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26-year-old indie pop star BØRNS, born Garrett Clark Borns, has been accused of sexual misconduct by a number of women. The disturbing allegations contend Borns groomed teenaged girls via lengthy social media communications that typically included the sharing of illicit photographs and videos — occasionally when the female involved was just 17 — until the individual in question turned 18, at which point Borns allegedly invited them for a drink and eventually convinced them to have sex with him. In a statement issued via Instagram, Borns said he was “hurt and angered over the disturbing and false allegations…” “All of the relationships I have had were legal and consensual,” he continued. “They ended abruptly and that obviously caused hurt feelings, but for anyone to suggest anything beyond that is irresponsible.” It’s true that none of the accusers appear to be alleging anything non-consensual or illegal sexual contact. Still, the myriad stories involve underaged pornography and drinking, all seemingly parts of longterm manipulation by a pop star. One of the first to level allegations against Borns was Twitter user @kaliforxnia. She claimed to have struck up a friendship with Borns after meeting him during a 2015 concert. After months of what came off as friendly communication, he allegedly invited the 19-year-old to his show in Chicago. Following the concert, she said he invited her back to his hotel via text, but she declined. The next time he was in town, she said Borns began texting her again, asking her to “send pics” and inviting her to “Netflix and chill.” She declined all of these overtures, and it would be months before they communicated again. This time, she was visiting Los Angeles and he invited her for drinks. Though she assumed they would be meeting at a bar, she was surprised when her Uber dropped her off at his place, where he served her drinks. “Suddenly I became drunk and was completely taken advantage of,” she wrote. “Once everything happened I went to the bathroom and started bleeding. I was completely shocked from the blood and started to get it together and realized what just happened. I blamed myself for that night because I didn’t say no even though I was intoxicated.” The next month, they met up again in Chicago, where Borns got her into a bar “without having me get carded.” When they ended up back at his hotel, she said, “… one thing led to another and I was filled with a little guilt even though I was a little drunk in the moment because I actually let him talk me into using me….again.” She added, “Also, I’d like to add in that he did not use protection and didn’t care when I said I wasn’t comfortable with that and was not on birth control at the time.” Twitter user @alyssaadaniele also recounted her story, which began when she met Borns at a music festival when she was 16. She claimed he invited her back to his hotel after the show, and “he began to touch my leg but I didn’t think much of it. As we were watching TV, he began going further up my leg and started skimming me in other places. I want to add that he also was [aware] of how old I was, 16, yet he still touched me the way he did.” Though he “ghosted” her the next time he came through town, they met up again in Texas the night before her 17th birthday. They began communicating via Instagram DM, and when things switched to Snapchat, Borns’ behavior allegedly changed. Borns apparently got upset when she tried to save messages from him. “I don’t remember when things transitioned from being normal conversation to him wanting me to send him things I’d never sent anyone before,” she recalled. “But it happened. And he began sending me pictures, and I began sending him pictures. He told me what he wanted to do to me, and wanted me to call him ‘daddy.'” The sexually explicit communication allegedly continued for some time. “He started treating me like a toy,” the accuser continued, “only talking to me when he was lustful, and this went on for the next year and a half.” When she turned 18, they met up at his Los Angeles residence and became intimate. “He got me drunk, started touching me, and we went into his bedroom,” she said. “The things he did were things I did not want, and it hurt. He was aggressive and controlling and I was so fucking scared of him.” In a later post, she clarified that the sex was consensual and she was of age at the time. Indeed, none of these accusations appear to be regarding rape, but the pattern of manipulating young fans into having rough, unprotected sex is well documented on the @exposing_borns Twitter account. A 19-year-old girl named Mathilda is referred to as “The Hamburg Girl,” for example. The incident involved Borns once again striking up a social media relationship and eventually “only asking for nudes.” It got to the point where he flew her out to Hamburg, Germany for two days during his European tour. “He was very kind and gentle to me,” she said, but quickly added, “I did not like the way he wanted to have sex wit [sic] me. Made me scream for daddy’s cock etc etc. Very uncomfortable.” Though Mathilda said she continued sending nudes and even videos after the Hamburg trip, she “just felt worse and worse. I tried to talk to him about this but he did not care. He could just me off whenever. I was so afraid to lose him since I got very attached and he knew that. I was just a little puppet in his game.” The full accounts from the first two accusers are below. We reached out to Borns and his representatives for additional comment. pic.twitter.com/GKG6WjfY0v — Nia (@kaliforxnia) September 21, 2018 (2/3) pic.twitter.com/kwlpsDkshE — Lyss (@alyssaadaniele) September 23, 2018 I just wanted to clarify that I did not accuse him of r*pe, the sex was consensual, and happened when I was of age. — Lyss (@alyssaadaniele) September 24, 2018 Source

The Pitch: It’s 1851 in the lawless hills of Oregon. The Sisters brothers, Charlie (Joaquin Phoenix) and Eli (John C. Reilly), make a mint tracking down and “handling” anybody who runs afoul of the local constable. They’re sent on a particularly ambitious trip down to California when word comes along that the amateur inventor Hermann Warn (Riz Ahmed) has a price on his head for a formula the constable wants, a formula that can be poured into a river to illuminate gold ore in its raw form. They send the foppish middle man John Morris (Jake Gyllenhaal) to hold Warn until they arrive, but Warn’s relentless optimism soon sways the weary Morris. Combined with Eli’s increasing desire to get out of the murder business, even as Charlie digs himself deeper into it with every drunken night, there’s trouble a’brewing on the old frontier. A Cowboy, or Something: Nearly a decade ago now, Jacques Audiard stormed onto the world filmmaking scene with A Prophet, a harrowing prison drama that offered an artfully surrealist take on one of film’s most well-traveled subgenres. For his English-language debut The Sisters Brothers, Audiard takes a similar approach to perhaps the most well-traveled subgenre, at least in the U.S.: the Western. From early on, Sisters takes great pains to establish that this won’t be your grandfather’s Western. The opening shootout takes place in total darkness, with only the muzzle flashes illuminating a wide expanse. The conversations between the coarse Charlie and the gentler Eli take on the meandering cadence of a Richard Linklater vehicle. In between the copious shootouts, which Audiard renders with bracingly immediate violence, there are a number of near-anachronistic beats involving toothbrushes and philosophical inquiry. The Sisters Brothers looks like a lot of Westerns you’ve seen before, all wide-angle panoramas of the untamed wilderness and furtive conversations around campfires, but it sure doesn’t feel like one. Square Dance: Unsurprisingly, the best moments in The Sisters Brothers arrive courtesy of the film’s central quartet, who do a great deal to elevate what would’ve otherwise felt like a conceptual exercise in genre tropes into something memorable, and even affecting from time to time. Phoenix has played these mumbling, slurring notes elsewhere, but he turns the feral quality of some of his best performances inward, putting forth a bloodthirsty cowboy who’s falling apart every second of the day he isn’t drunk. Ahmed brings a studied charm to his ambitious prospector, and there’s a gentility to his scenes with Gyllenhaal that sees both men do some of their best work in the film. (Gyllenhaal has several of the film’s best line readings as the educated, and pretentious, Morris.) What really makes the film sing, however, is Reilly’s work as Eli, which sees the actor use his hulking frame in ways usually mined onscreen for comic effect. (A couple of the shots placing him right next to Phoenix are a hoot in their sheer contrast.) Eli is an outlaw from the Quiet Man playbook, a mouse in the body of a giant. Audiard spends quite a bit of time studying Eli, more so than anybody else onscreen, and it’s through his exhausted perspective that much of the film unfolds. Eli and Charlie are less brotherly than symbiotic; without Eli, Charlie would’ve been executed years ago, and without Charlie, Eli would be without the only thing that’s ever motivated him through life. Reilly gets to work in every corner of his skillset at various points throughout The Sisters Brothers, from broad gag comedy to the aching pathos of some of his earliest performances, and it’s a reminder that while he’s an adept comedian, he’s also one of our more engaging dramatic performers working today. The Verdict: The Sisters Brothers is a film built from contradictions, and to a point, it’s worth considering the ways in which Audiard intends for them to be read. There’s a sharp (if obvious) contrast drawn between Charlie and Eli, and even if the film takes pains to shade the humanity into both, there’s a clear hero and antihero present in the story. The film may take a while to unite all four actors, but some of its best stuff emerges in those early scenes, when Audiard tries to complicate his familiar characters by lending them an appealingly human eccentricity. There’s a strangeness to certain passages of Sisters that bolsters it through its seedy saloons and cacophonous firefights, and it constitutes the best the film has to offer. However, as it unfolds and the story eventually dovetails into one of hubris and its inevitable conclusions, The Sisters Brothers struggles to reconcile its loose, even playful tone with the bone-crunching visceral impact of so much of its violence. Heads aren’t simply shot but instead reduced to piles of brain and bone, punches land with the impact of a falling boulder, and somewhere along the way The Sisters Brothers loses its footing in trying to juxtapose the bloody realities of the Old West with the modern tendencies of a particularly chatty indie. It’s an interesting exercise, but also not one that entirely works, particularly in the way that it’s ultimately yet another story about violent men finding their way to salvation through yet more violence. For a film that sees Audiard playing so much with genre and form, The Sisters Brothers is just a hair underwhelming for how eminently familiar it winds up being. Where’s It Playing?: The Sisters Brothers opens in NY/LA on September 25th, and will expand wider thereafter. Trailer: Source

Bill Cosby was sentenced to no less than three years and up to a maximum of 10 years in prison today following an April conviction on three counts of aggravated indecent assault of Andrea Constand. Montgomery County Judge Steven T. O’Neill denied Cosby’s request for bail pending his appeal, and Cosby was subsequently handcuffed and transported to prison to jail to begin his sentence immediately. (That’s his booking photo up above.) Outside the courtroom, Cosby’s publicist, Andrew Wyatt, delivered an insane condemnation of the verdict, comparing Cosby’s situation with that of Supreme Court nominee Brett Kavanaugh, who he says, like Cosby, is the victim of a “sex war that Judge O’Neill, along with his wife, are apart of.” Calling the trial the “most racist and sexist trial in the history of the United States,” Wyatt went on to characterize the three psychologists who testified as “white women who make money off of accusing black men of being sexual predators.” He also added, weirdly, that one “is a practitioner of mindfulness,” which “is an eastern-inspired practice that is controversial in the field of psychology.” Um. Okay? “They persecuted Jesus and look what happened,” Variety quotes Wyatt is saying, a statement that compares Cosby, a man credibly accused of sexual assault by over 60 women, to Jesus Christ. Read a portion of Wyatt’s remarks below: Uh, quite the statement from Andrew Wyatt, Bill Cosby's publicist, from outside the courthouse. "I believe and think it is important to point out that this has been the most racist and sexist trial in the history of the United States." A portion… pic.twitter.com/xiUYVub1qJ — Sopan Deb (@SopanDeb) September 25, 2018 In addition to his sentence, the disgraced comedian must register as a sex offender and pay a $25,000 fine on top of prosecution fees. In May, the Academy of Motion Picture Arts and Sciences banned the disgraced comedian (along with Roman Polanski), while Northwestern University revoked Cosby’s Honorary Degree in June. Bill Cosby's publicist, Andrew Wyatt, claims both Cosby and Brett Kavanaugh are victims of "a sex war" that is "going on in Washington today." pic.twitter.com/jRHOjzUZD7 — Aaron Rupar (@atrupar) September 25, 2018 Source

For those of you who keep track of these sort of things, FKA twigs and Shia LaBeouf are reportedly dating. According to The Daily Mail, the 30-year-old singer began dating the 32-year-old actor after meeting him on the set of LaBeouf’s new film, Honey Boy. The couple were spotted together in London this week, and a member of the paparazzi apparently got FKA twigs on the record by buzzing her up on her home’s intercom speaker. “We’re very happy, we’re having a nice time,” she reportedly said. FKA twigs was previously engaged to Twilight actor Robert Pattison, but their relationship ended last year. LaBeouf recently broke up with his longtime partner, actress Mia Goth. Shia LaBeouf Twigs watch 2K18 pic.twitter.com/OSnJzDkxmB — Jake Woolf (@jakewoolf) September 25, 2018 Source

If you’ve been lucky enough to catch any of the performances on Slayer’s ongoing farewell tour, you have seen how the 2013 death of founding guitarist Jeff Hanneman is still very much on the band’s collective minds. Former Exodus member Gary Holt, who was initially hired to fill in for Hanneman for the band’s live shows before being invited in as permanent member, plays a guitar festooned with a faux-Heineken logo made in tribute to the late axeman. And the setlist for these shows is filled with songs that Hanneman wrote for the group, like “Raining Blood” and “Angel of Death.” The guitarist’s death is still very much weighing on Slayer’s former drummer Dave Lombardo, as well. Today, Metal Hammer published a tribute Lombardo penned in honor of his late bandmate, a poignant but unflinching portrait of their friendship and the issues that caused Hanneman’s untimely death. The piece tracks their musical and personal relationship starting with their first meeting in 1981 during early Slayer rehearsals, emphasizing how much Hanneman was the architect for the band’s early thrash metal sound. “We were into the typical metal of the time – Judas Priest, Iron Maiden, Rainbow, Deep Purple, you know?”, Lombardo writes. “Then one day Jeff shows up to rehearsal with a shaved head. We were all, like, “Whoa, Jeff, what’d you do?!” He went: “I’m punk. It’s over.” And he brought all of this music with him: some vinyl, some cassettes – Black Flag, TSOL, Minor Threat, Dead Kennedys, Circle Jerks. I was, like, “Wow, what rock have I been under? This is fantastic!” It was a huge pivot point – our songs became faster, more aggressive after that. He was the one that brought that element to Slayer.” Lombardo, who was ousted from the band in 2013 after after publicizing financial issues he had with the group, is also unblinking about the decision that the band had to make to remove Hanneman from the fold when it became apparent that his guitar playing was suffering, not only due to his drinking but also surgeries he had gone through to combat the necrotizing fasciitis that he had contracted in 2011. “It was sad, but we had to make the decision and break the news to him,” he writes. “I know that it crushed him.” Hanneman passed away on May 2, 2013, due to liver failure, brought on by his excessive alcohol use. Perhaps the most surprising part of this tribute is the claim that, if Hanneman were alive today and playing at full capacity, he wouldn’t let Slayer come to an end. “He’d fight to keep the band going,” Lombardo says. “He’d have taken the band by the horns and driven it on. His love and his passion was music and being onstage. That passion was dampened by toxins, but it was still there.” Slayer’s final tour will continue this winter with a run of European dates that wraps up at Helsinki’s Ice Hall on December 8th, and will pick back up again in 2019 with dates in South America and Japan. While no final date is set, the band has said that the tour will continue at least through the end of 2019. Read Lombardo’s full Metal Hammer tribute here. Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Alice in Chains' Top 5 Videos Pearl Jam’s “Jeremy” Annotated Video Source

Canadian indie rockers Frog Eyes called it quits over the summer, ending a 17-year run. They closed things down with one final full-length, Violet Psalms, and an accompanying tour. Now, as one ultimate farewell to their fans, the band has announced a live album that documents one of their final shows ever, Live at the Moroccan Lounge. Due to be self-released on September 28th via Bandcamp, the album captures a July 3rd gig at Los Angeles’ Moroccan Lounge (natch). In a press release, Frog Eyes’ Carey Mercer called the effort “one of the records I am most proud of, as it’s proof that we were at times a great live band, and in the end that’s one of the things to aspire to, to be out in the real world (in real time).” Though the actual set was longer, Live at the Moroccan Lounge features 45 minutes of the performance thanks to Mercer breaking some strings. He notes that there’s about five minutes of banter still left on the recording, which he suggests listeners delete after a few run throughs, “as it’s music that brings us together.” As for the decision to release via Bandcamp, Mercer said that it would enable the band to “keep 85% of what you pay,” while ensuring Live at the Moroccan Lounge “won’t ever ever be featured on any of the viper-pit, crud-sound, streaming sties that keep me up at night.” The album will also come with an essay recounting the night of the show, as well as a bonus track from the Violet Psalms sessions entitled “The Idiot’s Idiotic Storm”. Mercer says he kept it off the band’s final record because he felt “it was a bit too ‘on the nose’ towards the particulars of our times.” Find the tracklist below. Live at the Moroccan Lounge Tracklist: 01. Your Bosses’ Shirt 02. Idle Songs 03. I Like Dot Dot Dot 04. I Ain’t Around Much 05. Masticated Outboard Motors 06. Good Natured Ribbing 07. Claxxon’s Lament 08. The Policy Merchant (Solo) 09. Three Men Drown in a River 10. The Oscillator’s Hum 11. Bushels, solo 12. A Latex Ice Age 13. Encore Clapping/Not an Asterism but a Dinkus 14. Sound Travels From the Snow to the Dark 15. The Idiot’s Idiotic Storm (Bonus) Source

Well, so much for that lawsuit that Sharon and Ozzy Osbourne brought against concert promoter AEG being old news. Sharon has just penned an open letter telling AEG boss Philip Anschutz, “Ozzy and I have got something nice for you [to] bite on … our assholes … see ya loser!” Let’s quickly recap: Ozzy and Sharon sued AEG earlier this year, claiming the concert promoter was requiring Ozzy to play the Staples Center in L.A. if he played the O2 Arena in London. Last week, AEG announced it was halting the block-booking policy, explaining that it was in response to rival promoter Azoff-MSG entertainment, which had just ended similar policy that involved Madison Square Garden in New York and The Forum in Los Angeles. Upon that news, the Osbournes dropped their lawsuit this past Friday, but apparently, AEG’s statement on the matter irked Sharon to the point that she verbally destroyed the company and Anschutz in an open letter, which reads as follows: We know Mr. Anshultz [sic] (aka “Daddy Big Bucks”) is living in his billionaire bubble, but the fact is that Ozzy sued AEG for the right to perform at the O2 in London. We won the case and Ozzy’s show at the O2 went on sale on September 5 for a show next year (February 11, 2019)–so in my world that means we won the case. Ozzy is playing the O2 without having to play the Staples Center, which is all that mattered to us. From the start of this dialogue in February, this has been a battle about respect for the artists and their personal preferences. It wasn’t then and isn’t now a battle between promoters, which is how this is being portrayed by the recent statement from AEG claiming this as a “victory.” To say that this “suit was instigated by Azoff and paid for by MSG and Live Nation,” and that “it was hatched on the back of an artist who we believe had no idea what he was biting off,” is untrue and disrespectful to Ozzy, myself and the entire team working on this tour. Whatever differences you have with Irving Azoff, don’t presume you know who instigated the lawsuit or you know anything about Ozzy Osbourne, because you obviously don’t know anything about Ozzy’s history or mine. So stop with your hubbildy, bubbuldy BULLSHIT and your little pissing contest with Live Nation and MSG. Regarding the allegations in the AEG statement that this “suit was a transparent public relations ploy,” if that was indeed the case, why then did AEG rush out a statement of victory? While we, throughout this process, until now have only made one statement around the initial filing. Ozzy’s preference was to perform at The Forum, a venue that has been a part of his music history for more than 46 years. From the start, this was not a battle solely for Ozzy, as much as one for other artists who were being forced to abide by these rules and regulations. Let’s not all forget why you’re here … the artists. The only thing remotely interesting in your statement was your pitiful attempt at humor with your quote that Ozzy “had no idea what he was biting off.” If you’re interested, Ozzy and I have got something nice for you [to] bite on … our assholes … see ya loser! Meanwhile, in other news, Sharon opened up about her sex life with Ozzy on her show The Talk yesterday, saying it’s a “bone of contention” in her household. “He’s got a problem,” Sharon said of Ozzy. “He’s like a rabbit and I’m like, you know, birthdays, Christmas, at this point in my life. Special occasions. It’s Thanksgiving! Why not? But I mean special occasions.” She then referenced Ozzy’s recent extramarital affairs, saying, “No wonder he fiddles other people,” but then adding, “He doesn’t [anymore]. He’s a good boy. He doesn’t.” See the segment in the video below. Source

After Disney fired James Gunn in the wake of a social media scandal involving years-old tweets, the fate of the Guardians of the Galaxy franchise, and Gunn’s possible role in it, has been up in the air. Fans have called for him to be rehired, while some of the film’s cast (most notably Dave Bautista) have threatened to quit if the series continues on without him. While Disney has no intention of rehiring Gunn, there’s a glimmer of hope that Gunn’s stamp on the series will continue in some form. In an interview with Tulsa World, Gunn’s brother Sean Gunn (who also plays Kraglin and does the motion capture work for Rocket in the Guardians films) let slip that Disney still plans to use Gunn’s completed script for the third film in the franchise. “I don’t really know yet what’s going on with Guardians 3. I know that Disney still wants to make the movie. I know that they have every intention of using the script that my brother wrote,” Gunn remarked. “Obviously, that was a very unfortunate situation for everybody, most of all him, but I am also somebody who had been preparing to spend half a year making that movie and now that’s up in the air.” (Read: Ranking: Every Marvel Movie and TV Show Ranked from Worst to Best) As for Kraglin’s role in the Marvel story, Gunn was understandably tight-lipped. “I think I can say this: I don’t think Kraglin’s story is finished yet. I think the fans will, at least, get to know what happens with Kraglin, even though I can’t share that right now.” Per usual, take this news with a grain of salt. But if it’s true, at least some form of Gunn’s voice will carry over into the rest of the Guardians’ adventures. The Guardians of the Galaxy were last seen in Avengers: Infinity War, and are slated to appear in Avengers 4 next year, despite many of their fates in the last film. Source

Utah’s largest Halloween themed electronic festival is back for it’s 14th year. Get Freaky Festival in Utah will be ready to spook on October 26 & 27th and is ready to show all walks of the deepest and darkest ways of house music. The day by day lineup is finally revealed and the headliners will prove to be spectacular. Zomboy and Boombox Cartel are set to headline Day 1 and Flux Pavillion B2B Doctor P will take the stage for night 2. The “Tent of Terror” outdoor themed stage is back to dominate and will host the leaders of Bass House with artists like AC Slater, Black Gummy, Wax Motif, Jack Beats, and more! Get Freaky 2018 will take place at the Great Saltair. Get tickets here! Check out the trailer below. The post Utah’s Get Freaky Festival Announces Day by Day Lineup appeared first on EDM Maniac. Source

You’d think a bunch of professional news writers and editors would stop being taken aback by the weird headlines that sometimes pass across our desks in a given day at this point. Our world has become so surreal due to everything from the Internet to America’s reality-star president to Shrek Grips that you’d think we’d be ready for anything by now. Yet every once in a while, something pops up that’s at once so trivial and so entirely perplexing that we’re reminded of the world’s sustained capacity to surprise. Let’s just start with this: Lil Xan went to the hospital for eating too many Flamin’ Hot Cheetos. As any connoisseur of $1.29 bags of blazing snacks will tell you, one must pace themselves when enjoying Flamin’ Hots and Takis and the like. To purchase a bag of Flamin’ Hots is to dance with the devil, to throw one’s fears of an inflamed brown eye to the wind in favor of the spectacular, mouth-searing present. But if you’re not careful, you could be a Soundcloud rapper making news for your inability to restrain yourself. The newly sober Xan, who’s about to embark on a U.S. tour through the rest of 2018, took to Instagram to alert his fans and impressionable young hot snack enthusiasts alike that he paid the ultimate price for over-indulgence in Chester Cheetah’s most two-faced vice: According to Xan in the video, “I went to the hospital today. You know, getting ready to pack for this tour. i just want to let everybody know I was in the hospital — not due to any drugs — but I guess I ate too many Hot Cheetos and I guess it ripped something in my stomach open, so I puked a little blood.” Let this stand as a warning to the rest of you: chase your Flamin’ Hots with water, and never house more than half a bag in one session, lest you meet the fate of the self-proclaimed Heartbreak Soldier. Source

III Points Music and Arts Festival returns to Miami’s Wynwood neighborhood from February 17th-19th, 2019. The festival’s sixth and largest installment to date is headlined by SZA, ASAP Rocky, Erykah Badu, James Blake, Tyler the Creator, and Herbie Hancock. Other notable acts include Beach House, Blood Orange, Raekwon and Ghostface Killah performing Only Built 4 Cuban Linx, Godspeed You! Black Emperor, Ty Segall and White Fence, The Internet, SOB x RBE, Pussy Riot, Tim Hecker + The Konoyo Ensemble, John Maus, JPEGMAFIA, DJ Koze, Peggy Gou, Kesley Lu, Jacques Greene, and more. See the full lineup poster below. Tickets to the festival are available now. Source

There were two things Forrest Silva Tucker could do better than anyone else: rob banks and break out of prison. By his own account, Tucker escaped from various prisons “18 times successfully and 12 times unsuccessfully,” spending what few months of freedom he had in between robbing banks. In the late ‘70s and early ‘80s, he became notorious as the leader of a three-man group of elderly bank robbers dubbed the “Over the Hill Gang,” known for his incredible charm and devil-may-care attitude. It’s a story innately attuned to cinema – think Bonnie and Clyde meets The Bucket List. And who better to tell it than David Lowery and Robert Redford? Adapted from the New Yorker story of the same name by David Grann, The Old Man & the Gun follows Tucker (Redford, as charming as ever) at the height of the Over the Hill Gang robberies. His two primary weapons are a Colt .45 revolver no one’s ever seen him fire, and a police scanner masquerading as a hearing aid. He goes from bank to bank, practicing his decades of experience on unsuspecting bankers, tellers, and customers; Tucker and his accomplices Teddy (Danny Glover) and Waller (Tom Waits) basically schmooze their way through each of their targets. The major refrain heard by Detective John Hunt (Casey Affleck) through his investigations of the Gang? “He was just so nice. From the opening frames, Lowery’s influences are unabashed, walking in the footprints of ‘70s film giants like Altman, Cassavetes, and even Monte Hellmann and Peter Yates. Lowery has made a name for himself as a filmmaker with a distinct eye for existential melancholy (A Ghost Story is particularly, well, haunting), but The Old Man & the Gun sees him in more crowd-pleasing, affable territory. Rather than the mournful elegies of Ain’t Them Bodies Saints and A Ghost Story, Lowery’s latest is affable, peaceful, putting you at ease as thoroughly as Tucker does any of his marks. Joe Anderson’s soft, 35mm grain is perfect for the film’s retro sheen, and frequent Lowery collaborator Daniel Hart does his best Marvin Hamlisch impersonation with Old Man’s silky-smooth jazz scoring. Of course, none of this works without Redford, putting in superlative work in a role that, without cliché, feels like he was born to play. Working together with Lowery for the second time (the first being the filmmaker’s surprisingly warm-hearted live-action remake of Pete’s Dragon), Redford’s signature smile and innate charisma easily carries the film on the hunched shoulder pads of Tucker’s slimming blue suit. Even in his late 70s, there’s still something of the Sundance Kid in him, a twinkle in his eye that betrays Tucker’s immense zest for life. Every moment he’s onscreen feels like a tribute to the actor’s career, Redford getting more than a few moments to relive many of his major roles – he rides a horse like Sundance (or The Horse Whisperer), plans heists like The Sting, and rebels against his captors like The Last Castle. Look closely, and you’ll even glimpse some stock footage from an earlier Redford film in a particularly endearing montage of his escapes to date. Tucker’s romance with Sissy Spacek’s widowed rancher Jewel is electric, whether in sly discussions over coffee about his ‘real job’ or furtive last-minute kisses at her doorstep. There’s one scene at a mall jewelry store where Tucker and Jewel negotiate whether or not she’ll let him steal a diamond bracelet for her, the entire exchange delivered wordlessly. It’s flirtatious, tense, and rooted deeply in what’s known of these characters and what they’re about. The Old Man & the Gun is chock-full of these easy, addictive moments, little dopamine hits of pure cinema that keep one coming back for more. Just like Tucker can’t help but chase the thrill of an outlaw’s life, so too the audience gets hooked on Redford’s effortless presence, and the airy, ethereal joys the film presents. Still, every Valjean needs a Javert, and Affleck’s Detective Hunt is a man similarly driven by his life’s calling as Tucker. In many respects, he is everything Tucker isn’t – a young man at the start of his life, with a loving, supporting family. And yet, there’s a grudging respect for each other, their rivalry harkening back to the father-son relationship of DiCaprio and Hanks in Catch Me If You Can. While the ongoing questions around Affleck’s sexual harassment allegations linger on with every new role he takes (and Lowery’s willingness to work with him), he’s undeniably wonderful here, infusing Hunt with an understated love for his job and dogged attention to detail. In a film that leans so hard into metatext with its reflection on Redford’s career, it’s undeniably uncomfortable when that same mirror is reflected back on Affleck, a man whose on-screen warmth is marred by accusations of tremendous wrongdoing. Everything about The Old Man & the Gun is easygoing. Tucker’s robberies are as relaxed as a gentle conversation: telling crying bank tellers they’re doing a great job, doing more damage with those big blue eyes than he’d ever do if he ever fired the gun he wields in each hit. Hunt’s pursuit is just as leisurely, scanning over paperwork at home with his kids before dancing with his wife late at night. It’s a story of charmers charming their way through life on both sides of the law; rather than playing with the tension of the job, Lowery is content to fill those spaces with gentlemanly charm and camaraderie. After all, it’s hard to fear for Tucker’s life in a car chase – even when he’s finally caught, he’ll just point his fingers like a gun at the officers and flash that winning smile of his. Lowery is content to live with these characters and show them to his audiences in hopes that they, too, will fall in love with them, and he succeeds mightily. By all accounts, The Old Man & the Gun will be Redford’s last film before retiring from acting for good. If that’s really the case, it’s a hell of a final note – a smooth, charming caper dramedy that effectively functions as a retrospective of an illustrious career. By the same token, it also works wonders as a breezy meditation on the ways we find purpose in our lives, and the innate dignity of pursuing it. As Tucker says to Jewel, the secret to a good life is to “find one thing you love doing, and do it as long as you can.” In film, Redford seemed to find that true purpose, and The Old Man & the Gun is a satisfying way to ride off into the sunset. Trailer: Source

Prior to heading out on tour together earlier this year, MGMT asked producer/DJ Matthew Dear if he’d like to remix one of the songs from their latest album, Little Dark Age. Dear happily agreed, but got stuck when he couldn’t decided which track to make his own. So instead, he went ahead and remixed the entire thing, an effort that will see release this Friday, September 28th. “The best music makes you feel like it was written specifically for you, and at the risk of sounding slightly mad, I felt that [Little Dark Age] was,” Dear said in a statement. It wasn’t until he hit the road with MGMT, however, that the music really started to click. “I learned more about the meaning of some songs and was tuned into the album at its live core. The remix followed in somewhat effortless fashion. It basically just poured out of me. I write my own albums through some sort of cultural osmosis, but those take years. This ended up being a hyper-study remix an entire album by band I admire.” “Not sure I’ll ever remix another artist’s album,” he added. “If Little Dark Age is the first and last for me, that would be just fine.” As a first listen to Dear’s version of Little Dark Age, MGMT has shared his remix of “One Thing Left to Try”. Take a listen below. MGMT and Dear will be back on the road together this November and December for a European tour. Dear, meanwhile, recently set his newly announced album, Bunny, for an October 12th release. He’s previewed the effort with “Modafinil Blues”, “Bunny’s Dream”, “Echo”, “Bad Ones”, and “Horses”, the latter two of which feature Tegan and Sara. Source

Bill Cosby has been sentenced to no less than three years and up to a maximum of 10 years in prison. Additionally, the disgraced comedian must register as a sex offender and pay a $25,000 fine in addition to prosecution fees. The penalty was handed down on the second day of sentencing hearings following an April conviction on three counts of aggravated indecent assault of Andrea Constand. With his sentence, Judge Steven O’Neill sided with prosecutors, who were seeking a five-to-10-year prison sentence. Cosby’s defense petitioned for house arrest, arguing that a lengthy prison sentence was excessive for an 81-year-old man, who is legally blind man. Judge O’Neil also ordered Cosby be publicly classified as a “sexually violent predator.” Such a designation requires a lifetime registration on the sex offenders’ registry and mandatory lifetime counseling. Cosby will also have to notify any neighbors, childcare centers, and schools wherever he lives of his registration status. Attorneys for Cosby sought Cosby’s bail pending possible appeals, but that request was denied. Cosby was led away from the courtroom in handcuffs and will begin serving his prison sentence immediately. JUST IN: Bill Cosby led away from courtroom in handcuffs after judge denied him bail during pending appeals. https://t.co/Q3sd8zVPXA pic.twitter.com/jFjSwafkvS — ABC News (@ABC) September 25, 2018 Cosby’s guilty verdict stemmed from a 2004 incident in which Constand, now 45 and a former college and Canadian national team basketball player, was sexually assaulted by Cosby. The comedian gave her quaaludes to render her unable to consent or disapprove as he touched her breasts and made her touch his penis. The claims are similar to those of over 60 other women who have also accused Cosby of assault. Constand joined 13 other women in a civil lawsuit against Cosby, which was settled out of court. Her original case against Cosby ended in a mistrial in July 2017, but a second trial led to his conviction. In May, the Academy of Motion Picture Arts and Sciences banned the disgraced comedian (along with Roman Polanski), while Northwestern University revoked Cosby’s Honorary Degree in June. Source

Halestorm are in the midst of a European tour in support of their latest album, Vicious, which was released in July, and they’ll be returning to the States for the third leg of their North American tour with In This Moment and New Years Day in November. In Part 1 of our interview with Lzzy Hale, the Halestorm frontwoman talked with Heavy Consequence about the rise of women in the hard rock scene, her feelings on the #MeToo and Times Up movements, and the current state of rock music. Here, in Part 2, Hale dives deep into the songs on Vicious, as well as the obstacles the band encountered while recording the album. Halestorm scrapped an entire album’s worth of material, only to start over and record the songs that would eventually make up Vicious. Read Lzzy Hale’s thoughts on the songs “Black Vultures”, “Uncomfortable”, “Killing Ourselves to Live”, “Vicious”, and “The Silence” — as well as the album as a whole — below: On the leadoff track “Black Vultures”, which starts with an epic scream from Lzzy That particular scream was kind of a whim, because the first version of that particular song, “Black Vultures”, didn’t have any of that in it. It just started off with the riff. And, I remember, I think it was Nick [Raskulinecz], our producer, he [said], “Hey can you just like do something vocally, in the beginning, so I did that as a couple of layers just on a whim in the studio, and then we ended up attaching it to the beginning. From there, I think it was the decision, like, “Oh, I think we should open the record with this.” Nick definitely challenged me to be like, “You can get intense, right?” And I was like, “Sure, let’s do it.” So, that was a cool experience. But that particular song … Nick was working on an Alice in Chains record on the West Coast, but he kept his studio open for us, so that we can we can keep writing and rehearsing. And one of our good from 10 Years, Brian Vodinh, ended up hanging out in Nashville one night, and he was like, “Hey, I want to come to the studio, and we ended up jamming on this idea, and it was, “Hey, let’s just write a song, we’re here.” And he’s a great songwriter. so on the way to the studio, I had written down “vultures,” because I thought it was a cool name. On the way to the studio, there were at least 20 vultures blocking the road, because there was something they were picking at, and I’m like, “Ooh, vultures!” And so when we got to the studio and Brian showed up, I was like, “I have a title.” So, we did this instrumental jam, and then I took it home and I wrote to it, and ended up writing “Black Vultures”. I didn’t realize that the song was kind of about survival until after I finished it. On the scorching first single, “Uncomfortable”, which reached No. 1 at rock radio I had a conversation with a couple of my friends about this world we’re living in right now — everything’s online, everything’s out there. And I told them I got frustrated because at one point in time, I think I posted something like, “Just remember to be good humans to each other.” And I got so much hate over that. And it’s like, I think that should be just a fundamental truth. We’re kind of damned if we do or damned if we don’t, so we might as well just be happy. Just solely by being yourself, and making yourself satisfied and happy and doing what you want to do, just by doing that, there’s always going to be people who hate you for it, or it makes them extremely uncomfortable. And so for me, the word “uncomfortable” came up a lot, as in, maybe we should be proud and revel in the fact that just by being yourself you’re gonna make a lot of people uncomfortable. And that’s okay. It’s amazing to hear the feedback on it, and that it ended up becoming this kind of form of empowerment, so I’m glad about that. On the song “Killing Ourselves to Live”, which calls to mind ’80s rock anthems from acts like Heart and Dio We ended up writing the chorus coming from this idea of the four of us and all of the up and downs and the hard work we put into this, and, you know, literally killing ourselves to live — to be able to do this every single day. We tried doing it as a piano ballad and that didn’t work, and so I ended up strapping on my inner Dio for that one. There are all these bands that are absolutely an influence on what we do, but it’s funny how we don’t necessarily view that as a conscious decision. It’s almost like an afterthought. It’s like, “Oh yeah, I can hear that in there.” We wear our influences very much on our sleeve. On the title track, which features the line “What doesn’t kill me makes me vicious” That particular song came in at the 11th hour. I love the word “vicious.” I wrote it down in my notepad, and I get a little obsessed with an idea when I get excited about it, so I was up until 4 in the morning one night, and there’s the Nietzsche quote, “What doesn’t kill me makes me stronger,” and I’m like, “What doesn’t kill me makes me vicious.” And it felt kind of poignant for the record at that point. Whether it’s the state of the world or the day-to-day things we gotta go through, it’s so much more than just being strong and weathering the storm. You have to be fierce about it, you have to be aggressive and fight for yourself. I literally texted all the guys at 4 in the morning, and was like, “Guys, we gotta call the album Vicious.” ‘Cause we were gonna call the album Vultures for a long time, because we like that song. But the more I thought of it, the more I thought there’s no way I can spin the word “vultures” in any type of positive situation. All I think about is birds or dead things. So, all the guys got back to and were like, “Yes, absolutely, that makes so much more sense.” And it ended up, inadvertently, becoming the mission statement for the record. On the beautiful album-closing acoustic ballad “The Silence” We almost didn’t put that song on the record. We were going to end the album with “Vicious”. This is the reason an 11-song record became a 12-song record. So, the music in that song was written by my guitar player, and for the longest time I was trying to write something to it, and one night, it just kind of clicked, and I ended up writing this love song over it. And those vocals that you hear are actually the demo that I ended up doing at home. When we tried to recreate it in the studio, Nick was like, “I just feel something from this take, so we’re gonna leave it the way it is.” But I think it’s Halestorm’s first love song, because it’s truly my view, and honestly my own personal story in falling in love with somebody that you still care about. When you’ve found somebody who is actually the love of your life, and you discover that, no matter what changes around you — the world can end for all I care — but everything that we are will still remain. For me, it was a weird way to kind of come out and say that. All of those verses are true. They’re situations that happened in my life. On her feelings of self-doubt and the obstacles the band faced while making the Vicious album I realized a couple years ago that my passion has also become my affliction, in that I can’t really turn it off. So I’m writing just for the sake of writing, always. But, six months before we were planning on getting into the studio, myself and my bandmates, were kind of consciously writing for the next record. And we wrote a bunch of songs and, to make a long story short, we just didn’t like any of them. We wrote a little over 15 songs, demoed them up, and we all sat together, and were like maybe this is the record, but it just wasn’t exciting. It almost felt like were just trying to hard to please everybody. You can almost hear a little bit of desperation in it, where it’s like, okay, that chorus was definitely written because of radio, and here’s “I Miss the Misery” times two, because that was successful, but it wasn’t exciting for us. And so we decided to throw all of those songs away and kind of start from scratch in the studio. We went to the studio with almost nothing, and I told Nick, hey man I’m a little lost. Because you go down these rabbit holes in your head we’re you say, “Okay, am I even excited about this anymore. Can I even write something that has that fire that got me into it in the beginning?” And then you go down another wormhole, where you’re like, “Do I even deserve to be here?” We’ve had so much success, and there are so many people that are paying attention to what we do. Can I do something that’s inspiring? So, yeah, I was a little disheartened because this band is just so much more than a career choice to me. It’s an extension of my personally. I am my best self because of this journey and this band. So when those things happen, I think I take it a little too much to heart. There’s this misconception that you have some success as a band, you know, we toured the world, we won a Grammy, we’re on our fourth record on a major label, we still like each other as a band, but there’s this misconception that it gets easier. It truly doesn’t. It just gets more complicated once you start adding in all the different aspects of the politics of the business. So, Nick basically said look, “You have to chase whatever gets you excited.” So I want you to come into the studio, all four of you, we’re gonna close off the world.” His studio at the time was this little log cabin in the woods, right outside of Nashville. There’s nothing for like any direction. So, Nick kinda made himself the fifth member of band, as in like, he wasn’t further than a few feet from us, the entire time. So we ended up recording these songs as we were writing them. But I look back it, and I think I really needed to write this record, because there are those things I’m trying to work through, as in ownership of everything that you are regardless of people’s opinions of you. And then the survival aspect of, “Look I’m still here, I’m still swinging.” And honestly, the strength to reach outside of yourself and really overcome those dark places that everyone has inside of them. To me, I almost needed this as a form of therapy for myself. Our thanks to Lzzy Hale for taking the time to speak with Heavy Consequence. Pick up Halestorm’s new album, Vicious, at this location, and see their full list of tour dates here. Source

Red Bull will take over the Windy City this November with the first-ever Red Bull Music Festival Chicago. Taking place between November 3rd and 30th, the festival will feature an array of events – public lectures, immersive experiences, expansive live music performances, and more — all in celebration of Chicago music communities, the creative minds behind key scenes, and those pushing Chicago culture forward. The festival kicks off November 3rd with an epic hip-hop bill at Wintrust Arena featuring the likes of Nas, Pusha-T, Teyana Taylor, 070 Shake, and more. In the ensuing days, Vic Mensa, CupcakKe, and Jamila Woods will also stage their own headlining performances. The event calendar also promises a talk with producer and record label exec No I.D.; a party with Chicago’s LGBTQ-centric rap and R&B record label Futurehood; a celebration of Chicago’s vibrant Latinx music community with Pachanga, Future Rootz, Boy Jeanius and more; the Black Monument Ensemble performing their 80-minute musical and visual odyssey Where Future Unfolds – Flowers For Chicago at Garfield Park Conservatory; and loads more. Tickets to Red Bull Music Festival are now on sale. Head here for more information, including a complete programing schedule. Source

The EDC Las Vegas 2019 official trailer dropped earlier this week on Monday, alongside an announcement revealing that tickets are set to drop for the iconic Insomniac festival. Returning to the Las Vegas Motor Speedway in 2019, from May 17th – 19th. With tickets expected to fly per usual, we can expect more than 400,000 people to be joining us in our Vegas shenanigans in 2019. All Are Welcome Here! photo credit Insomniac The trailer’s release comes days before tickets go on sale this coming Friday, Sept. 28 at 10 AM. We can expect CAMP EDC to make a triumphant return after having made its highly anticipated debut year quite the success. With Insomniac’s glorified track-record on production, the possibilities are endless when it comes to Electric Daisy Carnival, so we are STILL over the moon about CAMP EDC enabling us to spend not just three, but four unforgettable nights LIVING Under The Electric Sky. Watch the EDC Las Vegas 2019 Official Trailer below: Along with the release of the trailer, an official announcement has gone out providing details on Insomniac’s Founder and CEO, Pasquale Rotella, who will be hosting a Reddit AMA on the electricdaisycarnival subreddit tomorrow, Wednesday, Sept. 26th. Much like last year, he’ll be ready to answer any and all questions coming his way! EDC Las Vegas 2019 Official Trailer TRACKLIST: 0 – 1:18: Dombresky + Tony Romera “ID” 1:18 – 1:56: Tommy Trash, Nick Catchdubs “OMG” (feat. Moosh & Twist)” 1:56 – 2:54: AC Slater – I Wanna Show You 2:54 – 3:25: FM-3 – Non Stop (Guau Remix) 3:25 – 3:50: Chris Lorenzo “Moogy” 3:50 – 4:30: Haus of Panda “Back 2 the Sound” 4:30 – 4:55: Sudden Death & AFK “BZZRK” 4:55 – END: Seven Lions, Tritonal & Kill The Noise “Horizon” feat. Haliene For more information on Electric Daisy Carnival, visit the official website. Follow EDC Las Vegas 2019: Website Facebook Twitter Instagram The post The Insomniac Crew Produces an Exceptional EDC Las Vegas 2019 Trailer appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Origins is a recurring new music feature where an artist takes us into some of the inspirations behind their latest song. The Y Axes first came together at a space prom-themed joint birthday party for vocalist Alexi Rose Belchere and guitarist Devin Nelson. That was seven years ago, but the through-line from that fateful day to the band’s latest single, “Empty Space”, is easily traced. For one, there’s that strange mix of joy and existential dread that comes with prom. While you’re celebrating friendships and the end of high school, you’re also nervously trying to impress your date and wondering what college will bring. Fear of the unknown and desire to stave it off with good feelings crash into each other in a rush of anxiety, an emotion that’s weaved into the energetic pop-punk of “Empty Space”. The track itself is full of boppy hooks and squealing synths, but with a chorus that includes lines like, “A crying shame/ You spilled the hopes out of your veins/ To oversaturate your grays/ Just to fill all the empty space,” it’s clear the positivity is just a facade. The song’s video also harkens back to The Y Axes’ origins. Shot at the legendary Bay Area punk DIY venue 924 Gilman during their annual punk prom, the clip finds the band getting gussied up for the event before taking the stage. As Belchere explains it to Consequence of Sound, the party’s punch gets “spiked with our music, [which] is too emo to not ruin a party, and ultimately leads to everyone’s eyes leaking glitter.” Take a look down below. “Empty Space” serves as the lead single to The Y Axes’ forthcoming new album, No Waves, expected out in early 2019. For more insight on the track, Belchere and Nelson have broken down its Origins. Beachside Breakdown: I wrote most of the lyrics to this song after having a little too much caffeine and sitting alone at Ocean Beach. Coming from a beach town in southern California, being close to a body of water always makes me feel better, so I took a walk a few blocks away from Trouble Coffee to calm down. The thing is, beaches in northern California kind of punish you with wind and cold while they give you the sun and salt you want, so sitting on the beach feels kind of masochistic. This feeling of anxiousness was written out in this story of trying to turn off your head and ride the positive waves when they come to you. — Alexi Rose Belchere Voids: The story of the song is a struggle with internal voids and Empty Spaces. The first line, “Blur your vision from what you see/ Turn this weekend into a dream/ ‘Til all I feel is you close to me/ ‘Til that’s all I need,” is the idea of trying to live in the moment while blocking out the anxieties of the world- but this is ultimately built to fail. The people around you can’t be all you need; the empty space can’t ever be filled by external things. The narrative of the song is constantly flirting with the idea of getting caught up in the moment — something like a summer romance — to escape these internal struggles, but self-doubt and overthinking always catches up and sucks you in. — ARB 2000’s NYC Art Rock: The Strokes, photo by Adam Kivel Devin’s guitar riff inspired me to deliver vocal lines in a lazy and gritty way, inspired by Paul Banks from Interpol and Julian Casablancas. Devin at one point asked me to slur the lines a little less, which I did end up toning down, but that “Take It Or Leave It” mood is what I was going for. Mix in some Vampire Weekend hiccups here and there and you get the vibe. Secretly, I’m always trying to make an Interpol Turn on the Bright Lights song whenever I sit down to write. — ARB Prom and School Dances: I’d honestly never had a good time at a school dance, and as if I’m trying to chase down that Sixteen Candles/She’s All That promise, the band has a prom-themed party almost every year. The idea for the “Empty Space” video was a prom gone terribly wrong, basically the punch being spiked with our music, that our music is too emo to not ruin a party, and ultimately leads to everyone’s eyes leaking glitter. Filming at The Gilman’s punk prom was amazing, because nothing says teenage frustration like a mosh pit at a prom. — ARB Self-care: “Empty Space” is one of the most fun songs to play off of the new record and also the easiest to write. Though it nods slightly towards mid-aughts indie rock that wasn’t really my intent, in fact I didn’t intend to do anything at all. My songwriting process often involves ideas seeping out of a creative void when I’m doing literally anything else, forcing me to have to take a break from what I’m doing to process a melody, vibe, or rhythmic pattern, or desperately hold onto it until I can access an instrument. Since I don’t often sit down with the intent to write, what comes out is usually a disjointed amalgam of inspirations and feelings that have condensed over time until they were heavy enough to escape their cloud. “Empty Space” just kind of fell into my lap one weekend when I was sitting at home, spacing out, playing video games, and recovering from a long work week. It leaked out of my brain almost fully formed and didn’t take much more time to organize itself into a coherent structure than it did to play through the first time. I usually have to do a lot more work into shaping song ideas but my subconscious did most of the work this time around. — Devin Nelson Source

EDC Founder Pasquale Rotella has called it quits with wife Holly Madison. Pasquale and Holly were married for a total of 5 years, with two kids, Rainbow and Forest. Rotella announced on social media this morning that the two have decided to separate, but Entertainment Tonight is reporting that the couple filed for divorce two weeks ago. According to ET, the two “just grew apart.” Rotella affirmed that the two will continue to take care of both their kids and “are fully committed to raising them in an environment filled with love and positivity.” You can check out the post from Rotella below. The post Pasquale Rotella Splits From Holly Madison appeared first on EDM Maniac. Source

Next year, we’re getting a World War II musical from Wes Anderson. So, it only makes sense that the auteur would call up his former musical collaborator Mark Mothersbaugh, and that’s exactly what’s going down according to French publication, Premiere. Premiere reports that Mothersbaugh will write all new original songs for the film, which is set in 1950’s France, stars a recent as-yet-to-be-announced Oscar winner (make your bets — we’re going with Eddie Redmayne), and begins shooting as early as this fall. (Ranking: Every Wes Anderson Movie from Worst to Best) Now, this is kind of a big deal, seeing how the Devo singer-songwriter hasn’t worked with the filmmaker since 2004’s The Life Aquatic with Steve Zissou. Since then, Anderson’s been using Alexandre Desplat, so this is an intriguing reunion to say the least. With the fall season in full swing, expect to hear plenty more updates, including what will assuredly be a star-studded cast. In the meantime, catch up on Anderson’s entire oeuvre by listening to our past season of Filmography below. Source

Cameron Crowe is adapting his rock masterpiece, Almost Famous, into a new stage musical. Rolling Stone reports that Crowe’s reimagined fictionalization of his early days writing for, well, Rolling Stone may be headed to Broadway in the near future. The production has apparently been in development for some years. Crowe himself wrote the book, as well as the lyrics alongside composer Tom Kitt (American Idiot), who penned the original music. Jeremy Herrin (People, Places and Things) is lined up to direct the play. “I remember the first day of filming Almost Famous,” Crowe recalled to RS. “We were standing in downtown San Diego, shooting a scene with Phillip Seymour Hoffman on the very same street where I’d first met Lester Bangs. It felt surreal. It felt like a miracle. I called a friend of mine and said, ‘How did I get here?’ He laughed and said, ‘Enjoy it, this won’t happen again.’ The current miracle is that the feeling is coming alive again.” (Read: Ranking: Every Cameron Crowe Film from Worst to Best) Nothing has been confirmed as far as when or where Almost Famous will make its stage debut, but Crowe said he “can’t wait to bring it to you in the coming months.” Starring Billy Crudup, Kate Hudson, Patrick Fugit, Jason Lee, and Frances McDormand, Almost Famous was released in 2000 and remains one of the greatest rock and roll movies — and soundtracks — ever. Crowe won Best Original Screenplay at the Oscars for the film, while Hudson and McDormand both received Best Supporting Actress nods. Below, watch a teaser video featuring Kitt playing piano. pic.twitter.com/v8R23UUfYC — Cameron Crowe (@CameronCrowe) September 21, 2018 Source

Brooklyn-based rockers A Deer A Horse have been hard at work on a yet-to-be-announced album recorded at Gojira’s Silver Cord Studio in Queens, New York. Now, the band is unveiling new music by teaming up with Consequence of Sound and Heavy Consequence to premiere the riff-heavy new song “Double Wide” (listen below). The track “Double Wide” is a deeply personal one, as the song is about a family member of bassist-singer Angela Philips’ who took his own life a few years ago. “I was devastated by this event and slipped into a very dark period of my own around this time. What I found most difficult to fathom were his final hours,” Philips tells us. “I found I needed to write these words to make sense of what he may have been thinking in the hours before he passed. It was the only way I could start to work through my feelings. She adds, “Each time I sing ‘Double Wide’, his passing makes more sense to me and it becomes a little easier to heal.” Philips formed A Deer A Horse in 2011 with her one-time college classmate Rebecca Satellite (vocals, guitar), adding drummer Dylan Teggart in 2015 to round out the trio. The band released the acclaimed EP Backswimmer in 2017. Along with the new song, A Deer A Horse are embarking on a North American tour that kicks off this Thursday (September 27th) in Toronto, Canada. Dates can be found below, while the track “Double Wide” can be purchased as a digital single or a 7″ vinyl flexi-disc at this location. A Deer A Horse Fall 2018 Tour 09/27 – Toronto, ON @ Duffy’s Tavern 09/28 – Pontiac, MI @ Berserker Music Festival 09/29 – Chicago, IL @ SubT 10/01 – Iowa City, IA @ Trumpet Blossom 10/02 – Omaha, NE @ The Sydney 10/04 – Denver, CO @ Syntax 10/05 – Grand Junction, CO @ Copeka Coffee 10/06 – Salt Lake City, UT @ Diabolical Records 10/09 – Spokane, WA @ TBA 10/10 – Seattle, WA @ Vera Project 10/11 – Portland, OR @ The World Famous Kenton Club 10/12 – Grants Pass, OR @ Jammin Salmon 10/13 – Chico, CA @ The Maltese 10/15 – San Francisco, CA @ El Rio 10/16 – Los Angeles, CA @ Rec Center 10/17 – Long Beach, CA @ 4th Street Vine 10/18 – Phoenix, AZ @ Rogue Bar 10/19 – Flagstaff, AZ @ The Hive 10/20 – Santa Fe, NM @ GHOST 10/22 – El Paso, TX @ Neon Rose Bar 10/24 – San Antonio, TX @ The Mix 10/25 – Austin, TX @ Beerland 10/26 – Houston, TX @ Notsuoh 10/27 – Baton Rouge, LA @ The Woodshop 10/29 – Mobile, AL @ The Blind Mule 10/30 – Atlanta, GA @ TBA 10/31 – Savannah, GA @ TBA 11/01 – Raleigh, NC @ Kings 11/02 – Norfolk, VA @ The Taphouse Source

Each month, Clint Worthington’s What Ever Happened To… catches us up with some of our favorite faces from our pop-culture past. Richard Linklater’s seminal coming-of-age stoner comedy Dazed and Confused turns 25 this week, just in case you’re not sufficiently mortified by the steady, unceasing flow of time. Like the jocks, stoners, and outsiders of Lee High School, the cast of Dazed and Confused have grown up just as much – some of them becoming huge stars, like Matthew McConaughey, Parker Posey, and Ben Affleck. But what about the ones who didn’t quite leap to stardom? Sure, a hefty number of Dazed and Confused’s cast have gone on to win Oscars, fight zombies, or share his mom’s name with Superman. But like a lot of Linklater’s naturalistic, Austin-centric fare, Dazed thrives because of its case of largely unknowns, some of whom remained relatively unknown. For this installment of What Ever Happened to…?, we’ll look at the actors whose careers more or less peaked at Lee High School and what they may be up to now. __________________________________________________________ Mitch Kramer Wiley Wiggins as Mitch Kramer Name: Wiley Wiggins Last Seen: Andrew Bujalski’s 2013 mumblecore masterpiece Computer Chess As freshman Mitch Kramer, Austin native Wiley Wiggins was the lanky, long-haired, sensitive heart of Dazed and Confused’s gang of underdogs. Whether he was getting ruthlessly paddled by Ben Affleck and Cole Hauser to Alice Cooper’s “No More Mr. Nice Guy” or bluffing his way through buying a six-pack at the local liquor store, Mitch was an endearing poster child for the awkwardness of teenhood. In the hectic, cliquish world of high school, most can identify with Mitch at some point in their lives. As for Wiggins himself, he eked out a relatively modest career as an actor in a few roles, notably reprising Mitch in Linklater’s rotoscoped philosophy film Waking Life, where he appeared in one of the segments. Wiley Wiggins __________________________________________________________ Don Dawson Don Dawson Name: Sasha Jenson Last Seen: 2013’s Trust Me, directed by Agent Coulson himself, Clark Gregg “How many times have you gotten laid strictly because you’re a football player?” Jason London asks of Sasha Jenson’s feathered-haired horndog Don Dawson, the guy who hits on teachers and asks degraded freshmen girls whether they “spit or swallow” during some hazing rituals that don’t age particularly well. (At least Slater calls it out, even if half-heartedly). Still, it’s hard to say no to those baby blues, and damn those overalls. Like a lot of people on this list, Dazed is probably the role Jenson’s most known for, but he’s made more than a few appearances on film and television in the years surrounding the film’s release. He showed up on episodes of Buffy the Vampire Slayer and NYPD Blue. He also comes from old-school acting stock – his father is the late, great Roy Jenson, a venerated character actor who was in everything from Red Dawn to Chinatown. Sasha Jenson __________________________________________________________ Julie Simms Catherine Avril Morris as Julie Simms Name: Catherine Avril Morris Last Seen: Dazed and Confused (her only acting credit) Queen of the approachable high school girls in Dazed and Confused is sophomore Julie Simms, who takes an instant liking to Mitch Kramer when they first meet at the Emporium. She doesn’t get nearly the exposure as other fan favorites like Parker Posey’s Darla Marks or Joey Lauren Adams’ Simone Kerr, but the sweet girl-next-door type makes a strong impression as the most grounded of the girls, especially when she helps brighten Mitch’s day after his brutal whupping by O’Bannion and crew. Morris, another Austin native like Wiggins, sports Dazed and Confused as her only acting credit to date – she was an uncredited casting assistant in the role, working on it for six months until she was simply cast as Julie. Nowadays, she’s a romance novelist, with a bevy of books for sale on Amazon. __________________________________________________________ Sabrina Davis Christin Hinojosa as Sabrina Davis Name: Christin Hinojosa Last Seen: a 1997 episode of The Wonderful World of Disney Of the many fluctuating character romances in Dazed and Confused, one of the most unabashedly sweet examples is the super-shy flirtation between Anthony Rapp’s snobby intellectual Tony Olson and Christin Hinojosa’s sweet freshman Sabrina Davis. Sure, they first meet in a rather compromising position – Sabrina forced to propose to Tony as part of a hazing ritual – but they grow to small but adorkable connection over the course of the film. Is there a more precious moment in the film than Tony and Sabrina’s kiss goodnight after he drives her home from the keg party? While Rapp has gone on to win Tonys and a regular role on Star Trek: Discovery, Hinojosa only had a few smaller roles in film and TV before retiring from acting in the late 1990s. Afterwards, she became an anti-war activist and kicked off Chicago’s Eyes Wide Open installation, an exhibit that reminds us of the American soldiers who died in the Iraq war thus far. Currently, she’s the Director of Communications for Christian medical charity Solidarity Bridge. Christin Hinojosa, photo courtesy Facebook __________________________________________________________ Kevin Pickford Shawn Andrews as Kevin Pickford Name: Shawn Andrews Last Seen: A modest two-hander in 2008 called Big Heart City, alongside Seymour Cassel We couldn’t leave this list without the stoners that provide the hilarious Greek chorus for the rest of the teens’ graduation-day shenanigans. Sure, Slater’s the unabashed GOAT of Dazed’s stellar cast, but Rory “Argo, CSI: Miami” Cochrane’s carved out a respectable career for himself as a character actor. His gawky sidekick Kevin Pickford, on the other hand, has flown comparatively under the radar – it’s a shame, too, since for someone who loves keg parties, he’s always hiding a six-pack under that shirt. Shawn Andrews, who played Pickford, starred in a few other things, notably 2002’s City of Ghosts and 2008’s Fix (where he won Best Actor at the Brooklyn Film Festival). Otherwise, though, he’s known for actually marrying on-screen girlfriend Milla Jovovich on set, when she was only 16 at the time. Her mom, naturally, got the marriage annulled two months later. Next time, Pickford, next time. Shawn Andrews __________________________________________________________ Cynthia Dunn Marissa Ribisi as Cynthia Dunn Name: Marissa Ribisi Last Seen: A 2003 episode of the short-lived Julia Louis-Dreyfus sitcom Watching Ellie With her theory that posits every other decade will be rad, Cynthia Dunn is maybe the coolest low-key chick at Lee. Played by Marissa Ribisi (sister of Giovanni), the red-headed intellectual is a delight, with her ginger afro and fascinating outlook on life (“I’d like to quit thinking of the present, like what’s happening right now is some insignificant preamble to something else”). Along with fellow intellectuals Tony and Mike Newhouse, Cynthia serves up some patented teenage cynicism, which pairs nicely with her innocent flirtation with Matthew McConaughey’s iconic slacker Wooderson. Anymore, Ribisi is best known as Beck’s wife (and the mother of their two children), but she’s had her fair share of roles over the years. She cowrote her 1998 film Some Girl, starring in it alongside her brother, as well as Juliette Lewis and Michael Rappaport; she was also in The Brady Bunch Movie and Pleasantville, among others. TV-wise, she also pops up in the odd episode of Felicity, Friends, Cybill, and Grace Under Fire. Marissa Ribisi, photo by Getty: John Shearer Source

Surprise! New Zealand rock duo Unknown Mortal Orchestra are dropping a new instrumental album on us next month. According to a press release, UMO’s latest opus is IC-01 Hanoi, a series of instrumental sessions borne of the recording process for the band’s previous album, Sex & Food (which was produced at Pha Sa Studios in, you guessed it, Hanoi). Band members Ruban Nielson and Jacob Portrait, along with Ruban’s brother Kody Nielson, threw together some impromptu sessions with Nielson patriarch Chris and local musician Minh Nguyen, resulting in the seven tracks that comprise the album. Described as “a sonic distillation of the band’s influences in Jazz, Krautrock and the avant garde,” Hanoi is set to be an extremely exploratory record for the band, with deliberate roots in the experimental works of Miles Davis. “Hanoi 6”, the first single from the album, definitely fits along that aesthetic – the ten-minute piece is freeform sonic jazz to the core, snare drum fills snaking around plinking electric guitars and chaotic sax wails, as Vietnamese instruments like the sáo trúc drone around them. IC-01 Hanoi is due out October 26th via Jagjaguwar. Listen to UMO’s ambient “Hanoi 6” below. IC-01 Hanoi Artwork: IC-01 Hanoi, courtesy of Jagjaguwar IC-01 Hanoi Tracklist: 01. Hanoi 1 02. Hanoi 2 03. Hanoi 3 04. Hanoi 4 05. Hanoi 5 06. Hanoi 6 07. Hanoi 7 Source

Having released their latest album, Living the Dream, this past Friday, Slash Ft. Myles Kennedy and The Conspirators have just unveiled a new live-action animated video for the disc’s first single, “Driving Rain” (watch below). The clip features ragdoll puppet versions of the band members, as well as other puppet characters, with Slash explaining, “The idea behind doing an animated video for ‘Driving Rain’ is mostly due to the dark subject matter of the song influencing directors to come up with very dramatic, dark and sullen regular live action treatments that weren’t any fun at all (no offense to those guys). So, I wanted to create something that could be tongue-in-cheek and yet still be dark with live-action animation.” He added, “We’re all big fans of [production studio] Stoopid Buddy and they came up with a great concept and treatment. We love the video and it came out f’n brilliant. FYI, no puppets were harmed during the making of this video.” Slash Ft. Myles Kennedy and The Conspirators recently kicked off a North American tour, with dates scheduled through an October 16th show in Los Angeles. A full list of dates can be found at this location, while tickets can be purchased here. Source