staggering performances of her career, and Colangelo’s deft command of tone keeps the lengths to which Lisa will go to stay close to Jimmy’s perceived greatness close to the chest right up to the end. In so many ways, The Kindergarten Teacher befits the model of a classic Greek tragedy, the story of a person who inadvertently engineers her own comeuppance, unaware of the flaws that lie underneath her good intentions. Where’s It Playing?: The Kindergarten Teacher is currently available on Netflix. Trailer: Source

The Pitch: An adaptation of Angie Thomas’ 2017 novel, The Hate U Give chronicles the troubled life of Starr Carter (Amandla Stenberg, The Hunger Games). Starr’s a 16-year-old living in Garden Heights, a drug-afflicted neighborhood in Hinesville, Georgia, with her parents and two brothers. Her father Maverick (Russell Hornsby) and mother Lisa (Regina Hall) send her to an affluent and predominantly white high school in a nearby community, in hopes of giving Starr a chance to leave her embattled roots. Like many teens, she worries about boys, friendships, and family. Unlike many teens, she witnesses firsthand the police murder of an old friend, Khalil (Algee Smith). Riding a line of race and riot, life and death, Starr must decide if she has the courage to testify in front of a grand jury. She must decide what matters most, who she is, and who she wants to be. Page to Screen: When Angie Thomas began writing The Hate U Give, it was a short, a creative writing project driven by the 2009 police shooting of Oscar Grant. What a world of difference a decade can make to for a work of art’s potential as a statement. That’s an eternity of dash-cam and cell phone footage since, and that very pain, that deathly repetitive history of minority plight holds firm within George Tillman Jr.’s strong adaptation. And it’s in remembrance of those tragedies that The Hate U Give thrives. No, this is not exploitation. Far from it. This is a social justice fable of a higher order, an empathetic, understandable, and reactive drama about tough times, a loss of innocence, and other grand-level concepts The Hate U Give is a blend, in plainest terms. It is reactionary, alive with the tumult of every lost life at the hands of the police. But it is also very much a Fox 2000 production: modestly budgeted, plain-spoken, accessible, and ultimately quite impactful. It’s a rare privilege to walk in someone else’s shoes, and we are invited into Starr’s. She’s a fully realized, amiable teen. Through voiceover (a screenwriter’s best friend in literary adaptation, take that for what you will), nothing is spared. She tolerates her white friends’ appropriation of black culture (“someone watched Straight Outta Compton again last night”). Her silence and willingness to hear her father’s speech on the inevitability of being pulled over when black sends a needed chill. Her defiant voice and confidence to speak is felt when she shares her story of Khalil’s life over a megaphone, moments before a riot. Perhaps it’s easier to understand when Starr shares her feelings with such purity. Starr experiences shock, loss, grief, fear, angst, truth, strength. These are the universal themes of The Hate U Give. But in spite of those commonalities, Tillman Jr. and his lead never lets you assume that we can all share these feelings. The Hate U Give is here to remind us of the hardship that is being born black in America. A “trap,” it’s called at one point. The Love We Have: The Hate U Give deserves wide eyes and open hearts. The Hate U Give firmly embraces its style of big studio narrative, and it effectively utilizes the tools of old school tear jerker and teen drama. When drama suddenly, sporadically happens – police magically appear, after a sudden physical altercation – it’s still rooted in a familiar reality. Where there’s a quibble, right around the corner there’s always a great moment. Starr’s uprising on the streets. Starr giving a learning moment with a hairbrush to illustrate that it’s not a gun. There is urgency you can’t ignore here. Tear gas. Walkouts. Dates and dances and the stuff of youth layered with simmering tension. Fire and calamity and protests against a system (judicial, socioeconomic, you name it) utterly broken. For these reasons, we have to give a little love back to this movie. The Verdict: Starr’s struggles of identity, of truth, of justice, of adolescence and womanhood capture the tear-filled feelings of daily American crisis. Khalil’s death hits hard in the wake of Tamir Rice, Laquan MacDonald, and so many other black youths killed by the police on camera. Starr’s anxiety to speak up is rooted in so many other women’s fear of coming forward. While it deals in the traditional melodramatics, straight from the ‘ol Hollywood emotion factory, Tillman Jr.’s aim seems true. The Hate U Give feels so Right Damn Now that you could leave the theater and see its stories on the nightly news. Where’s It Playing?: The Hate U Give is rolling into a larger expansion this weekend. October 19th, the official release, is when the movie arrives on 2,300 screens. Make plans. Trailer: Source

The Pitch: At the end of season three, Rebecca Bunch (Rachel Bloom) finally decided to take responsibility for years of passive-aggressive, manipulative behavior by pleading guilty to the attempted murder of the psychotic Trent (Paul Welsh). Now in jail, Rebecca tries to do penance, but finds it harder than she thought – especially when she tries to take control of the prison’s theater activities. Meanwhile, Nathaniel (Scott Michael Foster) tries to soothe his own guilt at Rachel’s incarceration by going on a manly “death wish adventure,” and Josh (Vincent Rodriguez III) goes on a self-diagnosis jamboree, trying to find the mental disorder that explains his flightiness and lack of responsibility. Rebecca is the New Bunch: It’s nothing short of miraculous that Crazy Ex-Girlfriend crawled its way out of the cancellation bubble for an 18-episode final season to wrap the show, and Rebecca Bunch’s final bow is off to a great start with the season premiere, “I Want to Be Here”. Most Crazy Ex-Girlfriend episodes focus on the object of Rebecca’s outward attention, but the fourth season’s titles indicate an in-depth focus on Rebecca herself. That certainly holds out here, as much of the episode is spent on Rebecca’s newfound attempts to atone for what she’s done, a method of self-punishment that is, paradoxically, as self-serving as the mistakes she has already made. See, for instance, her attention-grabbing takeover of the jail’s theater program, resulting in a riotous play on “Cell Block Tango” featuring women with lace bras and panties over chunky orange prison jumpsuits. It’s such a Rebecca move, her wide-eyed enthusiasm for the performing arts blinding her to the fact that her cellmates don’t have the charmingly melodramatic life she’s so carefully curated. She may be trying to face reality, but her self-perception is still firmly entrenched in romantic fantasy. (It’s also funny to see that real-life Rebecca has more of a tin ear than musical-sequence Rebecca; she should have pled guilty to the crime she committed against Rodgers & Hammerstein.) “I Deserve This”: Sure, it’s disappointing that we won’t get a full Orange is the New Black/Prison Break-esque ‘Rebecca in prison’ season (the judge points out that her guilty plea was “more of a speech” and only gives her six weeks in county jail), “I deserve this” is her refrain through the doldrums of prison life, punishing herself for everything from her direct actions to her indirect white privilege. It’s a familiar white-guilt impulse, her experiences with the beleaguered women of color in jail making her recognize just how good she has it. But thank God for Valencia talking some sense into Rebecca, making her realize that she can either just talk about having privilege, or she can do something about it. This theme of self-flagellation extends to the other subplots in the episode – Nathaniel’s Bear Grylls cosplay is a classic uber-masculine attempt to reclaim some semblance of manhood by eating bugs and wielding an over-designed machete. His posturing is deliciously upset by the appearance of George (Danny Jolles), a great foil for Nathaniel made even better by the fact that he loves ska. Meanwhile, Josh Chan is in his own tailspin, going “identity shopping” for mental disorders that would allow him to explain his own flaws instead of dealing with them head on. All three of these emotionally adrift characters are looking for something to take their mind off their pain, whether it’s punishment, posturing or the comforting explanation of oppressed victimhood. The Verdict: Crazy Ex-Girlfriend has always dabbled in a delicious gumbo of tones – musical, sitcom, psychological drama, love story, Brechtian metatext on its own quirky nature – and this season opener offers a polished portent of things to come. As the journey of characters who keep trying to make themselves better, only to fall into familiar patterns again and again, it’s a compelling microcosm for the show at large. While Rebecca’s problems are certainly more pronounced than the supporting cast, every major company member is united in their desire for connection. The hour’s final number, “No One Else is Singing My Song”, lays this out wonderfully, with Rebecca/Nathaniel/Josh lamenting that they’re all alone while split screens (and their pitch-perfect three-part harmony) proving that they’re each going through the same thing. There are no easy answers for this ensembles’ ongoing quest for responsibility, love and peace, but at least they’re going down separate roads together. When’s It Playing?: Crazy Ex-Girlfriend sings its way onto your television screens every Friday at 9/8c on The CW. Trailer: Source

Dave Grohl’s “nicest guy in rock” tour hit Kansas City, Missouri, on Friday night (October 12th), when Foo Fighters headlined the Sprint Center. At one point during the show, Grohl called up a 7-year-old boy onstage, and it turned out the kid was a Metallica fan who played a mean guitar! The fan-filmed video below (via Alternative Nation) starts out with Grohl asking the young boy, named Collier, if he plays guitar, to which the kid responds, “Yes.” The Foo Fighters frontman then asked the youngster, “What songs do you know?” And Collier answers, “I know a lot of Metallica songs.” Grohl then wonders aloud if he himself knows a lot of Metallica songs, but when Collier starts playing the iconic opening riff to “Enter Sandman”, Grohl throws his arms in the air as the rest of the Foos join in. Doing his best James Hetfield impression, Grohl starts singing the first verse of “Enter Sandman” followed by the chorus, and an “Oh shit” exclamation! Grohl cut off the band, saying that’s all we know, and then asked Collier if he knew another Metallica song, with the 7-year-old then launching into “Welcome Home (Sanitarium)”, as Grohl admitted the boy knew more Metallica than the Foos. Later on, Grohl joked that Ed Sheeran was playing down the street that night, exclaiming, “He ain’t got nothing on Collier.” Grohl then gifted the Kansas City kid with his guitar, saying the tour’s almost over so he might as well give him the instrument. Collier then made his way back to his mom in the stands with Dave Grohl’s guitar in hand. “If I see that shit on eBay next week, I’m gonna find you, Collier,” said Grohl, adding another memorable chapter to the book of the “nicest guy in rock.” Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

David Guetta has transformed Calvin Harris and Sam Smith‘s “Promises” from a sure and smooth top 40 hit into a grand production more fit for the main stage. Adding a fresh, melodic layer that resembles the feel of a progressive house anthem, Guetta takes “Promises” to places it has never been. The styles of all artists involved jive in perfect harmony for this remix, which is undeniably more energetic than the original. When speaking with the Big Top 40, Guetta revealed he was a “little mad” at Harris for working with the powerhouse singer before he had a chance to. “I texted [Calvin Harris] and said I cannot believe that you did this,” he joked. “This is what I always wanted to do and you did it before me again.” Earlier this month, “Promises” landed Harris and Smith at No. 1 on Billboard‘s Dance/Mix Show Airplay chart. The collaboration tied the EDM phenom with Rihanna for the most No. 1s on the chart, 12 total each. Guetta and Madonna were the next closest contenders, with seven No. 1s each. Listen to Guetta’s spin on this massive hit here and let us know if you’re feeling it! Calvin Harris – “Promises” with Sam Smith (David Guetta Remix)  Photo via Rukes.com This article was first published on Your EDM. Source: David Guetta Drops Festival-Worthy Remix For Calvin Harris’ “Promises” with Sam Smith Source

Kaskade keeps it real with a brand new release with Madge called “Tight,” just in time for the weekend. It’s a party track and a dance floor heater, but it’s so much more — this is our latest obsession. “Tight” starts off with subtle, seductive sounds, leading the production straight into a thumping house beat. The lyrics say it all, as this number is destined for the club. Then, that unexpected sounder kicks in, triggering the uncontrollable booty shakes. This track is seriously a ball of fun, and a prime example that sometimes less is more. Really simple productions can be infectious when done right, which Kaskade does. Though “Tight” runs just 3 minutes long, it’s in no hurry, keeps its cool, and is that much more repeatable by nature. In the club all night See me under the light And you’re gonna do it right If you keep it real, keep it tight Kaskade – “Tight” with Madge  Photo via Demian Becerra for Life Is Beautiful This article was first published on Your EDM. Source: Kaskade Keeps It Real, Keeps It “Tight” with New Party Track [MUST LISTEN] Source

Streamers in the UK could soon be blocked from watching their favorite shows on Netflix or listening to music on Spotify and other online services when on holiday. As of now, a “portability” regulation exists to ensure that there is no discrimination whether a user is logging in from home in the UK or doing so when traveling throughout Europe. That’s how it should work, right? Well, in anticipation of a no-deal Brexit, the government admits that the current portability arrangement would “cease to apply.” Brexit, as has been widely reported since 2016, is the impending withdrawal of the United Kingdom from the European Union this coming March. “This means online content service providers will not be required or able to offer cross-border access to UK consumers under the EU Regulation,” according to newly-released government documents. “UK consumers may see restrictions to their online content services when they temporarily visit the EU.” However, a Netflix spokesperson denies this is the case. “UK Netflix subscribers are able to access Netflix everywhere in the world Netflix is available and will continue to do so once the UK leaves the EU,” a rep said. New geo-blocking rules go into effect in December 2018 and will apply to UK citizens before a possible no-deal Brexit pending March 2019. If there’s no deal, it would have an impact on more than just streaming — everything from flights to train systems to trading and beyond would be challenged. Source: The Independent This article was first published on Your EDM. Source: REPORT: Netflix, Spotify & More Could Be Blocked For Traveling UK Citizens Source

Hardwell‘s massive new release Revealed Vol. 9 is here and it’s epic in every way. The Revealed labelhead has delivered again with a full mix and compilation to match. Not only does this collection champion some of the most epic festival titans of our time, it combines their work all in one fluid release, as imagined by Hardwell. As the producer plans to take a break from touring, this Revealed release sounds inadvertently more bittersweet than previous volumes. Revealed Vol. 9 notably features his own “Kicking It Hard” and two brand new edits from the man himself. Spanning a whopping 26 tracks and additional mix cuts, Hardwell compiles massive collaborations with Steve Aoki, Dimitri Vegas & Like Mike, Blasterjaxx, Wildstylez, Timmy Trumpet among others. Armin van Buuren, Tiësto, Ran-D, Olly James, New Blood and many more are featured as well. Hardwell delivers the tracks exactly as he intended with continuous mix cuts. So, just hit play on the first track and experience the larger than life Revealed Vol. 9 below. Hardwell Presents Revealed Vol. 9 Get it: revr.ec/VOL9 This article was first published on Your EDM. Source: Hardwell Unleashes ‘Revealed Vol. 9’ Featuring Armin van Buuren, Tiësto & More Source

Netsky has left most of his fans wondering just what his new project, Palmtrees & Powerlines, is all about. The first single “Téquila Limonada” didn’t answer too many questions; however, his new collaboration with David Guetta, “Ice Cold,” a reimagining of Foreigner’s “Cold As Nice,” definitely clears some things up. “Ice Cold” opens the duality of upcoming Palmtrees & Powerlines, the two-part project that explores both Netsky’s brand of pop music (on Palmtrees) and his genre-bending innovation as a creator of club tracks (on Powerlines). “Ice Cold” finds its home in Powerlines, where previously released “Téquila Limonada” feat. A.CHAL aligns with Palmtrees. Each song from Palmtrees & Powerlines will find a place within one of these two worlds Netsky has built. About their “Ice Cold” collaboration, Guetta excitedly said, “Working with Netsky on this track was amazing. He’s such a great producer, and I’m really happy with the end result.” “’Ice Cold’ was such a fun song to make,” Netsky adds about the new song. “I remember both Stargate and David Guetta making me crank up this demo in a LA studio and all of us vibing to it together. Working with David was amazing, it was inspiring seeing his work routine and energy in studio and I’m so excited to be releasing this single today.” Listen to “Ice Cold” below!  This article was first published on Your EDM. Source: Netsky & David Guetta Prove An Unlikely Team On New Collaboration “Ice Cold” Source

Vicetone are one of progressive house’s darlings, and they’ve been making music since the genre’s heyday in 2012. Since then, they’ve gone through a variety of styles, but they’ve never forgotten their roots. After Avicii’s death earlier this year, every producer has been dealing with it in their own ways. Many producers like Nicky Romero and Tiësto pay tribute to him at their shows, others like Arty create their own songs in tribute. We can now add Vicetone to the latter list. Their new song “South Beach” was announced yesterday with a lengthy statement explaining the history behind the track and Avicii’s influence on it (below). pic.twitter.com/Sm4fepOTJ6 — Vicetone (@Vicetone) October 11, 2018 Now that it’s out, fans can finally hear what it’s all about. In an exclusive to Your EDM, Vicetone state, “‘South Beach’ is our musical tribute to one of our biggest influences of all time, Avicii. We started the track in 2012 and finished it this month, 6 years later. We hope that it will honor his revolutionary sound and the impact it had on our musical upbringing.” Listen to their Avicii tribute “South Beach” below. Photo via Rukes.com This article was first published on Your EDM. Source: Vicetone Release New Single “South Beach” Dedicated To Avicii Source

Yesterday was World Mental Health Day and that’s exactly what Selena Gomez is focusing on right now. According to multiple reports, the star is receiving treatment. But the “what for” ranges from anxiety, to an “emotional breakdown,” to an “undisclosed medical condition,” to specifically “dialectical behavior therapy (DBT).” The important thing is not what she’s seeking help for — but the fact that she’s getting the treatment she needs. This comes as Gomez just recently told her loyal following she’s taking a “step back” from social media. Update: taking a social media break. Again. As much as I am grateful for the voice that social media gives each of us, I am equally grateful to be able to step back and live my life present to the moment I have been given. Kindness and encouragement only for a bit! Just remember- negative comments can hurt anybody’s feelings. Obvi. A source close to Gomez revealed to CNN, “Selena is receiving treatment and has the full support of her friends and family. She was recently hospitalized after complications from her kidney transplant, and she’s committed to focusing on her health.” Remember: it’s ok to not be ok. Selena Gomez Takes “Step Back” From Socials Photo via Selena Gomez This article was first published on Your EDM. Source: REPORT: Selena Gomez Seeking Mental Health Treatment Source

When DJ Snake’s “Taki Taki” with Selena Gomez, Ozuna, & Cardi B came out almost two weeks ago, it was a forgettable dance number with major A-List stars and a moombahton beat. Now, the song has received its official music video and it’s unfortunately just as forgettable. Putting aside the obviously massive amount of budget used for the video – seriously, the production value is insane – the video is simply another vehicle for streams. Each vocalist, who has their own verse in the song, is also accompanied by their own respective biome in the video. Together, they occupy a bit of a hellish landscape. Ozuna takes up residence in a below-ground, LED-illuminated square surrounded by multiple women. Why? Who knows. Cardi B takes her space in what resembles a queen’s chamber, back-lit by a massive red cobra and multiple dancers. Finally, Selena Gomez is the most colorful of the bunch, walking through a jungle habitat, wearing all green crop top and pants. For all the budget used, my original critique from the song remains: “It feels very much like a plug-and-play track where any artist could have been placed in one of the feature slots and it would have been about the same.” Despite all this, “Taki Taki” predictably debuts at #2 on the Hot/Dance Electronic charts this week. Watch “Taki Taki” below. This article was first published on Your EDM. Source: DJ Snake’s “Taki Taki” With Selena Gomez, Ozuna, & Cardi B Gets Official Music Video Source

Desert Daze got off to a rocky start on Friday night when Mother Nature opted to step in. Rain and lightning forced the festival to cancel Tame Impala’s highly anticipated headlining set only three songs into the performance. According to Stereogum, organizers at first insisted that the band would still play, only to cancel the set entirely nearly two hours later. However, their own correspondent reports that confetti was enjoyed during “Let It Happen”, so that’ s nice. Currently, the festival is scheduled to go on as planned for the remainder of the weekend, which will include equally anticipated sets by My Bloody Valentine, King Gizzard and the Lizard Wizard, Slowdive, and a reunited Mercury Rev. In the meantime, stay tuned to the festival’s Twitter for more updates. @tameimpala sounded incredible at @desert_daze… until a man came onstage after the third song and said everyone had to go back to their tents and cars because of a lightning storm pic.twitter.com/vfC2bDXqHh — 𝖘𝖈𝖔𝖙𝖙𝖌𝖚𝖒 (@scottgum) October 13, 2018 Source

Michael Bublé is ready to leave the stage. In a recent interview with The Daily Mail, the Canadian-Italian singer, songwriter, producer, actor, and infinite hunk has revealed that his forthcoming 10th studio record, , will be his last and for good reason. For starters, Bublé’s very proud of his latest effort, enough that he feels it’s an elegant swan song for his incredibly successful career. “I’m retiring from the business,” he starts, adding: “I’ve made the perfect record and now I can leave at the very top.” But really, it’s more than that: In November of 2016, Bublé’s son, Noah, was diagnosed with cancer at the age three, and both he and his wife put their lives on hold. “You just want to die,” he says of those times. “I don’t even know how I was breathing.” Although Noah’s now in remission, the entire experience has changed Bublé’s outlook on life, particularly his feelings toward being a celebrity. “I don’t have the stomach for it any more,” he admits. “The celebrity narcissism. This is my last interview. I’m retiring…” Of course, Bublé is still young at 43, so who knows how long he’ll really be out of the spotlight. Let’s just hope this doesn’t stop the guy from popping up occasionally on Saturday Night Live, especially if they’ve got Jon Hamm around the studio. Nevertheless, hits stores on November 16th via Reprise. Source

Todd Harrell, a founding member and bassist of Three Doors Down, has been sentenced to 10 years in prison. Harrell, a convicted felon, was arrested in June of this year after allegedly striking his wife. He was subsequently charged with simple assault, felony weapon possession, and drug possession. On Thursday, a judge in Mississippi sentenced Harrell to the maximum penalty of 10 years behind bars, according to TMZ. Harrell was fired from Three Doors Down in 2013 after being convicted of vehicular homicide and driving while impaired. He was sentenced to two years in prison. In 2014, Harrell was arrested again and charged with a DUI. Source

Amidst Kanye’s ongoing love affair with Donald Trump, lest we forget the drama from earlier in the year. Over the summer, Pusha-T threw some shade Drake’s way on the Kanye-produced LP, DAYTONA. Drake responded with “Duppy Freestyle”, but Pusha then delivered one hell of a sucker punch with “The Story of Adidon”, on which he revealed the existence of Drake’s secret child as well as a photo of Drake in black face. Drake fired back with “Behind Barz”, but ultimately opted against releasing a “career-ending” track aimed at Drake and Kanye. For his part, Kanye denied he had supplied Pusha with the info about Drake’s baby, and contended Drake’s anger stemmed from Kanye’s decision to leave Drake off “Lift Yourself”. Nevertheless, he apologized for their “Jedi level” feud and said “there should have been no songs with my involvement that had any negative energy towards you.” Now, Drake is finally sharing his side of the story, and it runs counter to Kanye’s. Appearing on LeBron James and Maverick Carter’s HBO barbershop interview series, The Shop, Drake said Kanye had invited him to Wyoming to work on “Lift Yourself”. Drake claimed he was unaware that Kanye was working on his own albums, but all the while Kanye asked Drake “completely transparent” about his own LP, Scorpion. “I’m in Wyoming. I play him ‘March 14’. I send him a picture of my son. I tell him I’m having trouble with my son’s mother,” Drake explained, implying that Kanye was the only one who had knowledge about his son. Drake said it was only after he returned home that he discovered Kanye was planning to release a series of albums around the same time Drake had intended to drop Scorpion. “I wake up, and all these dates are out. One by one by one. All of them around June 15,” Drake remarked. Elsewhere in the interview, Drake revealed why he didn’t respond to Pusha’s “The Story of Adidon”. He explained, “I got home, listened back to it, and I was like, ‘Man, this is not something I ever want to remembered for. This is not even a place I necessarily want to go.’” Drake also gave props to Pusha for “The Story of Adidon”,” saying, “The song, I thought was trash, but it was a hell of a chess move.” Watch clips from Drake’s interview below. Drake talking about the Pusha T beef #TheShopHBO pic.twitter.com/xiA1FMor6h — Tra (@tragot_kicks) October 13, 2018 Drake talking about how the Kanye beef started pic.twitter.com/2G7ezf4cx8 — 6God (@TheDrakeLife) October 13, 2018 Source

After Insomniac Events failed to follow through on its psytrance, house and techno festival called Sacred Valley last month, the California-based events company has now announced a new festival merging dance music and video games called PLAY Festival. “PLAY Festival bridges the gap between music and gaming by intertwining the worlds of music, art, eSports, virtual reality and cosplay to create an unparalleled event for both casual and professional gamers, music enthusiasts and even non-gamers,” reads a press release. Activations at the festival will apparently include laser tag, drone racing, gaming trucks, virtual reality, vendors, interactive art, hypnotic installation, and more. The festival is co-founded with Insomniac by members of NU Management, the team behind Sam F, Nitti Gritti, and Bonnie x Clyde. “It’s an honor to partner with Insomniac on PLAY Festival. I had the inspiration for this event back in 2015 and wanted to create something that would combine my passions for music and gaming,” says Paul Campbell, Co-Founder of PLAY Festival. “Since then, the gaming and eSports industries have grown far beyond my wildest dreams. I knew Pasquale and Insomniac were the perfect partners to team up with to bring this one-of-a-kind event to life.” “Paul is an entrepreneur with a strong vision, and his passion for this project is inspiring,” says Pasquale Rotella, Founder and CEO of Insomniac. “There are so many similarities between the gaming and dance music communities, from their inclusive nature to their passion for total creative immersion. PLAY Festival is an opportunity to connect these two colorful worlds and build an event that’s exciting, authentic, and inspires a new generation of fans.” The festival will debut in 2019 with a lineup, date, and location to be announced at a later time. Photo by aLIVE Coverage for Insomniac This article was first published on Your EDM. Source: Insomniac Announces New Festival Centered Around Gaming, PLAY Festival Source

One of our favorite films out of this year’s Toronto International Film Festival was Claire Denis’ surreal sci-fi stunner, High Life. Starring Robert Pattinson, who’s on an impeccable run of indie darlings (see: Good Time, The Lost City of Z, and Damsel), the film follows a bunch of convicts enlisting in an experimental voyage that goes straight into a black hole. Sounds fun, huh? Well, based on the first trailer, it also looks downright gorgeous, and wouldn’t you know, that’s André 3000 fiddling around in an interstellar greenhouse. (Maybe he’s trying to make one of those green mint mochas he loves. Someone get him a vase!) Joining the two is an impressive assembly of co-stars, namely Juliette Binoche and Mia Goth, who look just thrilled to be on board this ship. Watch below. High Life hits French cinemas on November 7th and drops Stateside come 2019 via A24. In her glowing review, senior Sarah Kurchak writes that the film “is weird in the way that someone casually dropping a completely unnerving observation about the meaninglessness of life into an otherwise light and casual conversation is weird.” To quote Jim Morrison, where’s your will to be weird? Source

NYC act showcases mass approval through lyricism on new EP Promising potential, slick rhymes, and highly regarded as one of the next big Hip-Hop stars to come out of the East Coast, New York rhymeslayer Praise follows up his breakout release with a new EP, properly-titled, ‘All Praises Due’. ‘All Praises Due’ is a two song package featuring Praise two new singles, “I Don’t Remember You Callin'” and the title track. The producer/recording artist shines bright on the new collection with impactful wordplay, charismatic energy, and undeniable sound. Since its release, Praise has been receiving rave reviews from critics, describing the project as one of the summer’s best work from new discoveries. ‘All Praises Due’ follows up Praise previous collective, ‘More’. This year alone, Praise has been causing a lot of attention as he has been rocking stages throughout the Tri-State area. Making himself a hot commodity for major label executives eager to sign the next big thing. Stream All Praises Due, available now above, courtesy of Spotify. The post Praise Receives ‘All Praises Due’ : Listen appeared first on Verge Campus. Source

The Pitch: Shirley Jackson’s The Haunting of Hill House is one of the few horror stories that’s held in the same regard as A Farewell to Arms, The Catcher in the Rye, or even The Great Gatsby. Since its 1959 publication, the gothic novel has influenced heavyweights such as Master of Horror Stephen King and has been adapted for the screen to exceptional (1963’s The Haunting) and not-so-exceptional results (1999’s The Haunting). Now, director Mike Flanagan takes a crack at the story by expanding the source material into this era’s most popular narrative medium: a television series. Back in the Crain Gang: Unlike the original novel, which centers around four eclectic intellectuals attempting to prove the existence of the supernatural over one spooky summer, Flanagan’s take follows an unsuspecting family renovating the titular house. As such, it’s a liberal adaptation, though Flanagan carries over the names, character quirks, themes, motifs, and scares in a multitude of clever ways. The most obvious nod is the family’s namesake, the Crains, who fans of the novel will recognize as the enigmatic architect of the nearly century-old house itself. Spoiler: They’re just as creepy. The Haunting of Hill House, Netflix Yet all of their darkness stems from the house itself. Similar to the novel, psychology factors heavily into the story — and by proxy, the terror — leading each of the family members down various rabbit holes. Flanagan uses that to his advantage, welding the past and the present in ways that keep us interested and the characters interesting. The five children — Shirley, Luke, Theo, Eleanor, and Steven — and their two parents — Hugh and Olivia — all provide jagged pieces to the ensuing puzzle as Flanagan dedicates an episode to each of them. You know, like chapters in a book. Here’s the thing, though: Each piece is always at the mercy of perception, which not only makes for an addicting narrative construct, but one that’s spiritually in line with the source material. So much of Jackson’s original story is indebted to the pitfalls of the human mind, essentially what we see and what we don’t see and how it’s intrinsic to the individual, and that’s paramount to this series. Flanagan executes this Rashomon-like narrative in an almost operatic sense, turning what could have been a maudlin family drama, into an exercise in psychology. It’s impressive. Really fucking impressive. The Haunting of Hill House, Netflix Long Love the King: By now, it’s no secret that Flanagan is a scholar of Stephen King, what with last year’s Gerald’s Game and the forthcoming adaptation of Doctor Sleep, and his influence is all over Hill House. In fact, the construction of the entire series feels Kingian by nature, specifically the way the past informs the present and vice versa. Like King, Flanagan often narratively pulls his punches, introducing one event and pivoting to another to eventually come full circle for maximum effect. That narrative cadence is what makes Hill House so mystifying and especially so alluring. What’s more, the allusions between the Crain family and The Losers’ Club in King’s 1986 magnum opus It are unmistakable. Each family member is individually introduced with their respective hauntings in a manner that’s akin to the Losers’ initial portraits in chapters like the “Six Phone Calls” or the entire second part of It. While their eventual reunion — in an episode that does wonders with continuous shots — holds a familiar weight to the Losers’ unnerving dinner at the Jade. But really, the story feels like a parallel to the novel namely because it’s so centered around the weight we carry on from childhood. Whether or not Flanagan’s conscious of this is for him to answer, but if so, this is hardly a blatant homage. If anything, he’s using the faculties and rhythms of the best-selling author in ways that wisely reconfigures Jackson’s source material. It makes for a more modern experience and one that’s far more palpable given the family dynamic. You feel for these characters at a level that makes the resulting horror and terror far more catastrophic and lingering than, say, watching four strangers play cat and mouse with ghosts that may or may not be there. In this case, they’re definitely there. The Haunting of Hill House, Netflix The Haunting of Our House: Oh, that they are! Part of the intrigue of Jackson’s original novel is that you’re only given teases or hints as to what may or may not be in the shadows, letting your imagination run wild. Flanagan runs with that idea, delivering whatever he might have imagined while reading the text, while also giving viewers a chance to carve out their own. Though, when he does yank things out from the shadows, what you see are often some of his most jarring pieces of horror to date, and that says a lot seeing how his resume comes fully stocked with things that go bump at night. Without spoiling too much, there’s a particular harrowing sequence involving a recurring spectre roaming the halls with a cane. It’s a scene that any filmmaker without some sense of patience could screw up, but Flanagan leans on the shadows and utilizes proximity for maximum effect, teasing the suspense with the repetition of sound. If Ari Aster’s similar direction in Hereditary from this past June is any indication, it’s a moment that will stick with you long after you’ve opted to call it a night on Netflix. Had this writer seen this as a child, there would be no sleeping. Who am I kidding? I hardly slept. Know that there are at least a dozen more chilling scenes like this. The Haunting of Hill House, Netflix Okay, But Who Wins Hill House? Much of the success of this series is also owed to its incredible cast. Flanagan not only assembled one hell of a top-tier lineup in Carla Gugino, Timothy Hutton, and Henry Thomas, but an inspiring ensemble of young talent who match their even younger counterparts in ways that Andres Muschietti will have to nail come next September with his followup to It. Thomas and Gugino, regulars by now of Flanagan, are choice in their roles as Young Hugh and Olivia, respectively, but the true left-field stunner is Kate Siegel as adult Theo. It helps that her character is the edgiest of this not-so-Brady bunch, but her mix of charm and attitude is the most magnetic of the bunch. The Haunting of Hill House, Netflix The Verdict: The Haunting of Hill House feels like a passion project for Flanagan. It’s an assured collection of 10 episodes that never wavers in the slightest, which, honestly, can’t be said of his past works. It’s a slightly slow climb, sure, but only because anyone tuning into a horror show these days expects the generic tropes of a horror show. To be fair, this series indulges in a few of them — there’s one recurring Ryan Murphy-esque ghoul that taunts Olivia in a manner that can best be described as “Off-Broadway schtick” — but Flanagan muscles by prioritizing story over scares. He also shakes it up: When Flanagan wants to be visceral, he earns it. When he opts to be withholding, there’s no argument. There’s a finesse to the series that’s been severely lacking in Netflix’s original programming as of late, and one has to assume this stems from Flanagan’s investment in the source material. Yet, unlike Gerald’s Game, his greatest strength here is when he’s playing with the story as opposed to being slavishly devoted to it. (Here’s hoping he applies that logic to Doctor Sleep. Please god.) It’s a reimagining for an era that doesn’t know what that word means anymore. Turn off the lights and find out for yourself. Where’s It Playing? The Haunting of Hill House is currently streaming on Netflix. Trailer: Source

President Donald Trump has a history of pissing off iconic musicians by playing their music at his rallies without permission. Steven Tyler served Trump with a cease and desist over the summer for his use of Aerosmith’s songs, and The Rollings Stones have been trying to get their music off his speakers since he was just a long-shot candidate (remember when this was funny?). Now he’s gone too far, though, as he’s stepped on the grave of the Purple One himself, Prince. The Prince Estate has issued another cease and desist to Trump and the White House demanding they stop using “Purple Rain” at rallies. “The Prince Estate has never given permission to President Trump or the White House to use Prince’s songs and have requested that they cease all use immediately,” said Omarr Baker, the late singer’s half-brother (via TMZ). Licensing deals and publishing agencies actually make it notoriously hard for an artist to pull their music from public events like this. Prince’s Estate is notoriously litigious when it comes to the singer’s music, though, so who knows how far they’ll take this one. Either way, Trump should have no problem getting Kanye West or Kid Rock to lend him some music to pump up the crowds. Source

Bibi Bourelly jump-started her career in 2015, but her resume reads like that of a longtime music veteran. The Berlin-born musician, at just 24 years of age, has written for pop stars like Selena Gomez (“Camoflauge”), Mariah Carey (“GTFO”), Camilla Cabello (“I Have Questions”), and Usher (“Chains”). Bourelly additionally masterminded a little known song — I don’t know if you’ve heard of it — called “Bitch Better Have My Money” by Rihanna. Bourelly has also steadily spearheaded her own solo singing career and is expected to drop her debut album sometime before the end of 2018. As a teaser for that project, she has released a new song today titled “Writer’s Song”. True to its name, it offers insight into her mind as a songwriter, which despite all of her accomplishments, still goes through periods of intense self-doubt. She’s human after all. “I don’t believe myself, don’t even trust no one else,” she sings over bare-bones acoustic guitar, her vulnerability relatable to just about anyone, chart-topping music icon or aspiring bedroom songwriter. “How the fuck imma write a song if I don’t feel like it/ No, I don’t write that well.” “I wrote ‘Writer’s Song’ when the suits were pressuring me to come up with a radio single,” Bourelly told High Snobiety. I couldn’t think straight and so I just went in the booth and this is what came out. I wrote it in about 10 minutes in New York.” Take a listen below via its music video, which features footage of her penning the song. “Writer’s Song” Artwork: Source

Sadie Dupuis had initially intended to include the track “DTMFA” on the debut album from her Sad13 project, Slugger. It didn’t make the cut, though, so she decided to record it again with Speedy Ortiz for their latestst full-length, Twerp Verse. Then that record got scrapped and redone from the ground up following the 2016 presidential election, so “DTMFA” went back on the shelf. Now, the song has finally found a home as part of the Adult Swim Singles Program. “DTMFA” is a phrase Dupuis borrowed from syndicated sex-advice columnist Dan Savage and his Savage Love column and Savage Lovepodcast. It stands for “dump the motherfucker already,” a phrase repeated with just the right hint of venom over charged up, jagged guitars. Check out the track below. Earlier this year, Dupuis sat down for an episode of This Must Be The Gig to discuss Gwen Stefani, Twerp Verse, and the benefits of a good cup of tea. Revisit the interview below. Download | Listen and subscribe via iTunes | Google Play | Stitcher | RSS Source

Soccer Mommy (née Sophie Allison) is currently touring in support of her wonderful debut album, Clean, and yet the new tunes keep on coming. There was “Mass Grave”, her collaboration with HEATH, and then her soulful cover of Bruce Springsteen’s “I’m On Fire”. Now, the Nashville songwriter is back with another cover, this time of the Dixie Chicks’ classic “Wide Open Spaces”. “I’m a huge Dixie Chicks fan,” Allison said in a press release. “I think ‘Wide Open Spaces’ is one of those perfect ’90s alt country songs. Plus it’s relatable to any girl who’s moved away from home and had to start a new life somewhere. Covering it was super fun and I’m really happy with the turn out.” The compelling broodiness of Allison’s vocals give the ’90s hit some added heft, and they take on new dimension once that big-hearted chorus hits. Stick around until the end for some unexpected shredding. Stream it via Amazon below. Source