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Mike Ness is a true rock ‘n’ roll survivor. He’s been the leader and one constant member in the seminal punk-rock band Social Distortion for nearly 40 years, and he’s still going strong at 57 years old. We caught up with the legendary frontman in his dressing room before Social D took the stage at a recent show in Port Chester, New York. He discussed the band’s 40th anniversary, which he clarifies will take place in 2019, despite Wikipedia and other sources listing the band’s formation as 1978. “I was a junior in high school in ’79 when the band formed,” he recalled. Ness made headlines over the summer when the mainstream national media picked up a story about him apparently leaping into the audience at a show in Sacramento and getting into a physical altercation with a Trump supporter. While the Social D frontman was not at liberty to discuss the matter at the time of our interview, he did say that the headlines misrepresented the incident. Among the other topics Ness was able to discuss were his views on President Trump, his rough years of drug abuse in the ’80s, and his relationship with Bruce Springsteen, who joined Social D onstage at a recent show in Asbury Park, N.J. He also explained why it’s been such a long wait for a new album since the band’s last disc, 2011’s Hard Times and Nursery Rhymes, and when he plans to begin working in earnest on a new Social D album. Read our interview with Social Distortion’s Mike Ness below: On 2019 marking the 40th anniversary of Social Distortion Well, I didn’t think I was gonna live this long, for one, but I was one of those guys who wanted to be a rock star since I was 5 years old, so I wanted the band to become successful, even when it wasn’t considered cool to be successful, in punk rock. I was looking at bands like The Clash, Generation X and The Buzzcocks and the New York bands and the San Francisco bands. I wanted a tour bus, I wanted roadies, and I wanted to put on a good show so the people get their fuckin’ money’s worth. I wanted to become successful, but I just didn’t know that the lifestyle would be so self-destructive for me, personally. I just took it to the extremes, and I didn’t think I was going to live to be 30. On the 30th anniversary of 1988’s Prison Bound, and the rough years leading up to that album’s release In 1984, people were just walking out of Social D shows because I was like the Johnny Thunders of the West Coast. All the fuckin’ gear is in the pawn shop, I’m either missing or in jail or a hospital somewhere, or I’m out with some fuckin’ stink-bag in some motel room. I’m sick, so I gotta get well before the show, and I can’t wait to get out of there and go get more dope. It starts out as sex, drugs and rock ‘n’ roll, and just becomes drugs. In ’85, I got my shit together after my third hospital stay or something, fourth or fifth attempt, and it stuck this time. After I got clean in October of ’85, out of somewhere, I got a crazy work ethic. It just made me like, “I’m serious about music. I want to do this for the rest of my life, so I better start treating it seriously.” In the first couple years of my recovery, the band wasn’t making any money back then, so I learned a trade, I learned to paint houses, and listened to the radio during the day. I listened to Chuck Berry, oldies. I was starting to see the importance of grabbing ahold of our American roots. I’d been such into British stuff, but then I was like, “We’re a fuckin’ American band.” It brought me back into my childhood of hearing the Carter Family and Woody Guthrie and stuff like that, which resonated with me as a kid. Now that I was clean and sober, I was like a kid again, rediscovering all this stuff. On the long gaps between recent Social Distortion albums, including the eight years since the last album Every time, I say, “We’re not gonna take that long,” because I don’t like to take for granted that the fans are still gonna be there waiting. We’ve toured so much in eight years. I can’t really write a record until I stop touring. You tour so much, you take a little bit of time off, and then you gotta earn some money, so you just tour more. I’ve been writing songs along the way. But this [recent fall trek was] the last tour. In December, January, February, March, I’ll be in pre-production, getting ready to do the next record. [A 2019 release date] would be nice, for sure, but I don’t want to just rush a record to meet a deadline. This record is really important for our career. I want to make a fuckin’ statement. I want to write the record of my career. On the two new songs Social D have been playing – “Over You” and “Born to Kill” “Over You”, last year I got invited to do that L.A.M.F. stint, revisiting that Johnny Thunders record. It really hit me how much of an impact that had on me, ‘cause it was punk, but it was blues-based punk. That’s what I like about the first wave of punk, because it was rock ‘n’ roll, traditional, but just sped up a little bit. That record [L.A.M.F.], the Heartbreakers records, and his solo records really helped shaped me. So, “Over You” — that rubbed off on me again — playing with Walter Lure, Clem Burke, Glen Matlock, it was like, “I forgot how fun and simple this stuff is.” It’s like taking bubble-gum rock with louder guitars, find a melody but make it tough. “Over You” is definitely an example of New York Dolls, Thunders, just that ‘70s rock. “Born to Kill” is just a little more straight-out fuckin’ punk. On his thoughts on President Trump, and if the current political climate will influence new Social D music It’s interesting, because in my personal life, I’m an activist. I’m a member of the ACLU, big anti-racist. But the only political song I’ve ever written was “Don’t Drag Me Down”, which is in the set right now. And I introduce it as an anti-racist song I wrote in 1994 in hopes that kids would hear this in later generations, wondering what racism even was. And I also just say that I didn’t expect this to resurface in [current times]. It’s not my fault, but Trump’s name is unfortunately synonymous with racism. I’m not a Trump supporter, but what I’m trying to say is in the past, when I’ve tried to write topically or politically, it’s come out very trite. It’s also a challenge to myself to try, because I do feel there’s some crazy, crazy shit happening. Disappearing freedoms, right before our very eyes, with Fox News leading it. This is fuckin’ wrong. And as an artist, you feel a certain responsibility to inform people. But it’s met with hostility, but I’m not afraid of that. I don’t want to divide my crowd, because I’m sure a lot of Social D fans are Trump supporters. I’m just glad they voted. I’m not going to try to separate my fans just because of my own personal beliefs, but I’m so into history and exposing truths. I do feel that there are truths that need to be exposed. It’s fucking crazy. On the end of the Warped Tour, and what it meant to play the traveling festival Well, it was just a good chance to play in front of big crowds at a good time in our career. We had just released White Light, White Heat, White Trash. There were a lot of younger kids coming to see what they had heard from the older kids, so it was kind of like the beginning of Social Distortion kind of handed down to younger generations. Not every band has that. A lot of kids don’t want to hear what their parents were listening to, but for us, it’s just been the opposite. On performing with Bruce Springsteen, and seeing his Broadway show Well, you know, it’s funny. I became a Springsteen fan later on, much later. I was not getting turned on to Springsteen when I was a kid. His live shows are what I really like. You know, we just kind of became friends. He was a big supporter of Social Distortion of Social Distortion in the early ‘90s. I was like, “How did this guy even hear of us?” Then we met a couple of times, we jammed a couple of times. I just went and saw his Broadway show … you know, most of my idols are dead — Hank Williams has been dead for a long time, The Ramones died, Joe Strummer, Tom Petty — they’re all gone. I don’t have older guys to look up to much more. I’ve got Neil Young, there’s a handful. David Bowie died. I’ll tell you what, Springsteen’s Broadway show just was a life changer. This is a guy who has no fuckin’ mask. I remember dating a girl a long time ago and her telling her mom [about me], “Oh yeah, he’s covered in tattoos, by the way,” and her mom said, “Oh yeah? What’s he hiding?” It was so inspiring [seeing Springsteen’s Broadway show], not only as a musician, because it sounded so good, him and an acoustic guitar in an old theater, but just seeing him as a man. My whole book that I’m trying to write, it’s a rock ‘n’ roll book, but it’s more about my struggle learning to be a man, and dealing with the fucked up tools my parents gave me, and the impressions they left on me as a kid that I’ve carried into adulthood that are hard to change. And to see someone [like Springsteen] confront their past, and make sense of it all, and articulate it, in such an authentic way, was beyond inspiring. Source

The California wildfires may have forced Lady Gaga to leave her home last week, but the pop star hasn’t lost her strength or spirit of generosity. Last night, Lady Gaga delivered pizza to evacuees at a Los Angeles-area Red Cross shelter. Perhaps more importantly, she also provided touching mental health support. “This is not easy, I know this is not easy. And I know that a lot of you are feeling a lot of pain right now,” Lady Gaga addressed the room of fellow evacuees. “What I can tell you is that I will pray for each and every one of you… you will be in my thoughts, I extend my love to each and every one of you.” “I know that we do not know each other, but I love you,” she added, “this is an emergency but you are not alone, we have each other.” The Star is Born star then emphasized the importance of mental health and self-care, and encouraged everyone to speak to specialists and one another about their feelings. “Please do not discount your mental health during this time, it is so important to take care of whats going on in your head and your heart,” said Lady Gaga. She concluded her short speech by promising to support everyone throughout the entire ordeal. “I would just like to make a pact with you in this room right now that I will be with you every step of the way, even the second that I leave this room,” she pledged. “I love you and you’re gonna get through this, and we’re gonna get through this together.” Check out video footage below (via TMZ), followed by photos taken from her Instagram story. Thank you to the fire fighters, police, first and emergency responders for doing above and beyond everything you can do to help us. You are true heroes. #CaliforniaFire — Lady Gaga (@ladygaga) November 10, 2018 Miley Cyrus and Liam Hemsworth, Limp Bizkit’s Fred Durst, Doctor Strange director Scott Derrickson, and actor Gerard Butler all lost their homes to the wildfires in California — as did Neil Young, which prompted the music legend to blast Donald Trump for failing to address climate change. A majority of the music equipment used by Tame Impala’s Kevin Parker was taken by the fire. Paramount Ranch, where HBO’s Westworld was filmed, also burned down. Like Gaga, Foo Fighters’ Dave Grohl used the power of food to express his support for the firefighters working to put out the massive blaze. Source

The Pitch: Six years ago, Wreck-It Ralph emerged as one of Disney’s more surprising hits of recent vintage. An ode to all things ’80s arcade gaming, it established Ralph (John C. Reilly) as a new kind of Disney hero: a deeply flawed “bad guy” who doesn’t have to change entirely to be considered good. Now, a few years later, Ralph is so happy in the arcade after self-actualizing that he never wants anything to change, even if his best friend Vanellope (Sarah Silverman) is starting to get bored of the day-in-day-out character grind. So when the owner finally adds a Wi-Fi router to the arcade, it doesn’t take long for the duo to learn that there’s a lot more out there than their world of interconnected arcade cabinets. A Cavalcade of Cinematic Universes: Welcome to Ralph Breaks the Internet, a soon-to-be hit family movie based on the famous meme image of champagne being poured over a thick ass. The mannered irreverence of Disney’s bid for some of that sweet, sweet viral cachet hardly stops with the title, as the movie quickly sets itself about the task of racing through every in-joke it can possibly get its hands on. Kids make memes about Sonic, right? Here he is, talking wise in a handful of scenes! An online portal called “Oh My Disney” is the central hub for gentle jokes involving every IP the mega-corporation owns. There are cat videos! Dorky video challenges! Fortnite celebration dances! THIS IS THE INTERNET YOU LOVE, CHILDREN OF AUDIENCE, IS IT NOT. Needless to say, there’s a try-hard quality to much of Ralph Breaks the Internet that feels severely at odds with the genial ease of the original. There’s still a moral lesson in there (a solid one about how even the best friendships can become toxic and controlling), and there’s still some of the sweetness that made the first Ralph so appealing. Much of that emerges from the ease between Silverman’s adorable brat and Reilly’s doofy hero, who continue to deliver something resembling a soul to the movie even when the movie is far more invested in Easter eggs and inside-baseball jokes. Put another way: they’re still performing in a sequel to Wreck-It Ralph. The fact that said sequel bears more than a passing resemblance to The Emoji Movie at points is hardly their fault. When Memes Become Teams: That derivative quality doesn’t entirely hamper the film, even if it establishes Ralph Breaks the Internet as a distinctly second-tier sort of sequel. Some of the gags are inspired, particularly the already-spoiled reveal of a castle full of lounging, self-aware Disney princesses. Likewise, Vanellope gets her traditional solo musical number, in a form so surprising we’d be monsters to give it away here. (We’ll just say that a princess ballad has never bore such a thematic resemblance to Twisted Metal before.) When Ralph Breaks the Internet slows down for a second, which is not often, it’s able to find its footing in the same mix of in-jokes and earnest heart that necessitated a sequel in the first place. As Ralph and Vanellope begin to grow apart, the typical Disney lesson gets a blunt modern twist: sometimes people just change, and it’s not your place to stop them. Unfortunately, that’s just one part of the story, as the movie goes out of its way to separate the pair for much of its runtime. Vanellope befriends Shank (Gal Gadot), the protagonist of a hyper-violent, Borderlands-esque racing game titled Slaughter Race, and while there’s a fun visual contradiction established between the 4K gloss of Shank’s world and the bubbly Disney animation of Vanellope’s, the story never finds enough time to distinguish itself. Meanwhile, Ralph finds himself desperate to raise money for a broken arcade machine part (the Macguffin around which the story bends), and ends up aligning with Yesss (Taraji P. Henson), a viral video algorithm that turns video views into real-world money. Of all the running threads in this surprisingly busy sequel, Ralph going viral is by far the least effective; much like Vine fame, it’s good for a handful of laughs, but rarely leads to anything more sustainable. The Verdict: There’s a thoughtful, kid-friendly parable about the hazards of internet fame somewhere in Ralph Breaks the Internet, but its aim is so scattershot that it only emerges in fits and starts. Where the first movie drew Pixar comparisons, both for its obvious debt to Toy Story and in its overall quality, Ralph Breaks the Internet feels a lot more like an Illumination feature, or perhaps something from Dreamworks at its peak. The pacing is manic, the gags come and go by the scene, and there are at least a handful of thunderous clunkers that bloat up the runtime. (A bit in the “dark web,” involving Alfred Molina as a virus, is Austin Powers-level bad in its grade school punnery.) That underlying sweetness still exists, but this time it’s forced to share the stage with what increasingly feels like a family movie written by committee, a branding exercise with enough knowing winks to avoid being declared as such. It’s a bit like a Kingdom Hearts outing for audiences without the attention span for an RPG. It’s fun enough to hear the Imperial March usher a series of oblivious Stormtrooopers down a hallway with Ralph in hiding, or to enjoy the handful of pleasant cameos that roll through. It’s just hard to tell exactly what the point is after a while, at least beyond getting the kids in attendance to cheer and laugh with recognition. Where’s It Playing?: Despite its premise, Ralph Breaks the Internet won’t be anywhere online (legally); see it in theaters on November 21st. Trailer: Source

For its 100th episode, Kenya Barris’ boundary-breaking sitcom black-ish paid homage to the life and work of the late Prince. Airing last night, the anniversary episode of the ABC show about an affluent black family living in California was a half-hour tribute to the High Priest of Pop, who died tragically in 2016. black-ish frequently takes time each season to let the Johnson family sit down and talk about issues facing their community, whether it’s the thorny issue of police brutality or despair over the 2016 presidential election. This year, their big issue installment was more celebratory. The episode finds the Johnsons trying to convince their two younger children, Jack and Diane, to love Prince. In doing so, the family tells stories of Prince songs that influenced them, whether it’s Jenifer Lewis’ Grandma Ruby taking care of her kids in Compton to “When Doves Cry” or Yara Shahidi’s Zoey learning about political activism from “Sign ‘O the Times”. Accompanying these flashbacks and dream sequences, however, are some really endearing recreations of Prince’s iconic looks. There’s the rainbow pinstripe suit/cravat combo from “Erotic City” and Diane wearing the man’s iconic “Purple Rain” ensemble. The show licensed several Prince songs for the episode for the cast to lip-sync along to, including “Kiss”, “Nothing Compares 2 U”, and more. Take a look at the show’s replication of one of Prince’s most indelible musical moments below. Source

October came and went, subtly packing some of this year’s most noteworthy albums, collaborations and singles alike. It hurts to know that all the music in the world is impossible to consume. October, touting some of the year’s most highly anticipated moments in the long awaited debut from Sheck Wes, and a sophomore effort from Khalid, was exaggerated proof of the realization. To listener’s delight, beneath the fold of major releases hid some of the year’s most pleasant surprises, only making the selections for this go round of Monthly Mixtape that much more difficult. Perhaps unspoken, the collective push to drop gems as the calendar wanes came around in full fashion, gracing the world’s ears with new heat from the likes of Brent Faiyaz, Jerry Paper, Jean Deaux, Teo and so many others. Here’s what we loved: “Love” by Kryptonyte On their glistening self titled debut, Southern rap troop Kryptonyte makes daydreams of chrome spokes and candy painted slabs a sonic reality. Comprised of Dallas and Birmingham based artists Liv.e, Lord Byron, Pink Siifu, and Ben Hixon, the group revives vintage sound, hinging with Outkast and Three 6 Mafia sensibilities, sloshy tempo and slurred verses. “Love,” sees the group exchanging verses over bouncy-smooth production. “Freelance” by Toro y Moi “Freelance,” is the first single from Oakland-based designer and singer-songwriter Toro Y Moi’s upcoming album due for release in January. Equally as spacious as last year’s BooBoo, Toro abandons his downtempo dulcet for a skippy dance-style song, similar to past explorations found throughout his side project, Les Sins. Needless to say, it’s hard to go wrong when making songs about socks and sandals. “Grace and Mercy” by Mick Jenkins Returning with the follow-up to his 2016 album, The Healing Component, Mick Jenkins delivers hazy revelations on Pieces of a Man. Taking inspiration from the late Gil Scott Heron, the record incorporates Mick at his most introspective with melodic poetry and 808 ridden Jazz-soul beats. “Grace and Mercy,” is as flashy as Jenkins gets on the project, floating over the beat with unleashed braggadocio. “Dracula” by Bakar “Dracula,” is the biting follow-up single to London artist Bakar’s debut album, Badkid, released in May. Bakar’s eclecticism allows him the room to experiment with a wide run of styles, tapping punk, rap, and indie aesthetic all at once. Released on Halloween, Dracula is as fun as it is moshpit-inducing. “The Colours” by Phony Ppl The last time we heard from the Brooklyn based future soul outfit Phony Ppl was three years ago when their 2015 project, Yesterday’s Tomorrow, gave us airy odes like “Why iii Love the Moon,” and “End of the niGht.” Now, they’re back with an equally savvy offering in mo’za-ik. Throughout 11 tracks, Phony Ppl paints pictures with words and matches vivid songwriting with powerfully groovy sonic. “The Colours,” is amongst the album’s slowest burning and most beautifully written. Check out the rest of our favorites from October in the playlist below: The post Monthly Mixtape 2018: October’s Rotation appeared first on Verge Campus. Source

It’s been a while since Limp Bizkit have released a new album, as their last set, Gold Cobra, dropped back in 2011. In the years since, things seemed to be moving ahead, as Fred Durst and company were already talking about their next album, a disc tentatively titled Stampede of the Disco Elephants. Now, more than seven years since their last full-length disc, Limp Bizkit are finally ready to get to work on that new album. Yesterday, guitarist Wes Borland shared an update via an Instagram video, where he posted footage of himself warming up on guitar as he gets ready to record. “We would have started last Saturday but were displaced by the fires and lost some gear,” Borland said. “Getting back on our feet and in the studio within the week.” As previously reported, Borland and Durst were both affected by the California wildfires. Borland posted footage of a house on fire, stating on Instagram, “My pedalboard, 2 guitars, 2 amps, a 2×12 cabinet, several other pedals and misc equipment were inside this house.” Durst reported via an Instagram story that his house had burned down, somehow with a sense of humor, photoshopping his face over a picture of Steve Martin from the movie The Jerk, and writing, “When you wake up and you’re house has burned down, but you were able to salvage your chair and thermos and paddleball.” Source

Must artificial intelligence always be something we fear? That’s what electronic music duo The Chemical Brothers explore in their new music video for “Free Yourself”. Directed by Dom&Nic, with the help of production company Outsider and creation studio The Mill, the futuristic clip follows a group of suddenly sentient robots as they giddily throw a dance party inside a factory. A project eight months in the making, the visual imagines a world in which the relationships between humans and AI don’t have to be so strained and doomed. (Read: Top 50 Albums of 1997) Watch below. Dom&Nic, who’ve previously worked on the Chemical Brothers’ “Wide Open” and “Hey Boy Hey Girl”, talked further about the video’s concept in a press statement: “Why would artificial intelligence behave any different to humans discovering music and dance for the first time? We’ve all seen humans dancing brilliantly like robots, we’ve also seen robots dancing brilliantly like robots, but you’ve never seen robots dancing badly like humans. That’s new… The Chemical Brothers’ music allows people to get out of their box at a gig or listening to the record – it’s a moment of frenzied abandonment to the music. We wanted to capture that feeling in the idea of an oppressed robot workforce suddenly abandoning themselves to music and fun. It’s robots having fun, robots being silly and robots raving! It’s a black comedy and an observation or conversation about the possible future relationship between robots, artificial intelligence and humans. Maybe we don’t have anything to be scared of, why do we think the worst about AI and humanity?” The Chemical Brothers’ last full-length, Born in the Echoes, came out back in 2015. Source

As Tekashi 6ix9ine has ascended to the top of the hip-hop charts, much of his earnings have gone toward expensive legal fees as he looks to resolve a number of pending legal cases. Last month, the 22-year-old rapper struck a plea deal related a 2015 sex crime case involving a child. Though he was given an additional four years of probation, 6ix9ine avoided prison time and did not have to register as a sex offender.. Now, according to TMZ, 6ix9ine has struck another plea deal, this time for a disorderly conduct charge stemming from an altercation he had with a police officer in May of this year. After being pulled over, 6ix9ine allegedly squeezed the police officer’s hand, leading to a misdemeanor assault charge. Appearing in court on Wednesday, 6ix9ine entered a guilty plea in exchange for one-year probation. However, in the event 6ix9ine is arrested again in the near future, he faces immediate jail time. Last week, two unknown gunmen opened fire on the set of 6ix9ine’s video with Kanye West. As of publication, no arrests have been made in connection to the incident. Source

There are a limited number of rap songs that make truly good karaoke jams, so it’s not so surprisingly that few MCs have ever appeared on Carpool Karaoke. On last night’s episode of The Late Late Show, however, James Corden drove around town with perhaps the most appropriate rap group for the segment, Migos. Frankly, when Quavo, Offset, and Takeoff were spitting their own bars, it wasn’t terribly interesting. “Walk It Talk It” off Culture II revealed itself to be even more redundant in the compact setting, and Corden’s version of Cardi B’s “Motorsport” verse was just goofy. They also went through Culture breakout “Bad and Boujee”, but the most memorable stuff came when they did other people’s songs. They all really got into Whitney Houston’s “Dance With Somebody (Who Loves Me)”, adding dabs to the downbeats, and tossing some trademark ad libs into “Sweet Caroline” to amusing results. Outside of the music, though, the Atlanta rappers’ antics with the British host were the true highlight. When it was revealed that Offset just happened to have $200,010 in straight cash (!!) on him, they took Corden shopping for some “drip” (that’s stylish clothing, apparently). Offset also showed off the $250,000 bando chain his bae Cardi bought for him. Elsewhere, Corden apologized on behalf of middle aged white men for ruining the dab and tried to add some slide whistle and cat sounds to Migos’ ad libs repertoire. (It, uh, didn’t work.) Check out the entire 14-minute segment below. Source

Dylan Emmet is a singer/songwriter with a story to tell. After finding out he had a two year old daughter he never knew about, Dylan began releasing a string of songs documenting his journey, beginning with leaving Los Angeles to become an insta-dad in New York overnight. Constance is a Canadian singer-songwriter with an electro-pop background who’s music is a homage to her late mother. With both artists combining forces, the result is an absolutely emotional song in their latest offering “Memory.” Dylan explains: “‘Memory’ is about the inner dialogue we all go through during a breakup. We were sharing personal experiences we’ve each had during the end of a relationship. There’s these moments when it feels like the other person has immediately forgotten who you are. Often times we create this story in our head that our ex is fine and has moved on. The truth is, we really have no clue how the other person is feeling.” This looks to be the first of a few collaborative releases by both talented artists so keep your ears peeled for more! This article was first published on Your EDM. Source: Your EDM Premiere: Dylan Emmet & Constance – Memory Source

This article originally ran in April 2016. We’re revisiting in celebration of a slew of Brian Eno’s best work getting re-released on vinyl this Friday. Whether you know him as the godfather of electronica, Roxy Music and Bowie’s secret weapon, or that really cool beep boop guy with the cats, there is only one Brian Eno. Simply put, he is an experimental icon in the world of music — an avant auteur defined by his idiosyncratic interests and involvements. Eno’s career has been defined by his glorious glam rock, his beauteous digital techniques and tones, and his collaborations with great artists like David Byrne and U2 among many others. In that spirit, Eno and films were always going to be a match made in heaven. A sonic, ethereal, peaceful, relaxing, chilled-out, becalming, good-vibe-inducing sort of heaven. Besides, the guy did release several albums under the title of Music for Films; for goodness sake, how was Eno not going to find his way to the silver screen? Today, we’re going to reflect (somberly, of course, with a soft pillow in a quiet room if possible) on some of the finest uses of Eno’s music in the movies. However, before this spiritual journey begins, here are a few quick rules: 01. “Once in a Lifetime”, “Heroes”, U2 songs … all that stuff is out. The track in any respective movie’s got to be “by Brian Eno” in some form. And besides, as fantastic as Bowie and Byrne are, well, their songs are a little played out in popular films. 02. No original scores. Eno’s got 51 composer credits, and sometimes he’s listed as a composer even if he’s just using old tracks. Our list will look specifically at tunes that are either from Eno’s albums or made for a specific soundtrack. So, for example, Me, Earl and the Dying Girl might be on the list because it uses past tracks, even though Eno’s the film’s credited composer. Eno’s songs all enhanced these films in some way. Whether it was a perfect cue or a tune that simply improved a film on rocky ground, these Eno tracks made movies a little better. For the best and most blood pressure-lowering results, read this list while listening to Ambient 1. –Blake Goble Senior Staff Writer __________________________________________________________ Source

Muse supported the release of their latest album, Simulation Theory, with an appearance on Tuesday night’s episode of The Tonight Show. The prog-rock outfit staged a performance of “Pressure”, which you can replay below. Sticking to the LP’s sci-fi vibes, the UK natives were accompanied by spacey, flashing lights, and frontman Matt Bellamy’s sleek and shiny jacket made him look like a robot straight out of the ’80s. Muse also brought with them a four-piece brass section (sadly, Terry Crews couldn’t stop by). Simulation Theory, which features production from Timbaland of all people, will be promoted next year with a massive Muse tour. Get your tickets here. Paul McCartney's Top 5 Non Prince's Top 5 Music Videos David Bowie's Top 5 Songs Phil Collins' Top 5 Songs Paul Simon's Top 5 Songs Source

Shaky Knees has revealed its 2019 lineup. The Atlanta-based music festival returns to the city’s Central Park from Central Park from May 3rd-5th. Tame Impala, Beck, Cage the Elephant, and Incubus top the bill. Other notable acts include Tears For Fears, Interpol, Foals, Father John Misty, Dashboard Confessional, Sharon Van Etten, Tash Sultana, Deerhunter, Liz Phair, and Phosphorsecent. Rounding out the lineup are Mark Lanegan, Dandy Warhols, Black Lips, Japanese Breakfast, Oh Sees, Calpurnia, Pedro the Lion, Natalie Prass, Soccer Mommy, The Joy Formidable, Lucy Dacus, Foxing, Low Cut Connie, Rayland Baxter, and Welshly Arms, among others. General admission and VIP passes go on sale today (Nov. 14th) at 12:00 pm EST. Head to the festival’s website for more information. Source

The Pitch: Let’s leave audiences with Mark Wahlberg and Rose Byrne for two hours as they try to cope with losing their forty-something, yuppie lifestyle to three foster children they’ve adopted solely out of spite. While we’re at it, we’ll toss in Academy Award winner Octavia Spencer and MVP comic Tig Notaro to parade around the lamest Hallmark humor to ever eek away from daytime television. Because this is America, we’ll also hit those idiots over the head with a ham-fisted metaphor about how said couple also flip houses. You loved the ending to Lethal Weapon 4, right? But, It’s Based on a True Story: It sure is. Director and writer Sean Anders, whose comedic resume has some mild highs (see: Hot Tub Time Machine, Sex Drive) and some devastating lows (Dumb and Dumber To, Mr. Popper’s Penguins), leans on his own personal experiences with adoption for a story that never quite achieves the heart it thinks it carries. Instead, he knocks out a screenplay that’s too cute or too stupid or too predictable to be anything more than a middling Hallmark card stretched out to a feature film that belongs at a Christmas party sleepover in Connecticut. It’s treacly, it’s pandering, and it’s tonally confusing, hopping from one Precious Moment to another with milquetoast humor that drips of 21st century stereotypes checking off every cultural touchstone. (Don’t even get me started on the recurring Blind Side gag.) While his intentions are admirable — mind you, this review is coming from someone with a family history of adoption — Anders can’t shake the fact that he’s still trying to sell this hollow PSA to the same crowd who plopped down $95 bucks to bring the whole family to see either one of his miserable Daddy’s Home adventures. Yeah, But I Like My Wahlburgers: So do I. The problem is that Wahlberg traditionally needs two things: a great script and a strong director. Anders isn’t Paul Thomas Anderson (Boogie Nights), or Peter Berg (Lone Survivor, Deepwater Horizon), or Martin Scorsese (The Departed), and especially not David O. Russell (Three Kings, I Heart Huckabees, The Fighter). He’s a guy who makes low-grade comedies, which naturally warrants a low-grade performance from Wahlberg, whose hunky demeanor often carries even his weakest movies (see: Rock Star, The Happening). Not here. Instead, we watch him try his damnedest to sell a script that uses every sappy Dad trick in the book, making Wahlberg a vessel of cliches. The same goes for Byrne, although she at least brings some nuance to her role, chewing through this suburban hell with a palpable frustration. Similar to her vitriolic performance in both Neighbors films, Byrne thrives when she’s losing her shit, either with her eldest daughter Lizzie (a strong turn from Isabela Moner) or with her immediate family of idiots, who all try to chew the screen with hand-me-down Apatowian one-liners. What About the Bernese Mountain Dog? Loved that Berner, Meatball. Anything Else!? Well, Michael O’Keefe and Julie Hagerty were fun to see again, and while the sudden appearance of Joan Cusack at the end was a ludicrous distraction during what’s supposed to be a crucial moment, it was admittedly nice seeing her, too. The Verdict: At a time when everyone goes apeshit over any piece of pop culture that carries some ideological weight, it’s easy to see why movies like Instant Family get a pass and find instant success. But, here’s the thing: If you’re going to tackle serious subject matter, maybe don’t run it through tacky fluff that amounts to a fleeting sugar high. Sure, this movie will get all the right oohs and aahs, sighs and sobs — it certainly won over the freebie test audience at my screening, good god — but it won’t linger. Isn’t that what you want? Isn’t that what you should aim for? You know, there’s been a lot of reassessing over John Hughes’ movies in recent years. Some hate Ferris Bueller for indulging in Reaganism. Everyone agrees that Sixteen Candles is problematic nonsense. And, yeah, there’s the entire conceit of Weird Science. But think back to Planes, Trains, and Automobiles, a movie that indulges in screwball humor while also clenching your heart with timeless portraits of grief and loneliness. That last shot, when John Candy spiritually connects with Steve Martin, it never leaves you. What’s more, you want to experience that feeling again. The only truth behind Instant Family is its name: a gasp, a flash, a snapshot, gone. Where’s It Playing? In neighborhoods all across America, starting Friday, November 16th. Trailer: Source

With news that Eats Everything is hitting our shores in January we felt nothing would be more fitting than throwing back to one of his early tech house jams. Truthfully this isn’t his most popular tune, but it holds a special place in our heart. Older Stoney heads might even recall that we posted about Eats Everything when he just a few hundred Soundcloud followers and was very close to a nobody. Not long after he got picked up by Claude Von Stroke’s Dirtybird and the rest is history. This tune was dropped on a compilation on Southern Fried Records and sticks with us like crazy. A tech-house tune that builds up to a truly unexpected drop filled with computerised bubble sounds. Check out the tune below and let it take you back to the good ol’ days! You can catch Eats Everything at Electric Gardens next year, check out the lineup and grab tickets here. Source

There were many sets to behold this past weekend at EDC Orlando, but perhaps one of the most anticipated was Illenium’s set at circuitGROUNDS, performing his new Awake 2.0 set. Such was the draw of Illenium’s set that Alison Wonderland went so far as to shift her set time earlier so that fans could see them both. And for anyone who was watching the stream this past weekend, it was clear to see why. Between KJ Sawka on the drums, Said The Sky on keys, and the rest of his team, it’s one of the most enthralling live shows currently touring in dance music. In fact, it’s really one of the few full “bands” currently touring in the genre at all. Only 45 minutes of Illenium’s set happened to be captured on stream, missing his new remix of Halsey, but you can hear the full set via the SoundCloud player below. Check it out! This article was first published on Your EDM. Source: Watch & Listen To Illenium’s Full Set From EDC Orlando 2019 Source

Our jaws dropped on Monday when we saw the tracklist for Mike WiLL Made-It‘s soundtrack to Creed II. In addition to lead single “Kill ‘Em With Success”, which featured the likes of ScHooolboy Q, 2 Chainz, and Eearz, the soundtrack will feature the likes of Bon Iver, Ll Wayne, Nas, Nicki Minaj, Vince Staples, ASAP Rocky, and Rick Ross. And let’s not forget Kendrick Lamar, whose contribution just hit the internet. A collaboration with Pharrell Williams, “The Mantra” is a patient, mesmerizing affair that really comes to life once Kendrick steps in with a dizzying array of “fucks.” Hear it below. The Creed II soundtrack drops on the same day as the movie: November 21st. Source

In June, RiFF RAFF (née Horst Christian Simco) was accused of raping a 19-year-old Australian woman in 2013. The rapper soon saw his planned tour of Australia and New Zealand canceled, as well as a second allegation of sexual assault from a woman who was 17 at the time of the alleged incident. RiFF RAFF denied the allegations via a weird, since-deleted video, which saw him accompanied by an entertainment lawyer and a film director who claimed she was making a movie about the incident called “Trial By Media”. Now, Pitchfork has uncovered another allegation of sexual misconduct on the part of RiFF RAFF, one that will go to trial in May of 2019. According to court documents reviewed by Pitchfork, the civil suit accuses both RiFF RAFF and his frequent collaborator, DollaBillGates (née Eric Lasaan Bing), of sexual assault, sexual battery, intentional infliction of emotional distress, false imprisonment, and civil conspiracy. The plaintiff, a woman identified as Jane Doe, is asking for at least $12 million in damages to cover medical expenses, lost wages, physical, emotional, and psychological trauma, legal costs, and more. The alleged incident took place in the early morning of August 31st, 2014 at Nevada’s Bunny Ranch brothel. Jane Doe and a friend identified in court documents as “Sara” joined RiFF RAFF and DollaBillGates in a bungalow at the Bunny Ranch, where RiFF RAFF allegedly took a bag of cash the women had made dancing earlier in the evening and said he wouldn’t give it back unless they had sex with him. “If you want this money back, you are both going to fuck me,” the complaint says. “If you don’t, you’re not going to like what’s going to happen and you are not getting your precious money back.” Her feeling of being forced into the sexual encounter extends to DollaBillGates, who she says intimidated her by physically blocking the door. Later, she claims she and Sara were forced to perform sexual acts on him by RiFF RAFF. According to documents, both RiFF RAFF and DollaBillGates deny all allegations of sexual assault, as does Sara, who disputes a number of Jane Doe’s allegations, including the detail regarding DollaBillGates blocking the door. Sara claims Jane Doe is “just trying to make up stories.” Jane Doe did, however, file a police report with the South Lake Tahoe Police Department on the day of the incident, and underwent a sexual assault examination the following day. The criminal case was eventually closed, with a detective noting that he found 14 discrepancies in the case. “The reported assault cannot be proven due to the lack of physical evidence, forensic evidence, and direct evidence including the contradictory eye witness testimony of Sara,” a report from the detective said. “The above problematic issues couple with [Jane Doe’s] unbelievable and ever-changing accounts preclude this investigation from continuing further.” The civil suit is ongoing, however, and in August Jane Doe’s lawyers filed a motion for sanctions against RiFF RAFF based on the sexual assault allegations against the rapper that surfaced earlier this year. The motion cites “a pattern of perversion preceded by multiple other undisclosed acts of perverted conduct and sexual assault of young women,” and claims that RiFF RAFF bullied and intimidated Jane Doe in addition to omitting facts. RiFF RAFF’s team has asked the court to strike the motion. “Mr. Simco and his representatives take allegations of sexual misconduct very seriously,” a lawyer for RiFF RAFF told Pitchfork. “This case is set for a jury trial in May of 2019, and Mr. Simco looks forward to the opportunity to clear his name.” Source

Have you ever thought about what it would be like to walk through a real life enchanted forest? An experience filled with colorful costumes, mind bending lights, and moving art: Spirit of Suwannee Music Park’s Hulaween has created just that. The magic in this place runs deep. As a third-time attendee I can assure you this isn’t a festival to miss. Hulaween celebrated its 6th annual installment and managed to top itself yet again. This year’s experience was an extraterrestrial adventure with many new art installments within Spirit Lake. The magical earthly kingdom came to life as the brooding oaks reflected the intricate surrounding light shows. Filled with psychedelic art mazes, moving wall projections, and colorful interactive sculptures, the art alone was enough to take your breath away. Many of the art pieces contained deeper messages of self-love and interconnectedness. The adult sized playground also hosted the whimsical old timey Frick Frack Casino, a bartering based casino that had hula-goers betting all night. Spirit Lake lit up per usual with its various fire installments, the perfect place for campers to warm up on the colder nights. With laser light shows over the lake, silent discos all night, and two stages Spirit Lake was once again the heart of Hulaween. Photo Credit: Mandi NulphKicking off on Wednesday, Hula started a bit earlier this year. The festival hosted a benefit concert for those effected by Hurricane Michael. I arrived early Thursday morning to find the park already buzzing with attendees. Thursdays pre-party lineup was stacked with some of my personal favorites including Just Chameleons, two STS9 sets, Papadosio and The Floozies. And although the rain arrived early Thursday evening that didn’t stop everyone from throwing on their ponchos and dancing in the mud. Minnesota threw down late Thursday evening being the first of many heavy electronic artists for the weekend. Lettuce closed the nights performances. By mid-day Friday the rain had passed and the cars started flowing into SOSMP. Everywhere you looked you were greeted with smiles and elaborate costumes as all the Hula-goers headed to their favorite sets. Friday introduced to us some of the amazing female artists that Hulaween gathered this year, including Maddy O’Neal, Lizzo, and Rezz. The day also included the Hula tradition of two sets of String Cheese Incident. The night ended with Odesza’s return to Suwannee, after their first appearance in 2015. Their show blew the crowd away with a killer drumline, flaming stage effects, and a firework filled finale. Afterwards, the night came alive in Spirit Lake with silent discos playing until the early hours of Saturday morning. Photo Credit: Keith GrinerSaturdays music was jam packed. The day kicking off early afternoon with Trevor Hall, Lettuce, and Steven Marley. The good vibes continued all day long as the music slowly started to shift to more electronic sounds. Manic Focus played a mind-blowing set at the amphitheater stage with a talent packed live band. It was hands down one of the best sets of the weekend. After that ended, the crowd moved towards the main stage for Cheese’s famous theme night set. Saturday was one of their most beautiful sets yet. The theme this year was the Divine Feminine. The band included numerous female vocalists and dedicated their set to covers of powerful feminine ballads. Otis Redding’s “Respect”, Amy Winehouse’s “Valerie” and Roberta Flack’s “Killing Me Softly” were just a few of the songs heard during this magical hour and a half. The night then shifted back to electronic with Tipper followed by Jamiroquai, Psymbionic, and then the female DJ Clozee. As you can imagine by that lineup, Saturday night, was a continuous stream of electronic bliss. Photo Credit: Collin TaylorBy Sunday many campers were getting a late start. Especially if they had attended the 4 AM Mystic Grizzly silent disco. But still a good crowd showed up for Yonder Mountain String Band to jam out with the bluegrass tunes. Kasbo played a mystical golden hour set that I had a hard time leaving before heading over to The Polish Ambassadors. NGHTMARE was absolutely insane and a perfect intro to Gramatik. Which was less funky and more edm heavy set than I had seen from him in the past, but still amazing. At the same time Janelle Monae, a powerhouse female leader for equality, was giving a beautiful performance to close the festival at the main stage. Photo Credit: Collin TaylorHulaween is truly an experience unlike any other. With elaborate art displays, mind bending lights, and A-list lineups this festival continues to be a ritual to many. I spoke to one festival goer, Kelsey Klopfenstien, about what brings her back to Hulaween each year; She told me, “This was my fourth year attending hula and this festival has become somewhat of a holiday for me. I’ve been to a multitude of festivals ranging from Bonnaroo to Buku to Okeechobee, and I’ve never felt such magic in the air as I do at Hulaween. Aside from stellar production, a lineup that always impressed and some of the best attendees I’ve ever met, what really keeps me coming back is the spirit of Suwannee park itself. Unlike other venues, the SOSMP in engineered specifically for music festivals, so everything just always runs very smoothly. Also, the park does seem to have a spirit of its own; a spirit that makes you dance and pushes you to be a better person.” Photo Credit: Mandi NulphEverything that Kelsey stated is also completely true to my experience. As I’m sure it is to many of Hulaweens’ attendees. This year’s rendition opened my heart and relieved my mind. All while supporting the feminine and everyone’s right to dance until the wee hours of the morning. If you’ve never made the journey to Suwannee Hulaween be sure to add it to your list for next year, I can promise you won’t regret it. The post Suwannee Hulaween Festival Recap appeared first on Verge Campus. Source

It was in Berlin earlier this fall when U2 cut short a concert, with Bono suffering what he described as “a complete loss of voice.” He was subsequently cleared by a doctor and said “we can’t wait to get back there” for the tour’s closing date. That closing performance unfolded tonight, and it capped off with an intriguing choice of words. “We’ve been on the road for quite some time,” Bono told the crowd, “just going on 40 years, and this last four years have been really something very special for us.” What really raised some eyebrows was his final comment: “We’re going away now…” (Read: The 100 Greatest Movie Soundtracks of All Time) Such a line can be interpreted numerous ways, of course, but fans are panicking that the band could be calling it quits. News of Bono’s remarks came from fan account @U2gigs, and the moderator did their best to assuage those in distress, sounding confident that the band would return. They did, however, “concede that this is the first time the mass panic has at least seemed plausible.” They add, however, that it’s likely the band will do something to celebrate the upcoming anniversaries of 1980’s Boy and 1991’s Achtung Baby. I will concede that this is the first time the mass panic has at least seemed plausible. But there'll be *something* for Boy at 40 or AB at 30, or a new record. U2 won't sit still and they won't break up, and they've got enough years ahead of them yet to fit in more gigs! — U2gigs (@u2gigs) November 13, 2018 U2’s spent a good chunk of 2018 touring in support of last year’s Songs Of Experience. Along the way, they performed with Kendrick Lamar at the Grammy Awards, landed on Rolling Stone’s list of the best songs of the 21st century so far, and saw their songs remixed, covered, and used, to great effect, in the finale of The Americans. They’re most likely not going anywhere. Source

All seven episodes of the new series “Like & Subscribe,” executive produced and starring Dillon Francis, are now available to stream via Funny of Die. The series follows Skyy Goldwynne (Dillon Francis), Hollywood’s biggest manager, as he locks 4 of his influencer clients in a house with a camera crew. There are an abundance of references to real-life influencers, social media stars, and content creators throughout the show. The relatability, and especially the tongue in cheek analysis of our current social media-driven world, definitely help to make this show accessible to any young viewer – even one who’s never heard of Dillon Francis. The entire show is currently available to stream via Funny or Die – watch the first episode below. Photo via Rukes.com This article was first published on Your EDM. Source: Dillon Francis’s New Show “Like & Subscribe” Is Now Available To Stream Source

Disclaimer: We’re a bit sceptical of this one, the only information is from a German online publication and none of us read German. So if you have any more information (e.g. what the club was) then please let us know! According to an article on BZ Berlin (look, we haven’t heard of it either) head bouncer at Berlin’s infamous Berghain nightclub, Sven Marquardt, was denied entry to a Sydney club on his last trip down under. The reason cited for his denial were his face tattoos, which is something a lot of Sydney siders and those on the Gold Coast know bouncers aren’t huge on, often affiliating them with gangs. The club’s name wasn’t mentioned in the article but rumours are saying that someone affiliated with the joint were denied entry to Berghain once so it could’ve been a cheeky spite rejection. We’re not too certain how much to believe but if you read German, you can check out the article about it here and tell us what you think! Did the the bouncer get his just desserts? Source

It’s almost been a year since The Last Jedi hit theaters. Since then, the Star Wars fanbase has devolved into an insufferable wasteland, where fans draw their blasters at every other disagreement. It wasn’t always like this, though, and that’s not lost on Simon Pegg. As The Playlist points out, the English star recently appeared on the Adam Buxton Podcast, where he offered his two cents on Rian Johnson’s divisive sequel and the franchise’s state of affairs. As a longtime fan of all things pop culture — and let’s not forget, a minor cast member of 2015’s The Force Awakens — he was quite sagacious. “There was an odd thing with [The Last Jedi] in that the people who didn’t like it were sort of being gaslighted by the people that did like it, who were just dismissing their complaints about the film as being fanboy butthurt,” Pegg explains. “And yet, the whole thing is just eating itself in a hideous cultural soup.” Pegg goes on to argue that “it’s just a film,” and admits some disappointment with Johnson’s sequel, stating: “…the overriding feeling I got when I came out was, ‘I miss George Lucas.’ For all the complaining that I’d done about him in the prequels, there was something amazing about his imagination.” Listen and subscribe via Apple Podcasts | Spotify | Google Play | Radio Public | Stitcher | RSS He’s not wrong. While Lucas’ prequels are a mess — from the dialogue to the gluttonous CGI to the lack of narrative cohesion — the ideas are at least far more imaginative than the regurgitated plot lines of these sequels. After all, we’ve seen cantinas, we’ve seen death stars (two, in fact), and we’ve watched Jedis train. Still, Pegg contends those prequels aren’t without its own hideous faults. He argues that the “first three [Star Wars] films were the product of real collaboration,” referencing producers Gary Kurtz and Alan Ladd, Jr., while the prequels were more of an anything goes situation that needed “someone to steer [Lucas] in the right direction.” Having said that, Pegg still feels like “[Lucas’] voice is missing from the current ones,” which is something most veteran fans would agree upon. While Disney probably won’t heed that advice, they’re at least appointing creatives to steer the ship by hiring Jon Favreau for The Mandalorian and re-hiring JJ Abrams for Episode IX. Revisit State of the Empire’s polarizing review of The Last Jedi below. Source

It’s been a little over a week since Keith Urban, country music star extraordinaire, wrapped up the US leg of his latest Graffiti U World Tour. You’ll forgive us for not finding this earlier – we don’t generally pay attention to the social media of country artists – but it seems that Urban performed a rendition of Tiësto & Dzeko’s remix of “Jackie Chan” by Post Malone and Preme at his show in New York at Barclays Center on October 27. (That was a mouthful.) It’s the sort of barbaric music chimera that we would never expect, like a bluegrass band covering Blackstreet’s “No Diggity.” Then again, there’s video evidence of it, so we don’t have to question its existence at all. It’s not terrible, it’s not the greatest thing ever, it’s just kind of… there. Check out the video below, courtesy of Barclays Center. #JackieChan x @KeithUrban #GraffitiUWorldTour @tiesto @Dzekomusic @preme @PostMalone pic.twitter.com/q1yYJcISiB — Barclays Center (@barclayscenter) October 28, 2018 Photo via Rukes.com | H/T EDM Tunes This article was first published on Your EDM. Source: Watch Keith Urban Cover Tiësto & Post Malone’s “Jackie Chan” At New York Concert Source

If you weren’t living under a rock last week you would’ve heard that RL Grime and Baauer announced a last minute b2b show at the Metro Theatre in Sydney. We were there to experience the magic that involved RÜFÜS drops, unreleased edits and finished on a hardcore dance tune courtesy of Gammer, but for those of us that weren’t some legend has just uploaded it to YouTube. Look, in all honesty this is almost definitely going to get taken down so watch it while you can and fully live through the FOMO we know you had. Source