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With Atlanta nominated 16 times, it’s no surprise Donald Glover was in attendance at tonight’s Emmy Awards. However, he didn’t come alone: Teddy Perkins, Glover’s strange and villainous character who made his debut in season two of the FX hit series, was sitting front row. As FADER points out, Perkins’ cameo was revealed right after Bill Hader was announced as the winner for Lead Actor in a Comedy Series. Hader reached into the crowd to hug someone, which turned out to be the suspicious looking Perkins. The surprising mystery didn’t stop there, however. Minutes later, when the camera panned back to where Perkins was seated, we see only Glover, looking nonchalant as ever. Either Glover is an expert wardrobe changer (which is possible, given his touring experience as Childish Gambino), or he’s got one heck of a speedy double ready at a moment’s notice. One working theory is that Glover’s Atlanta cast mate, Lakeith Stanfield, was the one dressed as Perkins. Do y’all see Donald Glover as Teddy Perkins at the Emmys #Emmys70 pic.twitter.com/acwjS2t1LR — Dev (@Devin_Shaylsse) September 18, 2018 Wait is that Teddy Perkins on the front row?!!! #emmys #AtlantaFX #DonaldGlover pic.twitter.com/JTzbTqKWdK — Kim Jordan (@ldykj) September 18, 2018 Donald Glover is dressed as Teddy Perkins at the Emmys pic.twitter.com/xlXaoYxiXd — Bailey Carlin (@BaileyCarlin) September 18, 2018 Donald Glover should get an Emmy for best attendee at the emmys #Emmys https://t.co/y3wSfvrRyu — Ronnie Rose (@RonnieRose) September 18, 2018 donald with the quick change! #emmys pic.twitter.com/edxTcxWFGU — The FADER (@thefader) September 18, 2018 Source

School is stressful. Sometimes you want to just relax and watch the world go by. Here is a playlist for my fellow public transport riders that want to unwind on their way home. Whether it’s a long bus ride from class or just a couple T stops on the way to work, this playlist will help you escape. The genres within the list range from Ennio Morricone’s classical Italian film scores to Alvvays’s alternative sweet-girl pop. My goal for the playlist was to incorporate songs that react well with motion. When you are sitting in a moving vehicle and listening to “A Solitary Subway Ride,” you should feel at peace, in an almost romanticized reality. AlvvaysJazz plays a major role in this collection, the first song on the lineup is a melancholy yet entrancing tune by Ben Webster and Oscar Peterson. Their entirely instrumental piece, “When Your Lover Has Gone,” soothes and silences the mind. Pair the sax with a stare out of a train window and you’re in another world. Modern jazz-hop, like “Thinkin Of” by Kiefer, also makes an appearance on this playlist. The sharp click of the background track with a piano sound, that is reminiscent of the twenties, transports the listener into a peaceful trance of distraction. Other jazz musicians such as the legendary Count Basie also can be found on this list. Ben Webster and Oscar PetersonAnd of course there is also some happy indie rock to introduce some mellow pleasantries on your commute. Jaunt’s single “Hello” is an easy listen that makes the ride enjoyable and care-free. We all know that public transport can be a dull experience, but gentle echoey guitar strums and a subtle saxophone can most definitely take the edge off. Artists like Cage the Elephant, Vinyl Williams, Danny Dwyer, Puma Blue and Frankie Cosmos can also be found on “A Solitary Subway Ride.” If you’re ever in need of a quick-fix for stress, just hit play and get ready for a ride. The post A Solitary Subway Ride: A Playlist for Chill Commuters appeared first on Verge Campus. Source

The 2018 Emmy Awards were held on Monday night at Los Angeles’ Microsoft Theater and broadcast live on CBS. Now in its 70th year, the Emmys honor the best in U.S. prime time television programming from June 1, 2017 until May 31, 2018. For Drama, Game of Thrones upset the natural order by taking home Best Series. Meanwhile, Matthew Rhys won Best Actor for The Americans, Claire Foy won Best Actress for The Crown, Peter Dinklage won Best Supporting Actor for Game of Thrones, Thandie Newton won Best Supporting Actress for Westworld, Joel Fields and Joe Weisberg won Best Writing for The Americans, and Stephen Daldry won Best Directing for The Crown On the Comedy front, The Marvelous Mrs. Maisel absolutely conquered, winning Best Actress (Rachel Brosnahan), Best Supporting Actress (Alex Borstein), and both Best Writing and Directing (Amy Sherman-Palladino). Barry cleaned up the rest with wins for Best Actor (Bill Hader) and Best Supporting Actor (Henry Winkler). For Limited Series,The Assassination of Gianni Versace: American Crime Story took home Best Series, Best Actor (Darren Criss), and Best Directing (Ryan Murphy). Elsewhere, Regina King won Best Actress for Seven Seconds, Jeff Daniels and Merritt Weaver won Best Supporting Actor and Actress respectively for Godless, and William Bridges and Charlie Brooker won Best Writing for “USS Callister” for Black Mirror. Check out the complete list of winners below. Best Actor in a Drama Series Jason Bateman (Ozark) Sterling K. Brown (This Is Us) Ed Harris (Westworld) Matthew Rhys (The Americans) Milo Ventimiglia (This Is Us) Jeffrey Wright (Westworld) Best Actress in a Drama Series Claire Foy (The Crown) Elisabeth Moss (The Handmaid’s Tale) Sandra Oh (Killing Eve) Keri Russell (The Americans) Evan Rachel Wood (Westworld) Tatiana Maslany (Orphan Black) Best Supporting Actor in a Drama Series Nikolaj Coster-Waldau (Game of Thrones) Peter Dinklage (Game of Thrones) Joseph Fiennes (The Handmaid’s Tale) David Harbour (Stranger Things) Mandy Patinkin (Homeland) Matt Smith (The Crown) Best Supporting Actress in a Drama Series Ann Dowd (The Handmaid’s Tale) Alexis Bledel (The Handmaid’s Tale) Yvonne Strahovski (The Handmaid’s Tale) Millie Bobby Brown (Stranger Things) Lena Headey (Game of Thrones) Thandie Newton (Westworld) Best Writing for a Drama Series Joel Fields and Joe Weisberg, “Start,” The Americans Peter Morgan, “Mystery Man,” The Crown David Benioff and D.B. Weiss, “The Dragon and the Wolf,” Game of Thrones Bruce Miller, “June,” The Handmaid’s Tale Phoebe Waller-Bridge, “Nice Face,” Killing Eve The Duffer Brothers, “Chapter Nine: The Gate,” Stranger Things Best Directing for a Drama Series Stephen Daldry, “Paterfamilias,” The Crown Alan Taylor, “Beyond the Wall,” Game of Thrones Jeremy Podeswa, “The Dragon and the Wolf,” Game of Thrones Kari Skogland, “After,” The Handmaid’s Tale Jason Bateman, “The Toll,” Ozark Daniel Sackheim, “Tonight We Improvise,” Ozark The Duffer Brothers, “Chapter Nine: The Gate,” Stranger Things Best Drama Series The Handmaid’s Tale (Hulu) Game of Thrones (HBO) The Americans (FX) The Crown (Netflix) This Is Us (NBC) Westworld (HBO) Stranger Things (Netflix) Best Actor in a Comedy Series Anthony Anderson (Black-ish) Ted Danson (The Good Place) Donald Glover (Atlanta) Larry David (Curb Your Enthusiasm) Bill Hader (Barry) William H. Macy (Shameless) Best Actress in a Comedy Series Pamela Adlon (Better Things) Rachel Brosnahan (The Marvelous Mrs. Maisel) Tracee Ellis Ross (Black-ish) Allison Janney (Mom) Lily Tomlin (Grace and Frankie) Issa Rae (Insecure) Best Supporting Actor in a Comedy Series Brian Tyree Henry (Atlanta) Louie Anderson (Baskets) Alec Baldwin (Saturday Night Live) Kenan Thompson (Saturday Night Live) Tituss Burgess (Unbreakable Kimmy Schmidt) Tony Shalhoub (The Marvelous Mrs. Maisel) Henry Winkler (Barry) Best Supporting Actress in a Comedy Series Aidy Bryant (Saturday Night Live) Leslie Jones (Saturday Night Live) Kate McKinnon (Saturday Night Live) Betty Gilpin (GLOW) Zazie Beetz (Atlanta) Alex Borstein (The Marvelous Mrs. Maisel) Laurie Metcalf (Roseanne) Megan Mullally (Will & Grace) Best Writing for a Comedy Series Amy Sherman-Palladino, “Pilot,” The Marvelous Mrs. Maisel Donald Glover, “Alligator Man,” Atlanta Stefani Robinson, “Barbershop,” Atlanta Alec Berg and Bill Hader, “Chapter One: Make Your Mark,” Barry Liz Sarnoff, “Chapter Seven: Loud, Fast and Keep Going,” Barry Alec Berg, “Fifty-One Percent,” Silicon Valley Best Directing for a Comedy Series Donald Glover, “FUBU”, Atlanta Hiro Murai, “Teddy Perkins”, Atlanta Bill Hader, “Chapter One: Make Your Mark”, Barry Mark Cendrowski, The Big Bang Theory, “The Bow Tie Symmetry” Jesse Peretz, “Pilot”, GLOW Amy Sherman-Palladino, “Pilot”, The Marvelous Mrs. Maisel Mike Judge, “Initial Coin Offering”, Silicon Valley Best Comedy Series Atlanta (FX) Barry (HBO) Black-ish (ABC) Curb Your Enthusiasm (HBO) GLOW (Netflix) The Marvelous Mrs. Maisel (Amazon) Silicon Valley (HBO) Unbreakable Kimmy Schmidt (Netflix) Best Actor in a Limited Series or TV Movie Antonio Banderas (Genius: Picasso) Darren Criss (The Assassination of Gianni Versace: American Crime Story) Benedict Cumberbatch (Patrick Melrose) Jeff Daniels (The Looming Tower) John Legend (Jesus Chris Superstar) Jesse Plemons (Black Mirror: USS Callister) Best Actress in a Limited Series or TV Movie Laura Dern (The Tale) Jessica Biel (The Sinner) Michelle Dockery (Godless) Edie Falco (Law and Order SVU: The Menendez Murders) Regina King (Seven Seconds) Sarah Paulson (American Horror Story: Cult ) Best Supporting Actor in a Limited Series or a TV Movie Jeff Daniels (Godless) Brandon Victor Dixon (Jesus Christ Superstar) John Leguizamo (Waco) Ricky Martin (The Assassination of Gianni Versace: American Crime Story) Edgar Ramirez (The Assassination of Gianni Versace: American Crime Story) Michael Stuhlbarg (The Looming Tower) Finn Wittrock (The Assassination of Gianni Versace: American Crime Story) Best Supporting Actress in a Limited Series or TV Movie Sara Bareilles (Jesus Christ Superstar) Penelope Cruz (The Assassination of Gianni Versace: American Crime Story) Judith Light (The Assassination of Gianni Versace: American Crime Story) Adina Porter (American Horror Story: Cult) Merritt Weaver (Godless) Letitia Wright (Black Mirror: Black Museum) Best Writing for a Limited Series, Movie or Dramatic Special Kevin McManus and Matthew McManus, “Clean Up,” American Vandal Tom Rob Smith, “House by the Lake,” The Assassination of Gianni Versace: American Crime Story Scott Frank, Godless David Nicholls, Patrick Melrose David Lynch and Mark Frost, Twin Peaks William Bridges and Charlie Brooker, “USS Callister”, Black Mirror Best Directing for a Limited Series, Movie or Dramatic Special Ryan Murphy, “The Man Who Would Be Vogue”, The Assassination of Gianni Versace: American Crime Story Scott Frank, Godless David Leveaux and Alex Rudzinski, Jesus Christ Superstar Live In Concert Craig Zisk, “9/11”, The Looming Tower Barry Levinson, Paterno Edward Berger, Patrick Melrose David Lynch, Twin Peaks Best Limited Series The Alienist (TNT) The Assassination of Gianni Versace: American Crime Story (FX) Genius: Picasso (National Geographic) Godless (Netflix) Patrick Melrose (Showtime) Best Reality/Competition Series The Amazing Race American Ninja Warrior Project Runway RuPaul’s Drag Race Top Chef The Voice Best Variety Talk Series The Daly Show with Trevor Noah (Comedy Central) Last Week Tonight with John Oliver (HBO) Full Frontal with Samantha Bee (TBS) Jimmy Kimmel Live! (ABC) The Late Late Show with James Corden (CBS) The Late Show with Stephen Colbert (CBS) Best Variety Talk Series At Home With Amy Sedaris Drunk History I Love You, America Portlandia Saturday Night Live Tracey Ullman’s Show Best Writing for a Variety Special Full Frontal With Samantha Bee Presents: The Great American* Puerto Rico (*It’s Complicated) John Mulaney: Kid Gorgeous at Radio City Michelle Wolf: Nice Lady Patton Oswalt: Annihilation Steve Martin & Martin Short: An Evening You Will Forget for the Rest of Your Life Best Directing for a Variety Special Stan Lathan, Dave Chappelle: Equanimity Michael Bonfiglio, Jerry Seinfeld: Jerry Before Seinfeld Glenn Weiss, The Oscars Marcus Raboy, Steve Martin & Martin Short: An Evening You Will Forget for the Rest of Your Life Hamish Hamilton, Super Bowl LII Halftime Show Starring Justin Timberlake Source

The never-ending debate of whether you should fail completely if you submit an assignment late is definitely a tricky one. On the one hand, it prepares you for inevitable failure in the real world but also ignores that your bosses won’t fire you for rocking up 2 minutes late. Of course, you’d be hard pressed to find anyone of importance that could help your late assessment get graded. Unless you’re this student from Monash University who enlisted the help of a judge in order to get his precious grades. Chinmay Naik failed the class he needed to pass in order to get his degree and retain his visa, however submitting the assignment 19 days late and scoring 12 out of 100 didn’t quite do the job. The look of a man on a missionHe was pretty pissed off at the result, so he dragged Monash University in front of a judge and demanded answers. “The university says the most I could do was quash or set aside your mark and ask the university to mark it again,” the judge said. The University has claimed it regraded his assignment and even increased his mark, but he still most definitely failed. Old mate has actually written to Malcolm Turnbull as a plea for help, but unbelievably hasn’t heard back yet. “I have the tenacity to keep appealing something that I feel was done wrong to me,” he said. Source

BeatBox Beverages has just announced their first national event series, “ The Worlds Tastiest Party” with GTA. The duo will kickstart this party in the brands hometown of Austin, TX and then travel to cities like South Carolina, Columbia, Alabama, Tuscaloosa, and many more before it’s final touchdown in El Paso, Texas on Halloween night. Nick Greeninger, Director of Marketing for BeatBox Beverages claimed, “This BeatBox event series,​ ​presents the unique opportunity for BeatBox and GTA to connect with fans in their element, make memories, and tell stories through the content everyone creates.” We can’t wait to go on this exciting journey with BeatBox! Check out dates below and buy tickets here. The post BeatBox Beverages Introduces ” The Worlds Tastiest Party” with GTA appeared first on EDM Maniac. Source

Music has had a big year and it reflects with the zinger of a lineup for next years Laneway festival with a wild and wooly collection of electronic, rock, indie, rnb and rap making up the national touring party. Leading the charge on the dance and electronic front is a strong showing of international and Australian favourites with Jon Hopkins, What So Not, Cosmo’s Midnight, Clairo, Crooked Colours, DJDS and more set to lay down a buzz of indie and eclectic sounds. The rest of the lineup is equally impressive with local juggernauts Gang Of Youths and Courtney Barnett topping the list before a whack of RnB/Hip-Hop with Baker Boy, Denzel Curry, Jorja Smith, Masego, Yellow Days and more. Laneway Festival 2019 Lineup Gang of Youths Courtney Barnett A Boogie Wit Da Hoodie (Laneway Festival Exclusive) Baker Boy Camp Cope Charlie Collins (East Coast Exclusive) Clairo Cosmo’s Midnight Crooked Colours (East Coast Exclusive) Denzel Curry (East Coast Exclusive) DJDS (Excluding Adelaide) G Flip Jon Hopkins Jorja Smith (Laneway Festival Exclusive) KIAN Mansionair (Excluding Fremantle) Masego Methyl Ethel Middle Kids Mitski (East Coast Exclusive) Parquet Courts Ravyn Lenae Rex Orange County Ruby Fields (Excluding Fremantle) Skegss Smino What So Not Yellow Days (Excluding Adelaide) Visa have a pre-sale Thursday, 20th September with general ticketing up for grabs 9am Tuesday, 25th September. Check out the dates and locations below including a new spot for the Melbourne laneway. Saturday, 2nd February Brisbane Showgrounds, Brisbane Sunday, 3rd February SCA and Callan Park, Sydney Friday, 8th February Hart’s Mill, Port Adelaide Saturday, 9th February Footscray Park, Melbourne Sunday, 10th February Esplanade Reserve and West End, Fremantle Keen for this Source

Hot on the heels of last year’s Ellesmere Street EP, Perth-based producer/singer/songwriter Angus Dawson has returned with his latest collection of tracks ‘Camouflage’, an EP that straddles indie, R&B and dreamy pop music. Beginning the EP is the beloved ‘What We’ve Done’ featuring Bri Clark. This track is stunning, beginning with a set of creamy, reflective chords that gradually layer and bring the intro to its crescendo. After Dawson’s intricate percussion is introduced, the track falls into a frenzy of liquid chords that bless a beautiful vocal line. The track then sees Dawson and Bri Clark harmonise over the next verse before introducing the intricate chorus once again in all it’s glory. ‘Pieces’, the other well-received single on this EP comes after, beginning with shimmering chords and wailing vocal chops before bringing Dawson’s vocals to the forefront. The track then drops into a slow-burning groove of stabbing chords and swelling vocals before toning it down for the verse that eventually brings the track to its climax. ‘Nevertheless’ brings something much more tranquil to the EP, bearing a smooth bed of soft chords and minimalistic percussion. Dawson’s vocals on this track are a standout, as he croons over the track among a landscape of brass and woodwind melodies. Lastly, we have ‘Where You Find Me’, an acoustic number that slowly builds up to a ensemble of glistening pop vocal lines and electronic percussion that carefully contrasts with acoustic instrumentation. With a back catalogue of melancholic slow burners going back some four years, Angus Dawson has proven himself to be at the top of his game, combining folk, indie, R&B and electronica into his own style of reflective and comforting pop. With such a diverse release from the young buck, we can certainly anticipate more quality beats from him in the years to come. You can stream ‘Camouflage’ EP below. Source

Despite having released five albums in 2018, including his own solo LP ye and his Kids See Ghosts collaborative album with Kid Cudi, Kanye West doesn’t look to be slowing down. In recent weeks, he’s teased Watch the Throne 2 and a collaborative LP with Chance the Rapper called Good Ass Job. Now, he seems to be hyping what is possibly a sequel to his 2013 solo album, Yeezy, which he’s dubbed, Yandhi. Shortly after SNL announced Kanye as the musical guest for its season 44 premiere, the Chicago auteur tweeted an alternate image of SNL’s index cards featuring the name “Yandhi” in place of Kanye West. Soon after, he tweeted a second image of a jewel case similar to the artwork for Yeezus. Whereas the Yeezus jewel case features a red sticker and a blank CD, this new jewel case dons a purple sticker and contains a mini disc within it. Big day, big news. #SNLPremiere pic.twitter.com/r7o6nO5nyv — Saturday Night Live – SNL (@nbcsnl) September 17, 2018 pic.twitter.com/lopkmtvqE5 — KANYE WEST (@kanyewest) September 17, 2018 pic.twitter.com/GwCcmAe1WN — KANYE WEST (@kanyewest) September 17, 2018 Adding to the hype, G.O.O.D. Music engineer Adam Wolpert posted a photo of the jewel case on his personal Instagram account. “Sometimes you ask and receive. This was some hard shit to keep under wraps tho…,” reads an accompanying caption. “G.O.O.D. Train keeps rolling.” What’s more, Def Jam Records, the parent company of G.O.O.D. Music, not so subtly responded to a news story about the rumored album. As of yet, Kanye has not specifically made mention of a new album, which would mark his ninth solo album to date. However, he’s spent the last week or so in Chicago and has been posting various photos and videos from inside a recording studio. One such clip featured a snippet of new music, which you can hear below. Source

Beyond the Gates: The lead-up to Riot Fest’s 2018 installment was riddled with perils, at least on the part of longtime fans and attendees. Rumors circulated about headliner cancellations and lineup changes, the single-day schedule didn’t come out until just a few days before the festival itself, and some skeptics wondered if time had caught up to the festival at long last. After all, Riot Fest has always been a bit of an unlikely proposition; in a Chicago landscape currently overwhelmed by two-and-three-day music festivals, Riot Fest stands alone in its unique dedication to serving as a last bastion for rock festivals in the Second City. As Lollapalooza further embraces its modern pop direction more with each passing year, and the Pitchfork Music Festival now largely defines itself as a cross-genre “see it first” tastemaker event, Riot Fest is left to carry a number of torches. It has to house rock bands, punk bands, hardcore bands, metal bands, old bands, new bands that don’t automatically slide into some kind of SEO-friendly taste vertical, reunion acts skipping the arena circuit, unlikely festival faces, and at least a couple artists a year that will still genuinely surprise people who’ve been to every Riot Fest since it became an outdoor event in Humboldt Park in 2012. Before that, it was a multi-venue indoor event from 2005 onward, so there are at least some in attendance who started going to Riot Fest as kids, who now bring their own kids along in turn. Needless to say, a festival cycles through a lot of acts in 14 years and counting, and it then makes sense that this year’s Riot Fest was full of a few familiar faces alongside the latest batch of surprises. However, don’t be fooled; just because Riot Fest has its stable of bands it brings back, doesn’t mean it’s done putting on an entertaining show. For all of the gossip and concern following the 2018 festival, Riot Fest brought the thunder once again, assembling a fascinating and especially veteran-heavy lineup of punk bands from every era, and a handful of other genres to boot. Sure, Blink-182 had to pull out as a headliner at the last minute (after canceling their entire fall tour due to health concerns), and there was talk of at least one more mystery headliner being forced to back out late. (Google it.) Regardless, it’s still just about the most fun you can have in a single Chicago weekend every year. The festival’s big anniversary might not come around next year, but for all of the tumult leading up to it, Riot Fest 2018 still felt a lot like a celebration. Riot Fest 2018, photo by Heather Kaplan Festival Fashionista: The funny thing about this year’s festival is that the demographics changed wildly by the day, even more than usual for Riot Fest. The accessible, pop-friendly rock of Friday (Weezer, Bleachers, Matt & Kim) gave way to the older-leaning melodies of Saturday (Elvis Costello & The Imposters, Beck, Cat Power, Interpol), which in turn opened up for the abrasive sounds of Sunday (FEAR, Suicidal Tendencies, Run the Jewels). As such, any sartorial trends were dependent on which set you were at; you could drift from hippie couture to mod leathers to bright punk mohawks to the latest in comfortable dad fashions, all within an hour or so on any given day. Riot Fest is an outdoor festival for all peoples, and the plethora of looks on display only drove that home. Stay Hydrated. Apply Sunscreen. Get Consent.: When people say that movements like #metoo or the Our Music My Body campaign are shedding a light on assault in artistic communities and performance spaces, it always feels like just a bit of a misnomer. After all, these things were happening (and being talked about) long before there was a cultural buzzword for them; people are simply refusing to let up the pressure for the sake of some concertgoers’ comfortable feelings of escapism. As such, talk of consent was front and center at Riot Fest’s 2018 outing. Numerous acts took time out of their sets to call for mutual respect among audience members, with Run the Jewels even taking a couple minutes out of their headlining set to lay down the RTJ rules for enjoying a show: keep your hands to yourself, make sure you’re looking out for the people around you no matter how wild you’re getting, and seriously, keep your hands to yourself. It’s not like EL-P should have to say that, but he does, and everyone does until people not only learn the lesson, but actually start to abide by it in their own lives. Even the placards around Riot Fest offered a third reminder, one which should be every bit as much of an “oh, duh” for audience members as the other two: stay hydrated, apply sunscreen, and get consent. And if you’re one of the people this writer overheard during the weekend, whining about how people don’t need to be told that, congratulations on being the exact reason that people still do. Sharper With Age: Riot Fest has been friendly to veteran touring bands for a long time now, but even on that basis, 2018 was the year of Riot Fest revivals. Sure, there wasn’t a high-profile union on this year’s lineup on the level of The Replacements or Jawbreaker or The Original Misfits, but plenty of other acts filled out the early, middle, and late parts of each day with an assured, tenured onstage presence. The fun part was just how many different kinds of musical histories and legacies were honored throughout this year’s fest. Hardcore legends FEAR performed their 1982 classic The Record in full to a wild, appreciative crowd. Chicago’s noise-punk scene got some love on Saturday night when The Jesus Lizard ripped through a characteristically abrasive, in-your-face, angular set for a small but vocally dedicated crowd. Blondie returned for the first time since 2013 to an even bigger crowd than they drew last time. Hell, even Jerry Lee Lewis closed out the Radicals stage at 82 years of age, leading to the distinctly Riot Fest spectacle of a polite circle pit breaking out to his high-key piano theatrics. Riot Fest was full of “old bands” this year, but it served notice that there’s a reason these acts have stuck around for decades, long after so many comparatively polished rockers have come and gone. Johnny Marr, Riot Fest 2018, photo by Heather Kaplan Please, Please, Please, Let Us Get What We Want: When Johnny Marr broke into “How Soon is Now?” during his midday Sunday set, it was yet another reminder that half of the original Smiths lineup has now performed Smiths music at Riot Fest, and yet, no Smiths set yet. Please? Please. We’ll even put up with Morrissey shutting down all the burger stands for the duration of his set again if you can make that one happen. Pop Riots: Riot Fest has always been open to pop-punk bands and the more accessible corners of the scene, even as it’s become a standard-bearer for bringing in and/or reuniting legends. But on Friday, more than in any other to date, Riot Fest embraced the poppier side of things in 2018. Festival stalwarts Matt & Kim blasted DMX samples and synth-pop hits against a blinding sun. Jack Antonoff brought Bleachers along for a lively set full of aggressively polite music. Sum 41 played the uptempo punk that briefly made them stars around the turn of the millennium. Weezer stuck strictly to the hits (and hit covers). Young the Giant played a tight hour of accessible, single-ready modern rock. All of the above are regulars on what’s left of Chicago rock radio, and the crowds for all of those sets suggested that it was a fairly smart booking. That said, not all of the looser bookings paid off. Anybody passing by Hobo Johnson’s Friday afternoon set was treated to a winkingly bad set so utterly incompetent that even the punk ethic of knowingly snotty live performances can’t account for it. It was like watching the hackiest band at your high school’s weekend show get a plum Riot Fest slot. Kick Out the Jams: As Riot Fest often does, the festival allowed for a number of bands to flex their improvisational skills on the jammier end of the live performance spectrum. Digable Planets, invited in to perform Reachin’ (A New Refutation of Time and Space) for its 25th anniversary, turned hits like “Rebirth of Slick (Cool Like Dat)” into extended sessions, allowing every member of the recently reunited act a chance to take the midday spotlight. It’s a perfect fit for Digable Planets’ material, particularly on that record, and at points their set invoked a looser, older-school version of member Ishmael Butler’s performance here last year with his latter-day project, Shabazz Palaces. Curiously, one of the loosest sets came from Elvis Costello and The Imposters, who many in attendance worried wouldn’t make this year’s festival after Costello had to cancel his European tour dates this summer in the wake of an operation to remove a “cancerous malignancy.” The performance was fairly meditative for the often raucous performer; an extended play on “I Want You” turned that already eerie song into an unsettling, lingering piece of ska-flecked balladry. Costello and his band riffed a good bit throughout the set, particularly in its languid (in a good way) second half, before picking back up into a never-more-prescient take on “(What’s So Funny ‘Bout) Peace, Love, and Understanding” to close out. Truly, Riot Fest is a home for every corner of rock, now. Elvis Costello, Riot Fest 2018, photo by Heather Kaplan A Note on Shutting Up and Playing the Hits: Weezer’s Friday night set was a late treat for festivalgoers, a solid enough substitute for the last-minute removal of Blink-182 as a headliner. However, it also drew out a fairly sharp contrast with the band’s 2014 set, which saw them work through a handful of hits before performing The Blue Album in full. During that 20-year anniversary cycle, Weezer seemed genuinely engaged, bringing the kind of youthful exuberance to those songs that made them feel so geekily revelatory in the mid-’90s. Their Friday set, however, felt a lot more like a band who’s been at it for decades playing the hits without a whole lot of verve. And look, it’s probably splitting hairs to an end to look beyond what people were there for: the chance to sing along to “Buddy Holly”, “El Scorcho”, “Pork and Beans”, and the rest of the band’s most recognizable hits. Hell, Weezer even leaned into the fact that their biggest song in years is a cover by performing five of them throughout their set. In addition to “Africa”, the band also reached back for covers of “Take on Me”, “Happy Together”, “Paranoid”, and even the night’s second consecutive take on “All the Small Things” after Young the Giant did the same an hour earlier. However, that doesn’t shake off the impression that the band are riding their most well-known material into the ground while sidestepping the slept-on number of genuinely good songs they’ve put out in the 2010s alone, and yes, those do exist. That One Performance: As this year’s headliners went, if Weezer gave everybody a nice evening and Run the Jewels energetically sprinted through a set many festival audiences have seen recently (more on that in a bit), it was Beck who brought the perfect mix of surprises, singalongs, and breakneck joy to the Riot Stage this year. Sure, it was structurally similar enough to Weezer’s set in terms of collating some of the best-loved songs from his discography for maximum recognition, but it’s the eccentric energy Beck consistently lends to his live performances that sets him apart from so many other acts. On Saturday night, he brought the kind of confident, put-together performance that many festival nuts expect out of their headliners, if not necessarily always at Riot Fest. Pulling cuts from all of his LPs (up through last year’s Colors), Riot Fest largely got Beck the outsized stage performer. While the one-two shot of “Lost Cause” and “Blue Moon” brought some of the ethereal calm of his more muted albums to the set, this was by and large about the most riotous set you could build out of Beck’s work without plumbing for deep cuts. “E-Pro” still effortlessly fills a packed field, “Loser” is one of those rare pop hits that’s somehow at once a complete product of its time and completely timeless in its appeal, and the set at large was a demonstration of why Beck has outlasted so many of his more well-publicized contemporaries. He’s just really, really good at this, and has been for years. Also, the weekend’s best cameo took place during his set, when during an encore cover medley including Phil Collins, Talking Heads, and Gary Numan, the latter took the stage to join Beck for a reprise of “Cars,” which feels appropriate given that Beck’s as great a successor as any for the weird pop crown Numan has held for years solely because of that song, despite most of his material being far less accessible. Unsafest of All: Speaking of Gary Numan, the general consensus from people leaving his Saturday afternoon set was that they didn’t just just how industrial all of his stuff was. After all, aside from the weirdo aural satire of “Cars,” Numan’s been in the business of harrowing synth tone and blast beats for years. He was a goth icon before a lot of the goths present at his set were even born, and his Saturday set was among the best weekend’s best in the way it was able to hearken back to the Wax Trax days without ever feeling aware of its veteran standing. Even a lot of the weekend’s great sets by long-tenured bands carried a bit of acknowledgement about how long they’ve been at it, but Numan made his abrasive, dissonant songs feel as immediate as ever. A friend of mine once told me about seeing Nine Inch Nails perform at the very first Lollapalooza, and the cognitive dissonance between Trent Reznor’s unbridled aggression and the 1 p.m. soundstage setting around him. Watching Gary Numan play under a cloudless early-autumn sky was kind of like that. Bring the Bass Drum Back: If there’s one area where Riot Fest felt just a hair underdeveloped this year, it was in hip-hop, which has had an increasingly consistent presence at the festival since its outdoor phase began. Riot Fest has always largely chased after throwback acts, whether it’s assorted members of the Wu-Tang Clan or Digable Planets this year. However, aside from Atmosphere and Cypress Hill (both of whom have played the festival before) and Run the Jewels as a last-minute headliner, the 2018 lineup was largely missing any of the lower-card options that Riot Fest usually puts together so well. Particularly in a city where hip-hop is already having a substantial cultural moment, it felt a bit like a missed opportunity. The Kids Are Alright: Calpurnia might be rocketing to genre prominence because of the little fact that one of its members is on one of the biggest TV shows in the world right now, but if their Sunday afternoon set was any indication, they may well stick around for a while thereafter. While they very much looked like a young punk band thrust to the main stage level at points (their set was cut off early due to their running long), their jangly, garage-flecked songs felt right at home at a festival especially full of that sort of thing this year. It’s not every day a young band carries itself with enough authority to try a Beatles cover (“Don’t Let Me Down”), but Calpurnia seem like they’re more than up to the challenge. Chicago Pride: In any case, Chicago rock was front and center at this year’s festival at both the veteran and newbie levels. (Liz Phair, Twin Peaks, Archie Powell and the Exports, and a host of other locals took up prime real estate throughout the weekend.) Alkaline Trio might be in the thick of a summer tour supporting Is This Thing Cursed?, but at Riot Fest they were as much invested in showing love to their roots as selling a new record. They sported three different banners throughout their subheadlining set on Sunday, the last of which was the locally famous image of the Chicago stars and bars with the band’s spiked heart worked in. The band looked all the way back to Goddammit for its set, and even if it was one of a number of sets at this year’s fest that went the career-spanning route, it was among the absolute best. For Whom The Riot Fests: After nearly 15 years, Riot Fest has gone from an assemblage of shows at the dearly departed Congress Theatre and smaller venues to perhaps Chicago’s most consistently interesting music festival. What’s perhaps even more remarkable is that every year, the dialogue is the same (“it’s all old bands, a bunch of them have played before, it’s all nostalgia stuff”), and every year the festival continues to deliver on its reputation. There’s not a better laid-out festival operating in the city right now, whether from a perspective of logistics or of artist arrangement. The booking of the stages felt curated rather than assembled, aside from the places in which hasty decisions had to be made, and Riot Fest still feels like a more thoughful and customized kind of festival. To expect a “big get” every year is to misunderstand the true value of Riot Fest. Sure, people show up for the splashy reunions and the full album sets and even just to feel like the dream of Warped Tour is still alive for three more days. But what makes Riot Fest so different is the Chicago punk scene that’s informed it. Even if it’s gone much broader in scope than the days when Naked Raygun and NoFX would headline the individual Riot Fest shows, Riot Fest still feels something like an open-air approximation of going to a Chicago punk club for a show. There’s a manic camaraderie in the air that makes you feel right at home no matter where you came from, and that’s what keeps people coming year after year. That, and the hope that this will finally be the year they get the Op Ivy reunion. 2019, everyone, we can feel it! VIEW OUR PHOTO GALLERY Source

Time to get excited, Rammstein fans! The legendary German industrial metal act is “almost done” recording their first studio album since 2009’s Liebe ist für alle da. In a new tweet, the band writes, “Almost done! Orchestra and choir recordings in Minsk for album No. 7!” The post also includes photos of what appears to be singer Till Lindemann leading an orchestra in one picture and a choir in the other. 𝘎𝘦𝘪𝘨𝘦𝘯 𝘣𝘳𝘦𝘯𝘯𝘦𝘯 𝘮𝘪𝘵 𝘎𝘦𝘬𝘳𝘦𝘪𝘴𝘤𝘩, 𝘏𝘢𝘳𝘧𝘦𝘯 𝘴𝘤𝘩𝘯𝘦𝘪𝘥𝘦𝘯 𝘴𝘪𝘤𝘩 𝘪𝘯𝘴 𝘍𝘭𝘦𝘪𝘴𝘤𝘩. Almost done! Orchestra and choir recordings in Minsk for album No. 7! pic.twitter.com/cgMlSst8qE — Rammstein (@RSprachrohr) September 17, 2018 Last year, guitarist Richard Kruspe talked a bit about the new album in an interview with Resurrection Fest (via Blabbermouth). “I was very skeptical to go back with Rammstein into the studio, because last time we almost broke up because of making a record,” said Kruspe. “So it’s just always very, very stressful and painful. And I think going through that experience, I was a little nervous about that. And we came up with a deal, or an agreement. We said that we wanna go back and only record maybe five songs, to not put any pressure on us.” He added, “We started, like, two years ago, and I can say just playing with the guys, for some reason, it was very natural and I had a lot of fun,” he continued. “And since then, we’ve just created around 28 ideas — I wouldn’t say songs, but ideas. And somehow we managed to move back to the beginning of the world of Rammstein where we, basically, are very emotional and very enthusiastic about writing again.” At this point, Rammstein’s new album is likely to come out in 2019, which will make it 10 years between albums. In the meantime, the band is scheduled to perform two New Year’s shows Puerto Vallarta, Mexico, on December 31st and January 2nd. Behemoth's Top 5 Songs Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Alice in Chains' Top 5 Videos Pearl Jam’s “Jeremy” Annotated Video Source

It’s Bosleys all the way down for Elizabeth Banks’ upcoming reboot of the classic ’70s detective show and early ’00s film series Charlie’s Angels. According to The Hollywood Reporter, Sir Patrick Stewart is in final talks to play Bosley, the face of the Townsend Agency and liaison between the mysterious, unseen Charlie and the ass-kicking femmes fatale who work for him. Here’s the roundhouse-kicker, though; in addition to directing and producing, Banks is stepping in front of the camera to play another Bosley. It seems that this reboot’s version of the Townsend Agency, now upgraded from a simple detective agency to a global intelligence service, will not only have different groups of Angels, but different Bosleys as well. Banks’ films is set to focus on one particular team of Angels, played by Kristen Stewart, Power Rangers’actress Naomi Scott and Ella Balinska. It would seem likely Banks would be playing their Bosley, while Sir Patrick acts as Charlie’s proxy to a different (perhaps British?) Angels branch. Weirdly enough there’s some precedence for this in the Charlieverse; Bill Murray played Bosley in McG’s 2000 movie adaptation, and was replaced by the late, great Bernie Mac in 2003’s Charlie’s Angels: Full Throttle. Whatever the case, we’ll find out when Charlie’s Angels hits theaters on September 27th, 2019. Banks wrote the script for the action comedy alongside The Girl in the Spider’s Web’s Jay Basu. Stewart, meanwhile, just signed on to return to the world of Star Trek in a new series for CBS All Access featuring Jean-Luc Picard. Source

Kanye West has been announced as the musical guest for the Season 44 premiere of Saturday Night Live. Scheduled to air September 29th on NBC, it marks the Chicago rapper’s seventh appearance on the sketch variety show since 2005. The upcoming SNL performance comes in support of Kanye’s own ye solo album and Kids See Ghost collaborative LP, as well as recent singles “XTCY” and his Lil Pump collaboration “I Love It” (here’s hoping he dresses up in that boxy costume). It also follows his production work on albums from G.O.O.D. Music artists Pusha-T, Nas, and Teyana Taylor. (Read: The 20 Richest Rappers in the World) The performance also comes ahead of his highly anticipated appearance at Tyler, the Creator’s Camp Flog Gnaw Festival in Los Angeles, where he and Kid Cudi are set to make their official live debut as Kids See Ghosts. Kanye’s last SNL gig, in support of The Life of Pablo, wasn’t exactly one to remember, and even featured an unfortunate backstage meltdown. Star Wars and BlacKkKlansman actor Adam Driver is set to host the season premiere. Big day, big news. #SNLPremiere pic.twitter.com/r7o6nO5nyv — Saturday Night Live – SNL (@nbcsnl) September 17, 2018 Source

It’s been a hell of a summer for Black Dave. The Brooklyn MC is hot on the heels of winning Vans’ inaugural Share The Stage competition, which not only nabbed him a highly coveted opening slot for ScHoolboy Q at House of Vans Chicago, but also the opportunity to make a music video. Now, we have the end result. Co-directed by Black Dave, the video finds the MC bouncing around Coney Island to the good vibes of “Surfin'”. It’s an inviting portrait of an artist that clearly lives his days to the fullest, whether it’s catching waves or indulging in vivid carnival fare. Although he admits to having childhood memories of the iconic locale, Black Dave says he chose Coney Island to pay homage to the 1979 cult classic, The Warriors. “They had that infamous scene with the bottles on Coney Island,” he says fondly of the movie’s most iconic scene. Dave fleshed out the concept of the video to reflect that slice of New York’s past as well as its present. “The idea mixed the Warriors’ style moving around Coney, but also a more current style and friendlier vibe,” he explains. To nail that vision, Black Dave put out a casting call, which brought in a young and diverse group. “I wanted to have girl and guy skaters moving together,” he says, remarking on the uniqueness of their respective stories and looks. “That’s what my message is about.” Summer may be fading away, but you can enjoy one last gasp with Black Dave below. Source

Bryan Singer has faced quite a nasty bout of PR recently. Just days after being fired from directing the nearly-completed Queen biopic Bohemian Rhapsody, fresh sexual assault allegations against the director arose. While the backlash has been apparent (he was dropped as executive producer of FX’s X-Men show, Legion, as well as his agency, WME), it all could end up as but a bump in the road for the filmmaker, as he appears to already be lining up his next project. The Hollywood Reporter has it that Millennium Films is talks with Singer to helm its long-in-the-works adaptation of 1970s Marvel/Dynamite comics character and Conan the Barbarian companion Red Sonja. The sword and sorcery film has been in the works for over a decade, with Robert Rodriguez and Rose McGowan announcing their take on the project back in 2008. That project fell through, however, and Ashley Miller (X-Men: First Class) is penning the latest version of the script. A 1985 movie entitled, Red Sonja, starred Brigitte Nielsen as the title character alongside Arnold Schwarzenegger for his third performance as Conan. Millennium is reportedly looking to pay Singer top dollar for the gig, which many view as a step towards cleaning up his current image. Though the story is muddied, Fox apparently fired Singer from Bohemian Rhapsody due to his erratic behavior on set — including allegedly getting into an altercation with star Rami Malek — and failing to show up to filming. Singer contended that he was absent to take care of a sick parent and denied any sort of fight with Malek was the cause of his dismissal. Dexter Fletcher (Eddie the Eagle) was brought on to finish the film, though Directors Guild of America rules demand Singer retain sole directing credit. Days after his exit from Bohemian Rhapsody, Singer faced new allegations of sexual misconduct. Cesar Sanchez-Guzman alleged that when he was 17-years-old, Singer raped him during a tour of the director’s yacht. Allegations against Singer are nothing new; two cases of underaged assault were filed against him in 2014, though the accusers in both instances withdrew their claims. Source

Last weekend, KAABOO Del Mar took over San Diego, bringing the likes of Katy Perry, Foo Fighters, Jewel, and TLC. Not surprisingly, the three-day festivities were a total blast, no doubt bolstered by comedians like Judd Apatow, Kevin Nealon, and, yes, Pauly Shore. Consequence of Sound‘s own Scott Sterling was on the scene — stay tuned for his full report — but so were some incredibly talented photographers, all of whom have provided their own photo coverage for your own leisure below. Follow both Alive Coverage and Consequence of Sound on Instagram. Source

In September 2017, Father John Misty made a surprise visit to Jack White’s Third Man Records headquarters while in Nashville for a show at the Ryman. The singer-songwriter born Josh Tillman ended up recording a solo acoustic session direct-to-acetate in the Blue Room, and now that live album is being prepped for wide release. Aptly titled Father John Misty: Live at Third Man Records, it’s due out September 28th through Third Man. The collection is comprised of seven tracks from FJM albums such as Fear Fun, I Love You, Honeybear, and last year’s Pure Comedy, each recorded in a stripped-back manner. (Read: Are Gimmicks and Cheap Tricks Turning Rock into a Joke?) According to a press statement, prior to officially starting the session, FJM warmed up with “Mr. Tillman” (his debut performance of the track at that time), as well as “Now I’m Learning to Love the War”. The latter song was said to have been recorded as a “12-inch on-the-spot single,” but there are no plans (yet) for an actual release. To preview the album, FJM has shared his live version of Pure Comedy track “So I’m Growing Old on Magic Mountain”. There’s also video footage of him performing Honeybear cut “Chateau Lobby #4 (in C for Two Virgins)”. Check out both below, followed by the artwork and full tracklist. Father John Misty: Live At Third Man Records Artwork: Father John Misty: Live At Third Man Records Tracklist: 01. I Love You, Honeybear 02. I’m Writing A Novel 03. Hollywood Forever Cemetery Sings 04. Chateau Lobby #4 (In C for Two Virgins) 05. So I’m Growing Old on Magic Mountain 06. Holy Shit 07. Everyman Needs a Companion Source

Every September, Riot Fest takes over Chicago’s Douglas Park, where thousands upon thousands of crusty punks, both young and old, celebrate the rowdiest of the genre. If they’re lucky, they might also get a chance to see some carnival fare, too. This year brought an eclectic mix, from rock ‘n’ roll heroes such as Weezer, Beck, Elvis Costello, and Jerry Lee Lewis to old-school outfits like The Jesus Lizard, FEAR, and Digable Planets to younger champs such as Bleachers, Calpurnia, and Cat Power. Senior photographer Heather Kaplan was on location and captured the festivities for all of you to experience yourself. So, relive the weekend below with our exhaustive photo gallery and follow both Heather and Consequence of Sound on Instagram. Source

Disturbed have announced the first batch of North American cities they will visit on the North American leg of their “Evolution Tour”, set to kick off in 2019. For now, the announcement is just cities without dates. Specific dates and venues, along with additional cities are expected to be announced soon. The initial list of cities can be found below. So far, Disturbed have just two remaining dates on their schedule for the rest of 2018: an intimate show presented by SiriusXM at Vic Theatre in Chicago, Illinois, on Oct. 10, and an appearance at the Austin City Limits music festival in Austin, Texas, on Oct. 13. Disturbed will be touring in support of their upcoming seventh studio album, Evolution, which will hit stores on Oct. 19. The first single from the set is called “Are You Ready,” and the band recently debuted the official music video for the track. Evolution will mark the follow-up to Disturbed’s 2015 release Immortalized, which was the band’s fifth to debut at No. 1 on the Billboard 200 chart. The album featured the band’s celebrated cover of the Simon & Garfunkel classic “The Sound of Silence.” Initial list of Cities on Disturbed’s 2019 North American Tour: Albuquerque, NM Buffalo, NY Chicago, IL Dallas, TX Denver, CO Detroit, MI Grand Rapids, MI Houston, TX Kansas City, MO Las Vegas, NV Lincoln, NE Los Angeles, CA Minneapolis, MN Montreal, QE Nashville, TN New York, NY Philadelphia, PA Phoenix, AZ Pittsburgh, PA Salt Lake City, UT San Antonio, TX San Diego, CA Toronto, ON Uncasville, CT Washington D.C. Worcester, MA Source

Avenged Sevenfold have released a heavy-hitting new song called “Mad Hatter.” The track is available now via digital download, and can be heard below. Singer M. Shadows and company are releasing “Mad Hatter” for the Call of Duty: Black Ops 4 video game, which will hit stores on October 12th. Avenged Sevenfold previously released music for other Black Ops games, and all four of the band’s Black Ops songs will be included on an upcoming EP, Black Reign, due this Friday, September 21st. Fans can pre-save the EP on Spotify here. Shadows told Kerrang! magazine of the “Mad Hatter” (via Blabbermouth), “The song is dark and brooding. We wanted to capture a difference feeling than a straight-ahead ‘zombie killer’ track.” He added, “These songs are good places for us to experiment with our sound. I would put this in the category of ‘dark alternative.'” Avenged Sevenfold were forced to cancel their summer tour with Prophets of Rage and Three Days Grace due to Shadows battling a viral infection that impacted his vocal cords. “Mad Hatter” is the first bit of new music from the band since that summer tour cancellation. Avenged Sevenfold are also working on their follow-up to 2016’s The Stage. Source

In the wake of the #MeToo movement, the actions and alleged abuses of Woody Allen have resurfaced for renewed scrutiny. Even after all this time, they remain a complicated, thorny issue fraught with familial tensions and conflicting narratives. Adding to the lack of clarity and accountability, one long-silent member of the family has now weighed in for the first time: Soon-Yi Previn, longtime wife of Allen and adoptive daughter of Mia Farrow. On Sunday, Vulture published an in-depth interview with Previn in which she breaks her silence on the years-long debate about her husband and Dylan Farrow’s accusations of childhood sexual molestation by him. Previn says she “was never interested in writing a Mommie Dearest, getting even with Mia,” but has chosen to speak up now out of a desire to defend Allen, whom she says is innocent. “[W]hat’s happened to Woody is so upsetting, so unjust. [Mia] has taken advantage of the #MeToo movement and paraded Dylan as a victim. And a whole new generation is hearing about it when they shouldn’t.” Furthermore, she weighs in on her relationship with her mother Mia, claiming her to be a cold, distanced parent with “bone-chilling tempers.” She paints a picture of a woman who would manipulate her children against each other (including Dylan and her brother, Ronan Farrow, who notably broke the Harvey Weinstein sexual assault story that kicked off the #MeToo movement) as revenge for stealing Allen away from her. This includes claims Mia coached Dylan on what to say when accusing him of molestation, threw objects at Previn, and so on. Says Previn of her childhood with Mia, “It pains me to recall instances in which I witnessed siblings, some blind or physically disabled, dragged down a flight of stairs to be thrown into a bedroom or a closet, then having the door locked from the outside.” She also gives her perspective on her decades-old relationship with Allen, painting their encounters as a furtive story of budding love which Mia angrily resisted with verbal and physical abuse. By this account, Previn’s romance with Allen was simply unusual, rather than the work of an abuser grooming his daughter for a sexual relationship. When first meeting him, Previn says, she hated him “because he was with my mother, and I didn’t understand why anyone could be with such a nasty, mean person.” At all turns, she rejects the idea that she was groomed, the piece describing her account of dates with Allen on Knicks games and to Bergman movies as, eerily enough, “a scene straight out of a Woody Allen movie.” Of course, the article immediately garnered discussion not just because of the conflicting account it gives to Dylan’s story, but of its controversial authorship. The Vulture piece was written by Daphne Merkin, a longtime friend of Allen with a detailed history of positive reporting towards him. As its critics note, this closeness to her subjects brings whatever journalistic objectivity she may have had into doubt (not to mention questionable turns of phrase like describing Allen’s “Aspergian aloneness”). While she admits the relationship in the piece itself, and New York Magazine spokesperson Lauren Starke claims the piece’s transparency in its perspective, it’s certainly something to consider when weighing the validity of the interview’s contents. In response to the story, both Dylan Farrow and Ronan Farrow issued statements on Twitter: My statement on New York Magazine: pic.twitter.com/xml6pdaZqb — Dylan Farrow (@RealDylanFarrow) September 17, 2018 Statement on New York magazine, which has done something shameful here: https://t.co/xGeQP341OG— Ronan Farrow (@RonanFarrow) September 17, 2018 Dylan Farrow wrote an op-ed for the Los Angeles Times last December, which accused Allen of molesting her when she was a child, claims that Allen vociferously denies. While an investigation at the time concluded that no abuse occurred, the judge of a later custody ruling removed Dylan from Allen’s care given his “grossly inappropriate” behavior towards her. While Dylan, Mia and Ronan are of a united front on the issue of Allen’s guilt in these accusations, Moses Farrow offered similar descriptions of Mia’s parenting to Previn’s account. In Merkin’s piece, he describes Mia’s approach to motherhood as a “total breakdown of your spirit, to ensure that you would do what she wanted you to do. It’s the honeymoon when you’re first adopted, then the veil gets pulled back and you start seeing Mia for who she is.” Source

Listen and subscribe via iTunes | Google Play | Stitcher | YouTube | RSS Cautious Clay sits down with Kyle Meredith to talk about his journey as a musician and finding his voice through instinct and experimentation. Clay explains the meaning behind his hit “Cold War” and how the song has been a “lifting-off” point for him as a songwriter/artist. He also discusses the collaborations he’s recently worked on with artists like Her and touring for the first time. Kyle Meredith With… is an interview series in which WFPK’s Kyle Meredith speaks to a wide breadth of musicians. Each episode, Meredith digs deep into an artist’s work to find out how the music is made and where their journey is going, from legendary artists like Robert Plant, Paul McCartney, U2 and Bryan Ferry, to the newer class of The National, St. Vincent, Arctic Monkeys, Haim, and Father John Misty. Check back Monday, Wednesday, and Friday for new episodes. Rate the series now via iTunes. Follow on Facebook | Podchaser | Twitter Source

Since the #MeToo movement picked up steam last fall following the Harvey Weinstein allegations, we’ve heard problematic commentary from several members of Hollywood’s male community. Woody Allen, himself embroiled in plenty of controversy, said in June that he should be the “poster boy” for the movement simply because none of the actresses he’s worked with have accused him of sexual misconduct. Now, Sean Penn, who was once accused of assaulting his then-wife Madonna, has criticized #MetToo for its “salaciousness” and so-called “dividing” nature. “This is a movement that was largely shouldered by a kind of receptacle of the salacious,” Penn said during an interview on Today this morning (via The Hollywood Reporter). When asked to explain what he meant, the 58-year-old actor pointed to the blurry line between fact and fiction when it comes to accusations. “Well, we don’t know what’s a fact in many of the cases,” complained Penn. “Salacious is as soon as you call something a movement that is really a series of many individual accusers, victims, accusations, some of which are unfounded.” (Read: Video Shows Harvey Weinstein Behaving Inappropriately with Alleged Rape Victim) Penn also characterized #MeToo — whose main purpose is to expose the inappropriate sexual behavior of powerful men in the entertainment industry — as a hurtful movement that pits men against women. “The spirit of much of what has been the #MeToo movement is to divide men and women,” he commented (perhaps not taking into consideration that whatever “division” exists is actually a result, or even necessity, due to the alleged actions of these men). Today host Natalie Morales disagreed with Penn, saying, “Women would say it’s uniting women.” Penn replied by claiming he’s spoken to women who have said the media covering #MeToo isn’t properly representing all sides of the story. “I don’t want it to be a trend, and I’m very suspicious of a movement that gets glommed onto in great stridency and rage and without nuance,” Penn criticized. “And even when people try to discuss it in a nuanced way, the nuance itself is attacked. I think it’s too black and white. In most things that are very important, it’s really good to just slow down.” This is not the first time Penn has spoke out against #MeToo. As The Guardian points out, in his debut novel, Bob Honey Who Just Do Stuff, he ended with a poem that seemed to defend Louis C.K. and Charlie Rose, both of whom have been hit with accusations of sexual misconduct. “Once crucial conversations/ Kept us on our toes;/ Was it really in our interest/ To trample Charlie Rose?” he asked later adding, “Where did all the laughs go?/Are you out there Louis C.K.?” “And what’s with this ‘Me Too’?” Penn continued in the poem. “This infantilizing term of the day… Is this a toddlers’ crusade? Reducing rape, slut-shaming, and suffrage to reckless child’s play? A platform for accusation impunity? Due process has lost its sheen?” Also, in an interview with The Guardian this past spring, Penn described the movement as “not intellectually honest” and one “led by mania.” Source

A metalhead named Lane Pittman went viral in 2016 when he took to the streets of Florida to face Hurricane Matthew while wearing just shorts and waving an American flag, all while Slayer‘s “Raining Blood” was providing the soundtrack. Now, Pittman is back in a new clip, doing the same exact thing in South Carolina as Hurricane Florence hit a few days ago. This time, Pittman was helped by a GoFundMe campaign with the goal of $150 to help him travel to South Carolina to face Florence. With more than $1,000 raised, Pittman was able to make the trip, with plenty of money to spare. In the the new video, Pittman, is sporting nothing more than boxer briefs, as he bravely confronts the high winds, again with an American flag in his hand, and again as “Raining Blood” plays. He was spotted by a Fox News reporter, who provided an alternate angle, and asked him his name, to which he responded in dramatic fashion, “My name is Lane Pittman.” See the new clips below, followed by the original Hurricane Matthew clip, which has more than 3 million views. Me: what are you doing? There is flying debris Half naked man: I went viral a few years ago doing this.#FlorenceHurricane2018 #viral #americanflag pic.twitter.com/6ofFVQswH1 — Partsinevelos (@KristinaParts) September 14, 2018 Source

Envision Music Festival has released their stacked lineup for their community built 4 day music & art festival on the Pacific Coast of Costa Rica. Taking place in Uvita, Costa Rica, everyone will gather on February 28th through March 3rd in a beautiful jungle directly next to the ocean. While starting 9 years ago, the community has stepped it up and successfully turned it into an electrifying and immersive experience for all. They’ve hosted a reforesting program which has been victorious in planting more than 12,000 trees in the past seven years as well as creating multiple stages inspired by the local Tico way. It can be said that most of the artists are local and on the rise but this year they are bringing in some bigger names from around the world. Tycho will be seen taking over for a special sunrise set, as well as GRiZ as he Chases the Golden Hour. Josh Wendel, Envision Festival Founder has come out and claimed regarding the lineup announcement, “ The creative and conceptual process behind our stages is another core element of our production and identity. We create a 360-degree sensorial experience not only through high class music, but also intricate visuals and captivating performances. The unbreakable bond between some of the most talented woodcrafters and local bamboo builders is reflected in all our creations, and we’re honored to share the love and the care behind our designs. Each stage will be an entirely new build this year, and we can’t wait to share them with you!” Tickets are available here. The post Envision Music Festival in Costa Rica Announces Lineup appeared first on EDM Maniac. Source

Less than a month after his estranged wife Deven died, Jonathan Davis returned to the stage with Korn to play three scheduled shows honoring the 20th anniversary of their 1998 album Follow the Leader. A visibly emotional Davis told the audience that “4U” was his wife’s favorite song in the midst of performing the track during the band’s September 12th show at The Masonic in San Francisco, as seen in the first YouTube clip below. The next nigh,t at the Hollywood Palladium in Los Angeles, Davis gave guitarist James “Munky” Shaffer a long embrace after playing the set-closing “My Gift to You”, as visible in the second YouTube video below. Deven Davis died at age 39 on August 17th, with TMZ reporting that Jonathan had filed a restraining order against her that same day to prevent her from seeing their children, alleging that Deven was using drugs. Several days later, Jonathan released a lengthy statement, explaining that Deven suffered from mental illness for many years, and that “her addiction was a side effect,” adding that he “loved her with all my being.” The third show celebrating the 20th anniversary of Follow the Leader took place at The Pearl in Las Vegas on Saturday night (September 15th). Source