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The Dorm’s “Don’t Start”: A Hypnotic Fusion of Energy and Emotion in House Music

Swedish electronic duo The Dorm, comprised of Jonas Svensson and Linus “Lente” Johansson, continues to redefine the boundaries of electronic music with their latest release, “Don’t Start“. Known for their inventive production and emotionally driven storytelling, The Dorm delivers two dynamic tracks that demonstrate both their mastery of sound and their evolving artistic vision.

“Don’t Start”, an uplifting house track, highlights The Dorm’s ability to create infectious, feel-good music while still exploring deeper emotional themes. The track opens with an electrifying beat that immediately sets a celebratory tone, drawing listeners in with its vibrant energy. The duo expertly blends catchy rhythms with soulful vocals, creating a composition that feels equally at home on the dance floor and in a more reflective listening space. With each layer, from the intricate melodies to the pulsating rhythms, The Dorm’s attention to detail shines through, showcasing their talent for crafting music that resonates on multiple levels.

Thematically, “Don’t Start” taps into the tension between vulnerability and hesitation. The lyrics reflect the emotional push-and-pull often experienced in relationships. Despite the upbeat tempo, the track’s emotional undercurrent gives it a depth that elevates it beyond a typical house anthem. It’s this balance of energy and introspection that sets The Dorm apart in the electronic music scene.

While staying true to their electronic roots, the duo has evolved their sound, exploring new emotional landscapes and refining their production techniques. Their ability to create music that is both accessible and emotionally complex sets them apart as innovators in the electronic music world.

Looking ahead, The Dorm is poised for an exciting year, with plans for a full-length album that promises to take listeners on an even more diverse and experimental journey.

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“Don’t Be Sad” Marks a New Chapter for Swedish Innovators The Dorm

Following their impactful releases “Time Circus” and “Find Another Love,” which brought a new depth to the Deep House genre, The Dorm presents “Don’t Be Sad.” This latest effort cements their status as pioneers in the electronic realm, showcasing their relentless pursuit of artistic excellence. “Don’t Be Sad” is set to capture hearts around the world and energize dance enthusiasts everywhere.

The electronic music scene was revitalized on July 19, 2024, by Swedish artists Linus “Lente” Johansson and Jonas Svensson, collectively known as The Dorm. Their fresh release, “Don’t Be Sad,” blends complex rhythms with poignant melodies to create an unforgettable auditory journey.

Encouraging emotional resilience, “Don’t Be Sad” serves as an anthem for hope and renewal. Its deep Afro-house beats and persuasive lyrics provide a testament to The Dorm’s talent in crafting tracks that not only entertain but also inspire and uplift their audience.

With “Don’t Be Sad,” The Dorm not only sets the tone for the future of electronic music but also invites listeners to experience a rebirth of dance floor energy.

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Itzy’s English Album Not Shy Is An Electric Reintroduction

By Lai Frances

“English queen!” That’s what a fanboy in the audience enthusiastically yelled after Ryujin introduced herself in my native tongue during our live interview at Build Series in January 2020.

At the time, Itzy, whose name is a play on the Korean words “to have it all,” was less than a year old since their debut in February 2019, but the group had already amassed an impressive roster of accomplishments, broken records, and awards under their belt; including the fastest rookie group to win a music show (nine days from their debut) and a handful of Best New Artist awards, all while capping the year with a showcase tour in Asia and the United States.

During the same interview, Yeji, Lia, Ryujin, Chaeryeong, and Yuna surprised viewers by answering a majority of the questions in English, widening the eyes of the in-studio audience and invoking excitement from viewers worldwide. The moment was later included in a fan-made English compilation video on YouTube that has more views than the conversation itself.

While 2020 delayed plans and canceled concerts, that did not stop the JYP Entertainment quintet from releasing their viral chart-topper “Wannabe” last March, followed by the confident “Not Shy” that summer. The group used the pandemic to their advantage to produce thorough video interviews and dance-practice clips showcasing different dance breaks between promotional cycles. The group managed to do weekly — sometimes daily — livestreams via the South Korean streaming platform VLive and communicated with fans in Korean and English, often mentioning how they were studying and practicing their English.

JYP Entertainment

Little did fans know, Itzy was going to welcome 2021 with a four-track all-English album Not Shy consisting of all their lead singles (“Dalla Dalla,” “ICY,” “Wannabe,” and “Not Shy”), out today (January 22).

It's 7 a.m. in New Jersey and 10 p.m. in South Korea when the quintet appears on Zoom. Sitting in the front row in full glam despite the late hour is Yeji, Lia, and Yuna; behind them sit Ryujin and Chaeryeong. Exchanging greetings and the customary “happy new year” in English, the group’s tone is energetic and bright.

“We’ve prepared them in English because all of our fans have given us so much love and support, so this is our way of repaying the love our Midzy have given us,” Itzy’s leader Yeji says with Lia and Yuna to her left. Pointing to the music video for “Not Shy,” the album’s lead single, Ryujin says, “This is actually us thanking our global Midzys and this is our way of growing closer to them, so that’s why we prepared this album.”

Considering the improvement in the members’ English in the lead-up to the album, Itzy’s entrance into the Western market was a consideration in its production. “We hope to, of course,” Itzy’s main vocalist Lia responds. “It’s not meant for that [entering the Western market], but if we get a chance for that, then we’d love to! We’ve always wanted to. Maybe once everything gets better?”

The English album follows the releases of fellow JYP labelmate Twice after releasing English singles of “More & More” and “I Can’t Stop Me” last year. Other acts who’ve gone through the Korean-to-English release trend in 2020 were Loona (“Star”), CLC (“Helicopter”), (G)I-DLE (“Oh My God”), and many more.

“I think many K-pop artists make English versions since English is a universal language,” Itzy’s sassy dancer Chaeryeong says. “As K-pop has more and more global fans, I think this trend will grow bigger.” The group’s bubbly youngest, Yuna, chimes in after, “Artists can have a new experience recording English versions, and fans can enjoy and understand the lyrics more too.”

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British production duo LDN Noise, who helmed the group’s popular B-side “Surf” alongside some of K-pop’s top talents (Twice, SHINee, f(x), EXO), agrees to Itzy’s sentiments. “Any time K-pop can reach a new audience, it’s always a plus,” songwriter, producer, and DJ Greg Bonnick says. “Once your eyes are open to the K-pop world, people are super intrigued and hopefully here to stay as fans.”

While the trend is inevitable as K-pop grows as a global phenomenon, Isabel Chi, A&R and Management for One and Saint Leonard, reminds us that incorporating a line or two in English is nothing new in Korean music.

“The rise in popularity of full English versions of songs has to do with acceptance into mainstream Western media,” Chi says. “While K-pop fans and those already interested in alternative music have no problem listening to songs in Korean, I think that making songs only in English is an attempt to make the genre more palatable to the masses who need a segue into the genre. Songs in any language open up that market to the artist — Selena Gomez just released her first all-Spanish track, K-pop groups have regularly made all-Japanese albums — and I do think the main goal of labels is to tap into a yet-unreached market.”

But global recognition is more of a nice than a must for Itzy's future aspirations. “Since the U.S. has the biggest music scene, it’d be a great achievement to have many people know and listen to our music through our new English album,” Lia says. Rather than focus on future possibilities, the five members hope to make their story heard through their music — and by as many listeners as possible. “Our songs have messages of self-confidence, and we hope our English listeners will be able to hear it with our English songs,” Ryujin adds.

“The only thing that matters is the music feels and sounds great. We don’t need to conform,” Bonnick says.

https://www.youtube.com/watch?v=fE2h3lGlOsk&ab_channel=JYPEntertainment

One of the first Korean artists to promote during the pandemic last year, Itzy has successfully taken advantage of using their time at the dorms to not only create content but study, practice their language skills, and communicate with their fans. Yeji, who doesn’t deny feeling a little bit of pressure learning and performing in English, has tremendously improved alongside Ryujin, Chaeryeong, and Yuna, who aren’t native speakers.

“English is confidence,” Yeji says with a laugh, remembering a past relay interview where the group was asked to imitate the phrase “cuteness overload.” She adds, “It was tough, but it was also fun. I also took a lot of one-on-one and group lessons, and I had homework. I want to be able to speak to global Midzys in English. I try my best, but I’m not perfect!” Ryujin quickly swoops in to compliment Yeji: “She’s definitely become more confident now and she’s improved a lot.

Lia, the group’s native English speaker, talks proudly about how quickly her bandmates picked up on a new language, to the point that the group’s on and off-cam conversations are spoken in Konglish (a hybrid of Korean and English). “It’s become a sort of a bad habit,” she jokes as the group nods and giggles. “What I felt while living with the girls is that their English has improved a lot! The members try to speak English in the dorms and even while practicing.”

But when it comes to singing for this new album, there’s really no shift in the core messages of their sound. Chaeryeong, however, did notice a change in her tone. “In my case, my voice becomes deeper when I sing in English, so I try to keep my energy up,” she notes. Out of all the four tracks, she believes “Not Shy” sounds stronger in English, to which all members agree.

JYP Entertainment

Just a couple of weeks shy of their second year together, Itzy has plenty of goals for their year ahead. Getting closer with each other is Ryujin’s, “revealing some new and professional vibes” for Yuna, and for Lia, to work harder. “We still have a lot to do,” Lia says. “I don’t know what’s waiting for us, but we’re excited for it. We’re scared, but whatever it is, I’m sure we’ll be able to go through it.”

Whatever the outcome, there is no denying Itzy have transcended their “monster rookie” moniker and become the “monster girl group” of South Korea — and soon, the world. (After all, they are Honorary Ambassadors of the Korean Tourism Organization.) Having seamlessly transformed into one of the nation’s top groups, the new album proves that music and success have no borders.

“[Success is] different for everyone, but personally, I think I achieved it,” Lia says with a sincere look on her face as her fellow members were in deep thought. “My standards aren’t that high, happiness and success isn’t something that should be high, so to be here with my members and all the fans that love us is already so much success and happiness.”

“I think that there’s no boundary in success," Yeji adds.“So whenever I try and achieve my goal, I feel successful every time.”

https://youtu.be/MAO268T5674
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Nearly Everybody In Louisiana Prison Tests Positive For COVID-19


Nearly every woman in a Louisiana prison dormitory tested positive for the coronavirus this week.

The coronavirus is hitting the prison system hard. For weeks, stories have been coming out about inmates who are seeking their release because of the pandemic, claiming that it is basically impossible to practice social distancing and remain clean. With soap shortages being reported, some prisons have become potent breeding grounds for the virus. 

By now, you’ve heard about Tekashi 6ix9ine‘s release due to his concerns about the virus. R. Kelly has also been trying to be freed as a result of the health crisis. Some very troubling numbers have just been released from a Louisiana prison dormitory, reporting that nearly all of their inmates have tested positive for COVID-19.

As reported by the Associated Press, the women at Elayn Hunt Correctional Center in Louisiana were hit hard by the novel coronavirus. As of this week, 192 inmates tested positive for COVID-19. There are approximately 195 inmates in the dormitory unit. That means almost everybody was exposed to the virus and contracted it.

Nearly Everybody In Louisiana Prison Tests Positive For COVID-19
Chris Graythen/Getty Images

The report notes that the majority of women are asymptomatic. So far, only 66 inmates have shown symptoms. 

In addition, 41 dormitory staffers tested positive for the virus.

This is obviously pretty terrifying and it speaks to how quickly and effectively it is spreading. 

Continue to practice social distancing and, if you are able, stay home. Wash your hands!

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Andrew Macdonald’s Heartfelt Cover of “Heart of Worship” Invites a Return to Authentic Praise

Andrew Macdonald, an emerging artist in the Contemporary Christian Music (CCM) scene, released a moving rendition of Matt Redman’s beloved worship anthem, “Heart of Worship.” This cover is featured as the second track on his anticipated album, Heart, Soul, Mind and Strength, and it reflects Macdonald’s spiritual journey and commitment to genuine worship.

From the moment the song begins, listeners are transported to a place of reflection. The opening lines—“When the music fades, and all is stripped away, and I simply come”—immediately set a tone of vulnerability and sincerity. Macdonald’s voice carries a weight that invites listeners to consider what worship truly means, moving beyond the performance to the essence of what it is to connect with the divine.

I’m comin’ back to the heart of worship, and it’s all about You, it’s all about You, Jesus,” Andrew Macdonald sings, a sentiment that resonates deeply in today’s fast-paced world. In a time where worship can often feel like a mere routine, Macdonald’s rendition is a gentle reminder of the heart behind the music. He expresses his intent clearly: this song holds a special place in his heart, and he is proud to share it.

The track beautifully captures the longing for a deeper connection with God. Andrew Macdonald shares, “I’ll bring You more than a song, for a song in itself is not what You have required.” These lines challenge listeners to examine their own worship practices and to seek authenticity in their expressions of faith. Macdonald’s heartfelt delivery underscores the message that worship is not just about music; it’s about coming before God with an open heart.

Beyond the music, Andrew Macdonald‘s personal story is equally inspiring. Transitioning from a successful corporate career, he found the courage to pursue his passion for music later in life. His journey began with writing a song for his sister’s wedding, a gesture that sparked a long-dormant dream. As he took guitar lessons and crafted his first songs, Macdonald not only discovered his voice but also redefined his purpose.

His debut single, “To Have and to Hold,” laid the groundwork for his exploration of love and commitment, but with “Heart of Worship,” he delves into a more profound spiritual narrative. In a mere year and a half, he has penned around 15 songs, illustrating an artistic evolution that continues to resonate with audiences.

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Here’s every movie Brad Pitt and George Clooney have worked on together

Wolfs, the new action comedy starring George Clooney and Brad Pitt, is streaming now, but what other films have the A-list pair appeared in together before? 

The film, directed by Jon Watts, who has also helmed the recent Marvel Cinematic Universe’s Spider-Man trilogy, sees Clooney and Pitt playing two professional fixers who are forced to work together on a job, despite both preferring to work as lone wolves. 

Wolfs premiered at the Venice Film Festival earlier this month and saw a limited cinematic release in the US before now landing on Apple TV+, where it is streaming around the world now. 

The film also stars Amy Ryan, Austin Abrams, Richard Kind and the voice of Frances McDormand, and currently sits on a Rotten Tomatoes rating of 72%. The site’s consensus concludes that the two actors give the film “zip, even when it cycles through cliches of the fixer genre, making for a pleasing and slick throwback”. 

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Apple have already confirmed that a sequel to Wolfs is in the works, with Watts, Pitt and Clooney all set to return. “I absolutely did not write the movie with a sequel in mind,” Watts said. “But it was very fun to make, so I don’t know, I think you let the audience decide if they want to see more”. 

In a three-star review of Wolfs, NME wrote: “Despite its superficially dark material, Wolfs isn’t meant to be difficult or challenging, it’s just an enjoyable time hanging out with some chilled, reassuringly handsome gents as they get to the bottom of their not-a-murder mystery. When they eventually do and all the strands are explained, it’s quite hard to follow how things all connect up but it doesn’t really matter. By that point viewers will have gladly accepted the state of things – sometimes a cosy night in watching an easy film is the best remedy for dealing with the world’s woes, as it is in this case.”

Here’s every movie Brad Pitt and George Clooney have worked on together 

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Wolfs is just the latest big screen collaboration between the two veteran Hollywood leading men. 

They most memorably co-starred in Steven Soderbergh’s trilogy of heist movies, Ocean’s Eleven (2001), Ocean’s Twelve (2004) and Ocean’s Thirteen (2007).  

Clooney was Danny Ocean, an ex-con who establishes the heist and organises the eclectic team into an elaborate plan. Pitt played Robert ‘Rusty’ Ryan, Danny’s friend and partner in crime in all three films. Matt Damon, Don Cheadle, Elliott Gould, Bernie Mac, Casey Affleck and Carl Reiner were among the other members of the heist team. 

In addition, Clooney and Pitt both appeared in Confessions Of A Dangerous Mind in 2002, Clooney’s directorial debut. Written by Charlie Kaufman (Eternal Sunshine of the Spotless Mind, Being John Malkovich), Pitt only had a cameo role in the film as Bachelor #1, appearing more as a pleasing Easter egg for Ocean’s fans, as Damon also played Bachelor #2. 

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They did both take on major roles in the Coen Brothers’ 2008 black comedy Burn After Reading. Pitt is one of a pair of dim gym employees, alongside Frances McDormand, who find the lost memoirs of John Malkovich’s CIA analyst. Clooney, meanwhile, plays a womanising US Marshal who is having an affair with Malkovich’s character’s wife. 

More recently, they also both appeared in relatively minor roles in the family animation If, John Krasinski’s film about a young girl who begins to see other people’s imaginary friends who have been left behind after their children grew up. Clooney plays Spaceman, an astronaut imaginary friend, and Pitt is Keith, a silent IF. 

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Neil Young & Crazy Horse FU##IN UP

A missing verse for “Cortez The Killer”, an unexpected cameo from Nils Lofgren on “Dangerbird”… for seasoned Neil Young watchers, his first full tour with Crazy Horse for 10 years has already created a pair of unforgettable talking points so early into their run. Beyond these two headline spots, there’s plenty of evidence from the footage on YouTube that Young and this latest version of the Horse are on an epic streak. There’s a grandly expanded “Down By The River”, a relentless, forceful “Love And Only Love”, some heavy shredding on “Hey Hey, My My (Into The Black)” and, of course, much more.

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To some extent, it feels like Young has been building up to this tour for a while now. He’s been on a fairly steady Horse trip since he reactivated his dormant backing band in 2018, with Lofgren replacing stalwart guitarist Frank ‘Poncho’ Sampedro. Since then, the Horse have galloped through Young’s schedules: a trio of new studio albums recorded with Lofgren – Colorado, Barn and World Record – have vied with archival, Poncho-era releases, including ‘lost’ album Toast and Dume, a radical expansion of Zuma. If anything, this blurring of musical timelines – to be expected, perhaps, from the man who wrote “After The Goldrush” and “Pocahontas” – have reminded us of the indomitable spirit of the Horse and the gravitational pull they evidently exert on Young. All of a sudden, Archives II feels less about the path Young took through his troubled early to mid-‘70s and more about preparing the ground for the rebirth of the post-Danny Whitten Horse on Zuma.

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Released first for Record Store Day but now given a wider run, FU##IN UP is something slightly different: both old and new, it finds a five-piece Horse, with Micah Nelson on guitar, performing Ragged Glory in full during a private concert in Toronto last November. Clues of what we could expect from the Horse’s current tour are in abundance here, not least the energy and electricity fizzing between the band.

As it transpires, Nelson – who’s been playing with Young, on and off, since 2015 and has known him for a lot longer through his father, Willie Nelson – is an excellent fit for the Horse, capable of playing with either the adventurousness of Danny Whitten and the burlier sound of Poncho. As a consequence, he makes an intuitive duelling partner for Young, wrestling with Old Black on the album’s longer cuts like “Broken Circle” and “Valley Of Hearts” (aka “Over And Over” and “Love To Burn”; all the song titles have been changed for no obvious reason).

Meanwhile, Lofgren’s honky-tonk piano lends a shimmying quality to these craggy, elemental songs while the doughty rhythm section of Billy Talbot and Ralph Molina bear stoical witness to Young’s electrifying playing. The churn is relentless, though, climaxing with a defiant and momentous “Love And Only Love” (rechristened “A Chance On Love”). 15 minutes in and you sense they could keep going: Young is even still shouting the chorus over a squall of feedback at the song’s close, not ready to quit just yet.

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FU##IN UP tracklisting is:

City Life (Country Home)

Feels Like A Railroad (River Of Pride)

Heart Of Steel (Fuckin’ Up)

Broken Circle (Over And Over)

Valley Of Hearts (Love To Burn)

Farmer John

Walkin’ In My Place [Road Of Tears] (Mansion On The Hill)

To Follow One’s Own Dream (Days That Used To Be)

Chance On Love (Love And Only Love)

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Uncut June 2024

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David Gilmour, Beth Gibbons, Jefferson Airplane, T Bone Burnett, Slowdive, Mark Knopfler, Royal Trux, Mdou Moctar, The Beatles, Isobel Campbell, Buffalo Tom, Eddy Grant, The Decemberists, Anita Pallenberg, Willie Nelson and more all feature in Uncut‘s June 2024 issue, in UK shops from April 26 or available to buy online now.

All print copies come with a free CD – Can Live 1973-1977 – a must-hear collection of revelatory and uninhibited performances taken direct from the archives of rock’s most forward-looking band!

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INSIDE THIS MONTH’S UNCUT:

DAVID GILMOUR: In a world exclusive interview, the reinvigorated guitar genius reveals all to Uncut about his first new album for nine years

SLOWDIVE: The shoegaze survivors on their unlikely renaissance

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T BONE BURNETT: The Americana emissary and super-producer prepares to revive a long-dormant solo career

ROYAL TRUX: We explore why, after the chaos and excess, these DC outlaws’ music endures

MARK KNOPFLER: The former Dire Straits man unveils one of his finest solo albums – a reckoning with his Geordie roots and his illustrious past

MDOU MOCTAR: How the desert blues prodigy is railing against injustice in his Saharan homeland

AN AUDIENCE WITH… IRMIN SCHMIDT: Can’s co-founder talks Damo, drug busts and drinking with Mark E Smith

THE MAKING OF “ELECTRIC AVENUE” BY EDDY GRANT: How the former Equals lead guitarist sneaked the politics of protest into the charts

ALBUM BY ALBUM WITH ISOBEL CAMPBELL: From Belle & Sebastian to Mark Lanegan and beyond: “They’ve all influenced each other…”

MY LIFE IN MUSIC WITH BILL JANOVITZ: The Buffalo Tom general on his essential listens: “I have this thing for big, sprawling double albums”

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REVIEWED: Beth Gibbons, Einstürzende Neubauten, The Decemberists, Joana Serrat, Ezra Feinberg, Gastr Del Sol, Holland-Dozier-Holland, Robin Trower, Roger Daltrey, Pixies, Anita Pallenberg, Pete Seeger, Mama Cass and more

PLUS: The Beatles get back to Let It Be, Ayers, Cale, Nico & Eno, new Cornish folk scene, Jefferson Airplane unseen, Willy Vlautin and introducing Landless

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‘Wednesday’ cast member quits before completing season 2 filming

Wednesday season two has been hit with production difficulties after losing one of its main cast members mid-way through filming.

The Netflix series, which stars Jenna Ortega as the titular Wednesday Addams, was swiftly renewed for a second season after the show became one of the streaming platform’s most successful titles.

Production on the second season is currently on hold due to ongoing Hollywood strikes, but the show has since been hit with an additional blow following the news that Thora Birch, who had joined as a new series regular, had to quit before completing her scenes.

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A representative for MGM, who produces the series, told Deadline: “Thora has returned to the States to attend to a personal matter and will not be returning to the production.”

Thora Birch was added as a series regular for Wedneaday season two. Credit: Getty Images

According to sources who spoke to the outlet, Birch has had to go home to attend to an illness in the family. It’s also understood that, while she didn’t complete her scenes, she had “finished filming the bulk” of the role. In season two, Birch will play Wednesday’s dorm mother Tamara Novak.

However, it’s currently unclear if Birch’s scenes will actually make it into the show, as her character could yet be recast. In any case, it’s been reported that producers will need to add a new character in order to conclude her storyline.

Returning for season two, alongside Ortega, are Catherine Zeta-Jones and Luis Guzmán, who play Morticia and Gomez Addams, respectively.

In a four-star review of the first season, NME wrote: This is a reinvention, not a rewriting – and the core character survives intact. Wednesday’s acerbic wit, her sassy putdowns, are put to excellent use by Jenna Ortega, who is perfectly cast… Wednesday ends up a rare spin-off success story. It’s creepy, kooky, mysterious and spooky – and an absolute treat.”

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Ben Carrillo Is Overjoyed With Love In Latest Music Video For “Zoom Zoom”

Guatemalan artist Ben Carrillo, shared “Zoom Zoom” almost two months ago accompanied by a vibrant music video. Co-directed by Alejandra Hinojosa and shot by Natasha Abdul, the clip features Gisselle Kuri and Carrillo, having a wild night out and enjoying each other’s company. The visuals that were filmed in Los Angeles revolve around everyday activities: eating at a fast food stall at sunset, riding public transport, walking and dancing down the street aimlessly with a loved one.

 “Zoom Zoom” follows the 6-track EP Nirvana, which in addition to the title track, includes “Palo Santo,” “El Trip,” “Culo,” “Libertad,” and “Noches Sin Dormir.” Written by Ben Carrillo in collaboration with Ana Bejarano and Harlan Silverman, the single talks about those love stories that make you feel happy anywhere, any time, and in any situation.

Harlan Silverman produced “Zoom Zoom” relying on reggae beats, strong bass sounds, and guitar rhythms. Carrillo reveals that his music and lyrics reflect his Latino roots and are all about family, love, work, and respect for women, “My songs have lyrics that make a difference to our culture. I write about my life and that of my people, about my opportunities, about being better every day, about the discipline that one must have to get ahead.”

Adding to his popularity with songs such as “Zoom Zoom,” “Reggaeton De Guatemala,” “Marijuana,” ft. Amenazzy and “Para Ella,”  Ben Carrillo teams up with Vibras Lab to continue delivering more of his versatile work that showcases his multifaceted ingenuity.

Watch the Official Video for “Zoom Zoom” here:

Listen to “Zoom Zoom” here:

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JYP Entertainment issues statement addressing invasion of Stray Kids’ privacy

JYP Entertainment, the agency behind Stray Kids, has announced plans to take “civil and criminal measures” against individuals invading the group’s privacy.

In a statement posted to the group’s fancafe earlier today (November 11), the management agency explained that members of Stray Kids have continued to face repeated situations of privacy invasion, despite “several previous announcements” issued by JYP Entertainment regarding this issue.

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“[S]erious mental and physical distress is being experienced not only by the artist, but also their neighbours who live in the same building,” JYP Entertainment said of the effect the privacy invasion cases have had on the group.

To avoid future incidents, JYP Entertainment announced that CCTV footage of people following the group’s members to their dorm room has been gathered and forwarded to the police, and that “all possible civil and criminal measures available” will be taken against individuals caught stalking the group’s members in the future, citing South Korea’s stalking-related laws.

The statement added that anyone caught stalking Stray Kids will also be blacklisted from the group’s fanclub activities.

“We notify you that we continue to have no intention of reaching a settlement or showing leniency in such cases,” the management agency wrote in their statement. “JYPE will continue to work harder for our artist’s safety and the protection of their rights.”

This isn’t the first time JYP Entertainment has issued a warning against people invading Stray Kids’ privacy. In 2020, the management agency released a list of acts considered “definite stalking and not affection”, which included following the group’s members during their personal time and attempting to visit the members’ private spaces.

A follow-up statement in 2021 added JYP Entertainment’s plans to file criminal complaints once CCTV evidence of individuals stalking the group’s members has been collated and forwarded to the police.

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Pulp’s Steve Mackey won’t be part of next year’s reunion

Steve Mackey has announced he will not be joining Pulp for their 2023 reunion tour. Read his full statement below. Earlier today (October 28), the Sheffield band confirmed long-rumoured plans for a huge UK and Ireland tour which will take place next summer.

  • READ MORE: Pulp’s 10 best songs – as voted by you

The bassist shared the news he wouldn’t be embarking on tour via Instagram.

“Pulp is a very important part of my creative life,” Mackey wrote. “I’m exceptionally proud of the body of work we’ve created together. Jarvis and I remastered  Pulp’s entire Universal Records back catalogue together just over two years ago at Abbey Road Studios. It was a huge pleasure to do that and review our songs and recordings together.”

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He continued: “There have been wide reports of a full reunion for UK concerts today. However, I’ve decided to continue the work I’m engaged in – music, filmmaking and photography projects,  and will not be joining them for these UK  shows just announced.

“Wishing Candy, Nick, Mark and Jarvis the very best with forthcoming performances in the UK and also an enormous thanks to Pulp’s amazing fanbase, many of whom have sent me lovely messages today.”

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A post shared by STEVE MACKEY (@steve__mackey)

Frontman Jarvis Cocker confirmed back in July that the band would be hitting the road next year for their first gigs together since 2012. Pulp drummer Nick Banks also told fans to “stay calm, hug your Pulp records and dream of going mental sometime in 2023”.

After a “big” announcement was teased Thursday (October 27) by Cocker, Pulp shared the dates for their 2023 reunion tour, which features headline slots at Latitude and TRNSMT festivals, two hometown headline shows in Sheffield, a London gig at Finsbury Park and more.

“Three months ago, we asked, ‘What exactly do you do for an encore?’” Cocker wrote in a statement.

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The Britpop icons announced their last reunion in 2010, featuring the ‘Different Class’ line-up of Cocker, Banks, Russell Senior, Candida Doyle, Steve Mackey and Mark Webber. Pulp went on to perform a number of shows, including a surprise set at Glastonbury 2011 and headline slots at Reading & Leeds that year.

The group haven’t released new material since 2012’s standalone single ‘After You’, which was produced by James Murphy of LCD Soundsystem.

Speaking to NME in 2015, Jarvis Cocker likened Pulp to “a dormant volcano”.

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Kanye West’s Adidas partnership reportedly “under review”

Kanye West‘s tumultuous partnership with Adidas is reportedly “under review” according to new reports.

West partnered with Adidas under the Yeezy banner in late 2013, with their first collection debuting in 2015. Under the terms of West’s contract with Adidas, the rapper retains full ownership of the Yeezy brand, and has complete creative control over the products released through the brand.

Over the past year though, Kanye has accused Adidas of a number of wrongs, including allegedly creating Yeezy Day, the annual day in which the brand releases some of its most anticipated Yeezy sneaker drops, without his personal approval. Last month, he then hit out at the company again with a new post imagining the death of the sportswear brand’s chief Kasper Rørsted.

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Now, according to new reports in CNBC and Hypebeast, Adidas are reviewing their contract with the rapper.

A statement from Adidas reportedly read: “Adidas has always been about creativity, innovation, and supporting athletes and artists to achieve their vision. The Adidas Yeezy partnership is one of the most successful collaborations in our industry’s history. We are proud of our team that has worked tirelessly throughout our collaboration with [Kanye West] and the iconic products that were born from it.

“We also recognise that all successful partnerships are rooted in mutual respect and shared values. After repeated efforts to privately resolve the situation, we have taken the decision to place the partnership under review. We will continue to co-manage the current product during this period.”

In response, Kanye took to Instagram and, in a since-deleted post (via Pitchfork), wrote: “FUUUUUUCK ADIDAS I AM ADIDAS.”

Kanye West
Kanye West CREDIT: Stephane Cardinale – Corbis/Corbis via Getty Images

The news comes after Kanye made a number of accusations against clothing company Gap and made known his plans to go solo in his future fashion ventures. In a new Bloomberg interview, the rapper detailed his plans to have a clean break with his biggest corporate collaborators. These include opening his own Donda campuses nationwide, which will house shopping, schools, farms, and dorms in an integrated facility. Merchandise sold at the campuses will be designed by existing Yeezy staff, and unique to Yeezy’s physical and online shops.

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After the interview was released, Ye followed through and ended his partnership with the fashion company Gap. West’s lawyers sent a letter to the brand notifying them that the rapper would formally sever ties with it, terminating the 10-year agreement they first established in 2020. The letter, sent on West’s behalf, claimed that Gap had failed to meet the terms of its contract.

West and Yeezy partnered with Gap back in 2020, with an aim to create “accessible” fashion. The first Yeezy Gap line arrived roughly a year later in mid-2021 – featuring a jacket made with recycled nylon – and further drops have included hoodies, pants, tops and accessories.

However, he looks to expand out on his own, with a number of new trademarks filed last month for his Donda Sports clothing brand.

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Kanye West files new trademarks to expand Donda Sports brand

Kanye West has filed a number of new trademarks to expand his Donda Sports clothing brand.

According to a new report from TMZ, the rapper’s company Mascotte Holdings has filed trademarks for clothing items including jackets, hats, shirts, shoes and a host of accessories including blankets, wallets and umbrellas.

Another trademark reportedly filed is for ‘Dove Sports’, a new label that will be used for “athletic services such as training sessions, competitions, tournaments, camps, seminars, field trips and even traditional educational frameworks.”

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The news comes after Ye this week made known his plans to go solo in his future fashion ventures. In a new Bloomberg interview, the rapper detailed his plans to have a clean break with his biggest corporate collaborators. These include opening his own Donda campuses nationwide, which will house shopping, schools, farms, and dorms in an integrated facility. Merchandise sold at the campuses will be designed by existing Yeezy staff, and unique to Yeezy’s physical and online shops.

“It’s fine. I made the companies money. The companies made me money. We created ideas that will change apparel forever,” the rapper shared in the interview. “Like the round jacket, the foam runner, the slides that have changed the shoe industry. Now it’s time for Ye to make the new industry. No more companies standing in between me and the audience.”

Kanye West. Credit: Edward Berthelot via Getty Images
Kanye West. Credit: Edward Berthelot via Getty Images

After the interview was released, Ye followed through and ended his partnership with the fashion company Gap. West’s lawyers sent a letter to the brand notifying them that the rapper would formally sever ties with it, terminating the 10-year agreement they first established in 2020. The letter, sent on West’s behalf, claimed that Gap had failed to meet the terms of its contract.

Nicholas Gravante, who serves as one of West’s attorneys, elaborated on this claim in a statement to Pitchfork. “Gap left Ye no choice but to terminate their collaboration,” Gravante wrote, “because of Gap’s substantial noncompliance.” According to West’s team, Gap failed to deliver on its obligation to sell 40 per cent of the rapper’s Yeezy Gap items in brick-and-mortar stores, and failed to open retail stores dedicated to his products by mid-2023.

The termination of the contract bookends what has been a tumultuous partnership between West and Gap. Soon after the announcement of their collaboration in 2020, West took to Twitter to lament his exclusion from the company’s board. “I don’t have a board seat at Gap,” the rapper wrote at the time, “Black board seats matter.”

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David Harbour reveals the ’90s song that would save him from Vecna in ‘Stranger Things’

Stranger Things star David Harbour has revealed what song would save him from Vecna, the central villain in the sci-fi series’ most recent season.

  • READ MORE: Joe Keery: “I want my stage persona to surprise people”

Introduced in Stranger Things 4, which premiered in May of this year, Vecna’s paranormal abilities allow him to haunt (and eventually kill) his victims – however the so-called ‘curse’ can be escaped when the possessed listen to their favourite song.

In an interview with E! News yesterday (August 18) Harbour — who plays town sheriff Jim Hopper on the show — spoke of his own potential methods to break Vecna’s curse, citing the “embarrassing” music tastes of his college years in the ‘90s.

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“It’s just so embarrassing, my taste in music, I rarely reveal it. My sort of college years were the early ’90s. So that’s really where music really became very important,” Harbour said, before mentioning rock bands Stone Temple Pilots and Counting Crows as his go-to dorm room artists.

Speaking to the latter, Harbour confirmed that Counting Crows’ ‘Mr. Jones’ — which featured on the band’s 1993 album, ‘August And Everything After’ – would be the track to save him. “I’m sure [that song] would bring me back,” the actor joked, “Bring me back to college!”.

It’s not the first time Harbour has sung praises for the San Fransisco seven-piece. In June, he named the band alongside Train and Tones And I as other potential curse-breakers, admitting that his choices “reveal how dorky I am”.

“I guess, should Vecna capture me now, it would be [Tones And I’s ‘Dance Monkey’],” Harbour told Uproxx. “In general, it’s terrible ’90s rock ballads, the stuff that I listened to when I was smoking weed in college. Like ‘Drops Of Jupiter’ [by Train]… I’m showing my ’90s, but yeah, that would be it for me.”

Harbour joins a slew of his Stranger Things castmates who have revealed their chosen Vecna song. In May, Millie Bobby Brown said the TREASURE song ‘JIKJIN’ could “heal [her] from everything”, while co-star Noah Schnapp jokingly dubbed Cardi B’s ‘WAP’ as his choice. Elsewhere, Sadie Sink — who starred in both Stranger Things and Taylor Swift’s short film All Too Well — said the Swift song ‘August’ would save her from Vecna’s curse.

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Meanwhile, Kate Bush’s ‘Running Up That Hill’ and Metallica’s ‘Master Of Puppets’ continue to enjoy renewed success following their inclusion in Stranger Things 4, respectively earning the artists a reported $2.3million in royalties and huge streaming surges.

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Listen to Enter Shikari’s new single ‘The Void Stares Back’ featuring Wargasm

Enter Shikari have shared a new single featuring Wargasm – listen to ‘The Void Stares Back’ below.

  • READ MORE: Wargasm: “We love being validated by all the nu-metal daddies”

The collaborative track is said to signal “a new beginning” for Enter Shikari, whose sixth and latest album ‘Nothing Is True & Everything Is Possible’ came out in April 2020.

Speaking about the song, frontman Rou Reynolds explained: “It is with elation, and more than a little nervousness, that we release this; our first track after over two years of dormancy. It is a roisterous journey made all the more so with the addition of our friends Wargasm.”

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As for the themes of ‘The Void Stares Back’, Reynolds said that it’s “about the forward march of social progress, and how, often, those with a more conventional archaic outlook on sexuality, gender, social design, economics etc, see those with differing ideas like bewildering, depraved creatures from another dimension”.

Tune in here:

Wargasm talked about how Enter Shikari played a “big part” in their lives growing up, and said it was “an absolute honour” to work with them: “They stand for the right things – we’re a little more pessimistic. It was fun playing the darker devil’s advocate to Rou’s light…where we’re going, you won’t need eyes to see…”

Enter Shikari are set to perform at Reading & Leeds 2022 later this month. They’ll play a slot on the Main Stage West ahead of D-Block Europe and Bring Me The Horizon. Any remaining tickets are available from here (Reading) and here (Leeds).

Wargasm, meanwhile, will embark on a UK and Ireland headline tour this October following a run of European and US festival dates. You can find any remaining tickets (UK) here.

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Back in June, the duo spoke to NME about what fans can expect from their upcoming ‘Explicit…’ mixtape and debut studio album.

“The mixtape is less about being catchy and having good, refined songwriting,” explained Sam Matlock. “It’s more about fucking about and seeing how it feels.”

The group revealed that their first full-length record was “pretty much done” too, and will contain “some cool, hard shit”.

‘Explicit…’ has already been previewed by the recent singles ‘Fukstar’ and ‘D.R.I.L.D.O.’. An exact release date for the mixtape is not yet known.

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Jarvis Cocker confirms Pulp reunion shows for 2023

Jarvis Cocker has confirmed that Pulp will return for reunion shows next year.

  • READ MORE: JARV IS live at Glastonbury 2022: forward-looking set proves nostalgia doesn’t own Worthy Farm

The Pulp singer and solo artist told fans at a Guardian-hosted talk and Q&A for his new memoir Good Pop, Bad Pop that the band will regroup for 2023.

It follows a 15-second clip shared by Cocker on Instagram last week in which the words “What exactly do you do for an encore?” appeared on screen. The line is from the title track of Pulp’s 1998 album ‘This Is Hardcore’, which hits its 25th anniversary milestone next year.

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The move prompted fans to speculate that a reunion was on the cards. At tonight’s (July 25) book event Cocker said that the post was “deliberately cryptic”.

“It’s a line from ‘This Is Hardcore’… next year Pulp are going to play some concerts!” he said.

It’s not known yet when, where and how many gigs will take place in 2023.

The seminal Sheffield band announced their last reunion in November 2010 featuring the Different Class line-up of Cocker, Russell Senior, Candida Doyle, Nick Banks, Steve Mackey and Mark Webber. They went on to play a number of shows including a now-legendary surprise set at Glastonbury 2011 and a headline slot at Reading & Leeds that year.

View this post on Instagram

A post shared by @jarvisbransoncocker

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Pulp haven’t performed together since December 2012 when they played a homecoming gig in Sheffield and two shows aboard the SS Coachella Cruise.

The band haven’t released new material since 2012’s stand-alone single ‘After You’, which was produced by LCD Soundsystem‘s James Murphy.

Speaking to NME in 2015 Cocker compared Pulp to “a dormant volcano”.

“You can think ‘wow, that’s dormant’ and then the next day your house has gone, because it’s erupted,” he said.

Meanwhile, NME reviewed Cocker’s show under his JARV IS… project at Glastonbury Festival 2022 – read the four-star review.

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Fans speculate that Jarvis Cocker is teasing another Pulp reunion

Jarvis Cocker has shared a mysterious post on Instagram, prompting fans to wonder whether a Pulp reunion could be on the cards.

  • READ MORE: JARV IS live at Glastonbury 2022: forward-looking set proves nostalgia doesn’t own Worthy Farm

The 15-second clip is soundtracked by rapturous applause, while the words “What exactly do you do for an encore?” appear on screen. The line is from the title track of Pulp’s 1998 album ‘This Is Hardcore’, which is set to reach its 25th anniversary next year.

“Good question…” Cocker captioned the post, followed by the hashtag “#overtoyou”.

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“wait is this a reunion post???” one Instagram user responded, while another wrote: “25 years since this is hardcore next year….. tour?? Yes? Please say yes.”

See the cryptic post below.

View this post on Instagram

A post shared by @jarvisbransoncocker

The seminal Sheffield band announced their last reunion in November 2010 – featuring the Different Class line-up of Cocker, Russell Senior, Candida Doyle, Nick Banks, Steve Mackey and Mark Webber – and went on to play a number of shows, including a now legendary surprise set at Glastonbury 2011 and a headline slot at Reading & Leeds that year.

Pulp haven’t performed together since December 2012, when they played a homecoming gig in Sheffield and two shows aboard the SS Coachella Cruise.

“We got back together in 2011 and 2012 and we did quite a lot of shows and for me, that really brought that chapter to a satisfying end,” Cocker told The Creative Independent in 2020.

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“We rehearsed for quite a long time and I think we’ve managed to play the songs convincingly and authentically, and by that I just mean that we managed to locate what the songs were about. They still rang true.

“I thought it was pretty much a perfect tour, really; and that was a good end to that. But then I just had to try and think about what I would do after that.”

The band haven’t released new material since 2012’s stand-alone single ‘After You’, which was produced by LCD Soundsystem‘s James Murphy.

Speaking to NME in 2015, Cocker compared Pulp to “a dormant volcano”. “You can think ‘wow, that’s dormant’ and then the next day your house has gone, because it’s erupted,” he said.

“Everything to do with Pulp or to do with me happens at such a glacial pace, that’s it hard to tell whether anything’s happening or not, but when it does, the whole geography of the planet is changed.”

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Queen’s Brian May teams up with 10CC’s Graham Gouldman on new space-themed track

Queen’s Brian May has teamed up with 10CC founder Graham Gouldman on a new track – listen to ‘Floating In Heaven’ below.

  • READ MORE: Queen’s Freddie Mercury: the maddest stories about rock’s best-loved hellraiser

The collaboration between the pair was done to mark the historic first images from the new James Webb Space Telescope (JWST) that launched in December 2021 and went into orbit in January of this year. The telescope is the most powerful to be launched into space.

May is a long-time astronomer and has a PhD in astrophysics from Imperial College, London. Gouldman is a fellow space enthusiast and the two decided to work together on a song to mark the historic moment when the first images from the telescope were shared.

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‘Floating In Heaven’ was written and performed by Gouldman and features May on guitar and vocals. It was released yesterday (July 12) to coincide with the release of the first pictures brought to earth from the telescope.

Listen to the song here:

Last weekend, Queen and Adam Lambert performed an impromptu cover of operatic track ‘Nessun Dorma’ during a show in Bologna, Italy.

‘Nessun Dorma’  is the aria from the last act of Giacomo Puccini’s Turandot and reached new audiences in 1990 when Luciana Pavarotti performed it during the World Cup, which was held in Italy that year.

Queen and Adam Lambert performed a version of the song following an airing of Queen classic ‘Don’t Stop Me Now’ at their show.

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Sharing footage on Instagram after the show, Brian May wrote: “A spontaneous gift to Bologna last night. So proud of Adam. I can see our dear departed friend Luciano smiling. Let’s Rock tonight.”

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A post shared by Brian Harold May (@brianmayforreal)

Last month, Queen’s Roger Taylor and Brian May confirmed that they have unearthed an unreleased song by the band featuring late frontman Freddie Mercury.

The track, recorded during the Miracle Sessions, is going to be released this September.

Queen and Adam Lambert have also announced a new online concert film called Rhapsody Over London. The performance was shot at one of the legendary band’s 10 sold-out shows at The O2 Arena in London last month as part of their 2022 ‘Rhapsody Tour’.

Fans will be able to watch the two-and-half-hour, 28-song gig via an online Kiswe live-stream on July 24 (4pm BST) and July 25 (8pm BST). The film will then be available to view on-demand until July 31.

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Pinkshift release new fast-paced pop-punk track ‘Nothing (In My Head)’

Pinkshift have shared a new single called ‘Nothing (In My Head)’. Watch the video for the track below.

  • READ MORE: The NME 100: essential emerging artists for 2022

The Baltimore pop-punk band has also signed to Hopeless Records, and will be embarking on a tour across the US and UK. View the full itinerary below.

“‘Nothing (In My Head)’ is a cry for help,” the band said of the new track. “It’s about the feeling of wanting out, wanting a change in scenery, wanting to escape from feeling locked inside, claustrophobic, and overwhelmed. This song is like a hand reaching out to anyone willing to grasp onto it and say they feel the same way. We hope people hear that and feel a little less alone.”

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In the video for the fast-paced track, vocalist Ashrita Kumar sings: “Tried to stop try to stop looking up, it’s been hurting my neck on a screen, on a screen on a screen gonna scream gonna scream that I / I feel so numb” as the band scrolls through social media and watches the news.

Pinkshift tour dates

JUNE
1 – Bournemouth, UK – The Anvil
2 – Manchester, UK – Deaf Institute
3 – Leeds, UK – Slam Dunk Festival
4 – Hatfield, UK – Slam Dunk Festival
6 – London, UK – The Camden Assembly
8 – Wilmington, DE – The Queen
9 – Virginia Beach, VA – Elevation 27
10 – Carrboro, NC – Cat’s Cradle

Earlier this year, NME tagged Pinkshift as an essential emerging artist for 2022, noting their nostalgic emo sound and comparing them to My Chemical Romance, while adding: “If you’re an adult who spent your youth obsessed with the Warped Tour emo gang, tacking up posters of Gerard Way and Hayley Williams on your bedroom wall, then Pinkshift will awaken something long-dormant inside you.

“For a new generation of kids who haven’t yet fallen in love with rock music, Pinkshift could be the band that comes along and changes everything. Their angst is perfectly-placed, their riffs are rock-out-ready, and they balance their nostalgic sound with a completely endearing passion and joy.”

Behind Rising Girl Group IVE’s Explosive KPOP.FLEX Concert

By Tássia Assis

“I can’t wait to hear the screams,” the stunning 19-year-old dancer Gaeul, eldest member of the rising girl group IVE, says about performing before a live audience. “We never heard them because of COVID[-19 restrictions].” Since their debut in December 2021, the sextet has stormed charts in South Korea and abroad, swiftly becoming the ones to watch in the K-pop industry. However, as with most pandemic-era groups, all that success has only been experienced virtually — or on a minimal scale, like the intimate showcases and fansigns set up for their debut and the release of IVE’s latest single album, Love Dive, on April 5.

But as the world carefully resumes entertainment activities, for IVE, the screams come from the 65,000 people attending the two days of KPOP.FLEX, Europe’s first mega K-pop festival. Set to take place in a stadium in Frankfurt the weekend after the group’s late-night Zoom call with MTV News, the event includes the band’s first large-scale, in-person, and overseas performance. “I’m really looking forward to seeing our [fandom] Dive and hearing what the audience sounds like,” the sweet-voiced and modelesque Wonyoung, 17, says ahead of the gig.

She and Gaeul are cozying up around a conference-room table, along with fellow group mates Yujin, Rei, Liz, and Leeseo. Wearing oversized hoodies and light makeup, they look like regular — albeit impossibly beautiful — Gen Zers: wide-eyed, yet a little shy about everything. It’s quite the contrast to the lush, self-assured image they’ll later present at KPOP.FLEX, as well as the aesthetic concept with which they became synonymous all over the internet: chaebol crush.

https://youtu.be/Y8JFxS1HlDo

With only four songs in their discography, IVE have already carved a distinct niche for themselves thanks to that concept. Chaebol crush can be defined as a blend of the overly confident and boisterous “girl crush” sounds (like Itzy’s “Loco” or Blackpink’s “Kill This Love”) and the posh, preppy visuals of chaebol heir tropes in K-dramas (the fancy kids who stem from family-owned business conglomerates). Wonyoung mentions that she had never heard of that definition before, but that “it’s so cute and I love it.” She also adds that Love Dive “is really close to that concept” and that even the B-side is called “Royal.”

During our interview, Wonyoung and Yujin often take the lead when answering questions. They both participated in the survival show Produce 48 on South Korea’s music TV channel Mnet and were part of its resulting girl group Iz*One from 2018 to early 2021. Those experiences and their fluency in English have attuned them to the unrelenting schedules and interactions with media that K-pop idols routinely face, but the other members are not far behind. One of their main goals in prepping for this concert was studying English “very hard,” according to the magnetic leader and vocalist Yujin, 18. All of them put forward their best efforts to speak the language as much as possible. “We’re always practicing more. It can be vocals, dancing, or variety schedules, but we’re always preparing a lot of things,” says Wonyoung.

IVE are tasked with the grand mission to open KPOP.FLEX on day one. Wearing school uniform-inspired outfits and sparkly red shoes, they perform “Love Dive,” “Royal,” and their unforgettable debut hit, “Eleven,” which rose to No. 4 on Spotify’s global Viral 50 chart last year and was the most-streamed song on South Korea’s YouTube for five weeks. On day two, they enter the stage right after veterans Mamamoo and perform the same setlist with even more confidence — this time in classy black outfits adorned with glistening jewels.

Sebastian Gollnow/Picture Alliance/Getty Images

“I was so nervous since it was our very first stage in front of international fans,” reveals the striking Japanese rapper Rei, 18, after the concert via email. “But after our two-day performance, it made me want to do more global stages so that I can communicate with Dive in all parts of the world.” Gaeul, Liz, and Leeseo share similar feelings, calling the experience “of overwhelming emotion,” “unreal yet a little nerve-racking,” and “as if I was dreaming,” respectively.

“The moment I saw the full house, I was very surprised to witness how much K-pop is loved by a lot of people. I received incredible energy from the audience,” Yujin says. “Before we got on the stage, there were a lot of things that we needed to check and be aware of, so it did make us all slightly jittery, but once we were up there, we enjoyed [it] to the fullest.” Gaeul also shares that she waved at the audience “through a small crack before going up on the stage, and there was almost an ear-splitting roar from the fans. I was very amazed and happy.” Her secret for calming her nerves before performing is “making eye contact with the members.”

IVE’s synergy is what holds them together while they navigate landmarks such as becoming trainees, debuting, and now performing at a massive event like KPOP.FLEX. Yujin says that IVE’s bewitching essence also comes from their individuality: “We’re all really cool onstage, but we have some different, cute points off stage. I think that’s our attractiveness.” The 17-year-old Liz — who has a “heavenly voice,” according to Gaeul and the sweetest dimpled smile — believes that IVE members “interact well, so we can make up for each other’s weaknesses.”

Sebastian Gollnow/Picture Alliance/Getty Images

They all live together in a spacious dorm overlooking the Han River in Seoul, an experience that Wonyoung says is akin to “living with our besties.” When they feel down, it’s the other members who first pick them up, such as when Rei misses her family in Japan, or when Yujin is in need of extra motivation. “I’m very thankful to represent the group [as a leader], but it [can be] burdensome,” she says. “Sometimes, really sometimes, I lose my confidence. But when I look at my members, I get it back.”

Leeseo, the youngest of the group at 15 and whom Liz calls “goofy, bright, and bubbly,” says that her fellow members were essential for her to debut successfully. “Because Wonyoung and Yujin had been to various broadcasting TV shows and stuff [as part of Iz*One], they told me a lot about what goes on behind the scenes and the logistics [of] it, so I was able to get the full picture beforehand.”

“Wonyoung compliments even the smallest things, and she really boosts my confidence a lot,” Rei adds, while Wonyoung gingerly fixes a strand of the rapper’s hair. “Before I go onstage, she often says, ‘Oh, your hairstyle looks nice today, your makeup looks good on you.’ Having Wonyoung by my side helps me to have a happy, enjoyable life.”

https://youtu.be/--FmExEAsM8

“I really like Rei,” Wonyoung notes with a giggle. “I usually give advice to the members, like who can go next and how things go on. I think I’m good at giving advice” — a statement with which all the others agree. The round of compliments doesn’t stop, and Wonyoung then praises Gaeul for always encouraging them: “When we’re practicing, I feel like she’s handling the middle so we can get in the right mindset.” In turn, Gaeul says she loves Liz’s voice, while Liz expresses happiness in that Leeseo's energy always “brightens up the vibes.” Leeseo looks up to Yujin’s “soft charisma,” and Yujin ties it up by saying she also loves Rei’s rap style.

That’s just how IVE are: on top of the world, but with their feet on the ground. KPOP.FLEX was just the beginning. “The fact that we’re being loved a lot started to sink in after seeing people sing along to our songs,” Liz says via email after their whirlwind showcase. “I felt extremely grateful.”

Paul Heaton on buying everyone a pint and why “the Royal Family is the one thing worth privatising”

Before picking up his Ivor Novello award for Outstanding Song Collection yesterday (May 19), Paul Heaton spoke to NME about giving away free pints for his birthday and why he thinks the Royal Family should be privatised.

The Housemartins and Beautiful South legend made headlines earlier this month when he generously bought a round for patrons at 60 pubs around the UK to mark his 60th birthday.

“It was brilliant. I expected a few people to say, ‘Oh cheers!’ – but I got video after video of people drinking, stories about people meeting new friends and talking to people all day, and it was good for the pubs,” Heaton told NME. “At the time I thought, ‘This is a bit of a silly idea’, but as it got nearer the day I knew I really wanted to do something like that. I was shocked by how much coverage it got, but also by how much people loved it. I’m just expecting for other artists to start doing it now!”

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Asked if he was expecting to get all of those rounds to be bought back for him in return, he replied: “That’s the danger, isn’t it? ‘You once bought me a pint, so here’s yours’. Suddenly I’m this bloated, sad little man in the corner of the pub. It was a gift. I’ve had a couple of offers, and that’s nice.”

Paul Heaton wins the award for Outstanding Song Collection during The Ivor Novello Awards 2022 at The Grosvenor House Hotel on May 19, 2022 in London, England. (Photo by Luke Walker/Getty Images)
Paul Heaton wins the award for Outstanding Song Collection during The Ivor Novello Awards 2022 at The Grosvenor House Hotel on May 19, 2022 in London, England. (Photo by Luke Walker/Getty Images)

Last year, Heaton and Jacqui Abbott played a number of free gigs for NHS staff as a thank you for their efforts throughout the pandemic. “I did it for the nurses and we did one for care workers and they were mad,” Heaton recalls. “For the people who came, particularly the care workers in Sheffield, it just had this massive release. I was actually quite frightened on stage!”

However, Heaton feels that more care, attention and rewards are due for the NHS, arguing that the government has largely forgotten about them since the ‘clap for carers’ days.

“It’s the whole Noam Chomsky thing; they’re deliberately running it down so that people feel like it’s not of value,” argued Heaton. “That’s the argument that will go on over the next five or six years. That’s what happened with British Rail: Pull all the funding, make it shit, people make jokes about it, then you might as well privatise it. The attitude is led by defunding. “

Saying that it would be “great” for more UK artists to pay tribute to the NHS and honour them – just as Liam Gallagher and Manic Street Preachers did last year – Heaton then went on to claim that the Conservative Party’s efforts for privatisation would be better placed elsewhere.

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“I’m perhaps a little bit extreme,” he went on. “I’ve tried to get my back catalogue nationalised, I’ve written to Business Secretary Greg Clarke. There are a few things worth nationalising and only one thing worth privatising: the Royal Family. If it’s such a good business model, then have it. Sell it off to the Japanese or Saudis or whatever.

“You know what these capitalists do when they take over? They cut off all the unwanted staff and just leave one there…”

For now, Heaton is focussed on finishing new material ahead of a busy summer of touring, including a stop at the Acoustic Stage at Glastonbury 2022.

“I’ve just finished an album on Friday, and I’ve got to master it on Monday,” said Heaton.  “It’s a 60-year-old man’s anger. I hope it’s relevant. We’re playing Glastonbury this year. Glastonbury’s connected to NME in having that alternative thing. When I go to Glastonbury, I’m pleased that people know my songs – young people. They’re quite an educated audience, like your NME readers are. It makes you feel like you’re not preaching to the converted.”

Heaton added: “Nothing can go wrong when you’re 60. You no longer have to be hip, not that I ever was. It’s just free and easy isn’t it?”

Heaton was presented with his Ivor Novello award at Grosvenor House in London by friend and superfan, BBC 6 Music DJ Stuart Maconie.

Watch Taylor Swift deliver NYU commencement speech: “Let’s keep dancing like we’re the class of ’22”

Taylor Swift delivered a commencement address for New York University’s class of 2022 today (May 18).

  • READ MORE: Every Taylor Swift song ranked in order of greatness

The pop star was also awarded an honorary doctorate before she gave the speech at the city’s Yankee Stadium. Watch video footage of the speech below.

“I’m 90% sure the reason I’m here is because I have a song called ’22’,” Swift joked, adding: “Last time I was in a stadium this size, I was dancing in heels and wearing a glittery leotard. This outfit is much more comfortable.”

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The speech was full of references to her hit songs, as well as jokes about her doctorate. At one point she addressed out-of-town relatives and friends of the graduates with “Let me say to you now: Welcome to New York – it’s been waiting for you.”

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A post shared by New York University (@nyuniversity)

“I’d like to thank NYU for making me technically, on paper at least, a doctor,” Swift joked at one point in her speech. “Not the type of doctor you would want around in case of an emergency, unless your specific emergency was that you desperately needed to hear a song with a catchy hook and an intensely cathartic bridge section. Or if your emergency was that you needed a person who can name over 50 breeds of cats in one minute.”

Swift also congratulated the students who made it through pandemic lockdowns, “essentially locked into your dorms or having to do classes over Zoom.”

She added: “Everyone in college during normal times stresses about test scores, but on top of that you also had to pass like a thousand COVID tests.

“I imagine the idea of a normal college experience was all you wanted, too. But in this case you and I both learned that you don’t always get all the things in the bag that you selected from the menu in the delivery service that is life. You get what you get. And as I would like to say to you, you should be very proud of what you’ve done with it.”

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The singer-songwriter also shared that she’s “a big advocate for not hiding your enthusiasm for things.” She added: “It seems to me that there is a false stigma of eagerness in our culture of unbothered ambivalence. … Never be ashamed of trying. Effortlessness is a myth. The people who wanted it the least were the ones I wanted to date and be friends with in high school. The people who want it most are the people I now hire to work for my company.”

Swift continued to share anecdotes with the crowd, saying: “As long as we are fortunate enough to be breathing, we will breathe through, breathe deep and breathe out. And I am a doctor now, so I know how breathing works.”

At the close of her speech, she referenced her hit song from her album ‘Red’ again. “Let’s keep dancing like we’re the class of ’22,” she added.

Meanwhile, Swift recently shared ‘This Love (Taylor’s Version)’, another track from her rework of 2014 album ‘1989’. She also debuted a brand new song, ‘Carolina’, in the trailer for the film adaptation of Delia Owens’ hit 2018 novel Where The Crawdads Sing, starring Normal People‘s Daisy Edgar Jones, back in March.

Elsewhere, the singer appeared in a trailer for the new David O. Russell film Amsterdam, alongside John David Washington, Margot Robbie and Christian Bale. It’s her first acting role since playing Bombalurina in the live-action version of Cats in 2019.

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Jarvis Cocker is on a quest to find woman who inspired Pulp’s ‘Common People’

Jarvis Cocker says it’s still a “mystery” who he wrote Pulp hit ‘Common People’ about, but is determined to find out.

In the iconic 1995 song’s opening lines, Cocker sings of a woman who “came from Greece [and] had a thirst for knowledge,” studying sculpture at London’s St. Martin’s College.

  • READ MORE: The story of NME in 70 (mostly) seminal songs

Despite the song’s success – it was named NME‘s Best Song Of The ’90s – Cocker has revealed that he has no memory of the identity of the person who inspired the song.

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Speaking on BBC Radio 4’s This Cultural Life (via The Mirror), Cocker addressed claims that the inspiration was Danae Stratou, a Greek woman who attended St Martin’s at the same time as Jarvis, but confirmed that “it wasn’t her because she had blonde hair and the girl had dark hair.”

Of the origin of the song, Cocker said: “We went to the pub and she just came out with that she wanted to live in Hackney with common people.

“In 2011 we played at St Martin’s and someone showed me a picture on their phone and said, ‘Is that the girl you wrote the song about?’ I went, ‘Yeah, I think it is’” he remembered.

“Unfortunately, I didn’t ask them for the picture and I can’t remember who showed it to me so it’s still a mystery.”

Back in 2015, Deborah Bone, the inspiration behind Pulp‘s 1995 hit ‘Disco 2000’, died at the age of 51. The mental health worker had been battling multiple myeloma – a type of bone marrow cancer.

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Born in Sheffield, Bone and Cocker were close growing up and their friendship inspired the band’s famous track, which begins with the lyric: “Well we were born within an hour of each other. Our mothers said we could be sister and brother. Your name was Deborah. Deborah. It never suited ya.”

Bone moved to Letchworth at aged 10 and went on to become a nurse, later setting up the Step2 health service for the Hertfordshire Community NHS Trust in Stevenage. She won various awards for her work in mental health and, just hours after her death, it was announced that she was to receive an MBE in recognition of her services to children and young people as part of the 2015 New Year’s Honours List.

Later this year, Cocker will release new memoir Good Pop, Bad Pop. Set to arrive on May 26 through Vintage Publishing, Cocker describes the book as an “inventory”. It’s centred around the former Pulp frontman coming across “a jumble of objects that catalogue his story” while clearing out his loft, with the various ephemera used as a jumping off point to reflect on Cocker’s life and career. Pre-orders are available here.

His band JARV IS… recently composed the score for new BBC comedy drama This Is Going To Hurt and the full soundtrack was shared back in March.

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Taylor Swift’s Red Found Its Power And Legacy In The Details

Welcome to New Retro Week, a celebration of the biggest artists, hits, and cultural moments that made 2012 a seminal year in pop. MTV News is looking back to see what lies ahead: These essays showcase how today’s blueprint was laid a decade ago. Step into our time machine.

By Carson Mlnarik

It doesn’t take an ex named Sean to feel catharsis from Ariana Grande’s “Thank U, Next” or a friend named Kiki to get in your feelings with Drake. Contemporary pop music is rife with hyper-specific details as the world’s biggest stars transform the minutiae of their lives into relatable chart-topping hits. But this level of candidness wasn’t always the norm. Though musicians have long written from a place of authenticity, pop radio’s stickiest earworms never felt quite so diaristic as when a jilted artist wrote a lover’s scarf into one of her most beloved songs.

That artist, of course, is Taylor Swift, whose sprawling and frenetic 2012 album Red not only introduced Top 40 radio to her storytelling candor but also taught the world a lesson about the bond listeners seek to forge with their music of choice. “We actually do NOT want our pop music to be generic,” Swift wrote in a 2019 essay for Elle. “I think a lot of music lovers want some biographical glimpse into the world of our narrator, a hole in the emotional walls people put up around themselves to survive.” Though last year’s “All Too Well (10 Minute Version)” and Red (Taylor’s Version) — re-released as part of her plan to gain control of her masters — is a story of its own, it couldn’t be told if Swift had not made the same bold moves back in 2012.

https://www.youtube.com/watch?v=tollGa3S0o8

Arriving alongside the rise of Instagram, mustachioed decor, and The Hunger Games, Swift’s Red era was ushered in by lead single “We Are Never Ever Getting Back Together,” a synth-soaked breakup anthem that marked the start of her sonic transition. The Max Martin- and Shellback-assisted track from what she has since called her “true breakup album” became her first No. 1 hit on the Billboard Hot 100. That’s perhaps how it landed on the radars of a fledgling class of musicians, not only in pop music but also in the indie sphere, who didn’t know how much of an inspiration Swift’s lyricism would be a decade later.

“I was both closeted and a closeted Swiftie,” said singer-songwriter Stevie Knipe, who records under Adult Mom. “I was a freshman in college and I was very much in the realm of ‘I’m too cool for Top 40 music. I’m being indie.’ But I was secretly blasting old Taylor under the radar.” After a “horrid breakup,” they found solace in the shrieking dubstep drops of tracks like “I Knew You Were Trouble,” as well as the record’s softer moments like “Treacherous,” which explored themes of unbridled anticipation and optimism that continue to resonate with them. “I think there’s this element of starting a queer relationship — especially when you’re young — of how the stakes are so high and everything feels so intense,” they said. “I feel like [“Treacherous”] followed me through being closeted to now being out and really kind of identifying it with my own life.”

Minute and melodramatic details color the various hues of red Swift explores on the record — from the chair by the window in “I Almost Do” to the inside joke scribbled on a note in “Holy Ground” — and Knipe counts the “intimate, ephemeral pieces of history” Swift captured in the lyrics as an inspiration for their own music. “With all my writing, I've always been really fixated on the very small details,” they explained. “It's like she's kind of taught me how to do that properly or to take a small moment and make it a story.”

A devotion to microscopic moments and unflinching honesty is flecked throughout their most recent album Driver, released in March 2021, as kick drums and layered guitar underscore lyrics calling out dorm nights spent listening to Hole and revelatory conversations with a friend named Adam. Their indie spin on Red’s infectious and underrated closer “Starlight” for 2019’s ReRed, an alternative reimagining of the record, further demonstrates the timeless applicability of Swift’s words. “I just wanted to kind of indie it up but play to how extraordinary she likes to talk about these things and ... honor her in that way,” Knipe said.

Swift approached Red’s crossover appeal with tongue-in-cheek buoyancy — “Hide away and find your peace of mind / With some indie record that’s much cooler than mine” — and although it was categorized as a country record, she sought out collaborators across all genres for its sessions. Tracks with Ed Sheeran, Snow Patrol’s Gary Lightbody, and Dan Wilson of Semisonic pushed out of her comfort zone, but the sonic sheen didn’t matter. The candid storytelling in her lyrics, honed from years in country music, shone through, and no track seemed to better encapsulate her abilities than devastatingly nostalgic fan-favorite “All Too Well.”

According to Swiftian lore, the track was born during rehearsals for Swift’s Speak Now World Tour when she previewed nearly 10 minutes’ worth of lyrics for her bandmates before working with frequent co-writer Liz Rose to parse it down. Even before its second life as a short film and the longest track to top the Hot 100 last year, “All Too Well” was special. Never before had Swift delved so deeply into the painstaking details of heartbreak, from visceral recollections of dancing in the kitchen and riding in the car to the forgotten-and-never-returned scarf that tied the narrative thread together.

While Taylor has said the song “was born out of catharsis and venting,” its meaning to her changed as fans embraced it to heal heartache. “You turned it into a collage of memories of watching you scream the words to this song, or seeing pictures you post to me of you having written the words in your diary,” she told fans at a concert in 2018. Some Swifties have even made their connection with the song’s lyrics permanent by tattooing them on their bodies.

The track was also seminal for pop singer Ellis, who released her debut album Born Again in 2020. “I can't remember before that ever feeling so let into somebody's inner world, in that really tangible and obvious way anyway,” she told MTV News. “There’s something so cool about that, to be like, ‘This isn’t about me, but somehow I feel like it is.’ I think that was the first record that really made me feel that way.” “All Too Well” will always be a favorite for Ellis — “It’s such an emo song and I was also emo in high school,” she explained — and she’s continued to draw inspiration from Swift’s lyricism, releasing her own dreamy cover of “Lover” in 2020, and recounting the particulars of her own life in tracks like “Pringle Creek” and “March 13.” “I can share these really vivid and specific details,” she said. “But then, it's not just about me. It's about everyone and there's something just so cool about that.”

https://www.youtube.com/watch?v=cVXwjqKYsW0

By letting us into the most vulnerable corners of her heart, Swift spoke in a way that allowed us to see ourselves, a skill she’s continued to flex in songs like “Cornelia Street” and “Invisible String.” Her devotion to detail created a unique bond with her loyal Swifties and inspired other artists to utilize the same candidness to connect with fans. “Laura said I should be nicer,” Billie Eilish sings on “I Didn’t Change My Number,” while Olivia Rodrigo evokes the singular experience of “Watching reruns of Glee / Being annoying, singing in harmony” on “Deja Vu.” It’s that level of specific that breaks our hearts when Conan Gray name-drops an enviable bombshell named “Heather,” Kacey Musgraves recalls how “Grandma cried when I pierced my nose” on “Slow Burn," and Troye Sivan uses the distinct tastes of “Strawberries & Cigarettes” to weave a tale of wistful reminiscence. Even Halsey and The Chainsmokers’s “Closer” — which topped the Billboard Hot 100 for a consecutive 12 weeks – would hardly pack the same punch without its remembrance of “that mattress that you stole / From your roommate back in Boulder.”

It should come as no surprise that a decade later, Red (Taylor’s Version) has been just as successful as its septuple-platinum predecessor. The intimacy Swift brought to pop music is here to stay as we seek out lyrics that speak to the lucid recollections we hold tightly ourselves. As she told Elle, “It’s this alliance between a song and our memories of the times it helped us heal, or made us cry, dance, or escape that truly stands the test of time.”

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Eric Clapton says biased media motivated him to voice anti-vaxxer views through song

Eric Clapton has explained why he felt compelled to voice his controversial anti-vaxxer and lockdown views through song.

  • READ MORE: So, you’re ideologically opposed to your favourite pop star. What next?

The veteran rocker has been publicly vocal about his opposition to lockdown restrictions and vaccinations over the past two years, and last summer said he would not perform concerts that require proof of vaccination.

In December 2020, he teamed up with fellow sceptic Van Morrison for the track ‘Stand And Deliver’, one of many anti-lockdown songs Morrison recorded and which were met with significant backlash.

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Then in August last year Clapton released ‘This Has Gotta Stop’, a song which hears him air his frustrations with the measures put in place to help curb the spread of COVID-19 while criticising the vaccine.

The song also touches upon on his “disastrous” reaction to the vaccine – which he detailed early last year after receiving the AstraZeneca COVID-19 vaccine. “I knew that something was going on wrong/ When you started laying down the law/ I can’t move my hands/ I break out in sweat,” he sings on the track.

Now, speaking in a new interview with The Real Music Observer, Clapton has explained his decision to voice his opinions on the vaccine and lockdown through song, as well as the backlash he received.

Discussing how ‘Stand And Deliver’ and ‘This Has Gotta Stop’ came about, Clapton said: “My career had almost gone anyway. At the point where I spoke up, it had been almost 18 months since I had kind of been forcibly retired. And I joined forces with Van. I got the tip that Van was standing up to the measures. And I thought, ‘Why isn’t anybody else doing this?’ And we go back; I’ve known him since we were kids. And I contacted him. I said, ‘What do you think? What’s going on?’ And he said, ‘I’m just objecting, really. But it seems like we’re not even allowed to do that. And nobody else is doing it.’ And I said, ‘You’re kidding. Nobody else?’ And he said, ‘Nobody else.’ And I said, ‘All, I’m with you. Is there anything I can do to help? Have you got any songs?’ And of course, it was a silly, stupid question ’cause he writes two songs a day or something like that.”

He continued: “And he sent me ‘Stand And Deliver’, which he had already… I didn’t know he had already recorded it. So I thought, ‘Oh, man. I’m getting an unreleased Van Morrison song.’ I was over the moon anyway. And it was during the process of talking about that to another musician, and then getting me excited, and then sharing that news, and I found that nobody wanted to hear that. And I was kind of mystified because I seemed to be the only person that thought that was an exciting or even appropriate idea with what was going on.

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“That challenged me even more. ‘Cause I’m a bit like him maybe. I’m cut from the cloth where if you tell me I can’t do something, I really wanna know why I can’t do it. And it seemed like I’d had a wall built around me. But I thought, ‘I’m gonna do this.’ But I did make concessions. I did take out lines or change lines a little bit just to pacify those that I really didn’t wanna hurt, people I didn’t wanna hurt or scare. And needless to say, my family and friends, they got scared, and I think they were scared on my behalf.

Eric Clapton performing live onstage in 2020
Eric Clapton performs live, 2020. CREDIT: Getty Images

Clapton then talked about the theory of mass formation hypnosis and his belief that people were being hypnotised into getting vaccinated through messages promoted on YouTube and in the media.

“[I thought], ‘What’s going on here?’ I didn’t get the memo. Whatever the memo was, it hadn’t reached me. Then I started to realise there was really a memo, and a guy, [clinical psychology professor] Mattias Desmet, talked about it. And it’s great – the theory of mass formation hypnosis,” he explained. “And I could see it then – once I kind of started to look for it, I saw it everywhere.

“Then I remembered seeing little things on YouTube which were like subliminal advertising; it had been going on for a long time – that thing about ‘you will own nothing and you will be happy.’ And I thought, ‘What’s that mean?’ And bit by bit, I put a rough kind of jigsaw puzzle together. And that made me even more resolute. And so I went from that to looking at the news stuff that was coming out in England and the UK, we have BBC, and it used to be an impartial commentary on world affairs and state affairs. And suddenly it was completely one-way traffic about following orders and obedience.

He continued: “And I felt really motivated, musically. It instigated something which really was laying dormant. I was just playing live gigs up until the lockdown without really being socially involved in any way. Then these guys that were in power really started to piss me… and everybody… I have a tool, I have a calling, and I can make use of that. So I set about it and started writing.”

You can watch the interview below:

Clapton also spoke about his health and how he’s feeling following his two vaccine doses. “I’m feeling pretty good. I think it’s been about nine months since I got sick from the thing and for a couple of months I wasn’t sure if it was gonna go away, if it’s gonna get worse,” he said. “I couldn’t play – I really couldn’t play – and I wasn’t sure… I had a lot of work to do, whether I was gonna get fit for that or whether it was gonna have to be canceled.

“Two years of work [had] already [been] cancelled. And I came to the States. And that was like a trial; that was in September of last year. And I was really pushing to see if I had recovered enough to be able to stand alongside the guys I play with and hold up my hand. And I had a great time.”

Clapton admitted he still had “some stuff going on, which is affected by the cold or the weather or stress to, sometimes”, but that on the whole, he thinks he’s “pretty much the way I was — thank God — before I walked into that”.

Meanwhile, Clapton’s management recently issued a statement after the guitarist successfully sued a German woman for trying to sell a bootleg CD of one of his concerts on eBay.

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‘Snowdrop’: Kim Hye-yoon says she “stuck to” BLACKPINK’s Jisoo on set

South Korean actress Kim Hye-yoon has opened up about working with BLACKPINK’s Jisoo on the set of Snowdrop.

  • READ MORE: The 10 best Korean dramas of 2021

The 25-year-old actress, known for her roles in Sky Castle, Secret Royal Inspector & Joy and, most recently, Snowdrop, had revealed that she had grown close to the idol after spending time together on set.

“While we were filming, I think I stuck to Jisoo the most,” Kim told Star1 Magazine in an interview, describing the BLACKPINK vocalist as having a “bright and easy-going” personality. “She was so friendly, so I was able to breathe comfortably around her,” she added. “I think we got pretty close while acting together.”

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Kim currently stars in the historical romance series as Gye Bun-ok, a telephone operator at the Hosu Women’s University dormitory who shares a close bond with its residents, yet simultaneously resents them for being able to afford university. The actress also said that she felt like she was “meeting celebrities” while working with Jisoo and male lead Jung Hae-in.

“I met Jung Hae-in for the first time through [Snowdrop], and I was very curious about what kind of person he would be,” Kim said. “When I finally met him in person, he was very caring and gentle, and he was always smiling. He has a really good personality.”

In other K-drama news, Snowdrop actress Kim Mi-soo had passed away last week at the age of 30. Kim had starred in the series as one of Young-ro’s roommates, Yeo Jung-min, a history major and student protestor with a strong sense of justice.

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Premiere date for K-drama ‘Snowdrop’ starring BLACKPINK’s Jisoo revealed

South Korean television network has announced the premiere date for its highly anticipated K-drama Snowdrop, starring BLACKPINK’s Jisoo.

  • READ MORE: ‘Snowdrop’ starring Jisoo of BLACKPINK: release date, plot details, cast and everything we know so far

In the latest promotional poster released by JTBC, the two leads are seen sitting together in a warmly lit room with a snowdrop flower in between them. Meanwhile, the tagline in the corner reads, “Must not get caught. Both love and fate”, as translated by Soompi.

In addition, the text below the poster, as well as the caption on JTBC’s social media posts, confirms that Snowdrop is slated to premiere on December 18 at 10:30pm KST. Ahead of its launch in South Korea, Disney+ has revealed that they will also be streaming episodes of Snowdrop as part of its forthcoming expansion into Asia-Pacific content.

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A post shared by JTBC 드라마 공식 인스타그램 (@jtbcdrama)

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Snowdrop follows two students – played by Jisoo and Jung Hae-in – caught up in a whirlwind romance in South Korea. The television series is set in 1987, a pivotal year in the country’s history that saw a nationwide mass movement that forced the ruling government to hold elections.

In the forthcoming series, Jung will portray a graduate student with a secret past, while Jisoo plays a university student who lives in an all-female dormitory. The two cross paths when Jung’s character seeks refuge in a female dormitory after a protest at the Hosoo Women’s University.

Notably, Snowdrop marks the BLACKPINK singer’s first leading role, following cameos in 2015’s The Producers and 2019’s Arthdal Chronicles.

In other BLACKPINK news, member Lisa recently linked up with DJ Snake, Megan Thee Stallion and Ozuna for their highly-anticipated collaborative single, ‘SG’.

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Latin Grammy-winning Brazilian singer Marília Mendonça has died in a plane crash, aged 26

Brazilian singer and Latin Grammy winner Marília Mendonça has died in a plane crash, it has been confirmed.

The 26-year-old artist was travelling to a concert in Minas Gerais on a small plane yesterday (November 5). After departing Santa Genoveva airport in Goiâna, it crashed in Piedade de Caratinga, just north of Rio de Janeiro.

Four other people who were on the plane were also killed in the crash. They included her producer and her uncle, as well as the pilot and co-pilot.

Both representatives for Mendonça and Minas Gerais state’s civil police have confirmed the star’s death. An investigation into the crash has been launched.

Marilia Mendonça
Marília Mendonça CREDIT: Andre Cardoso/TheNEWS2 via ZUMA Press Wire)

Minas Gerais Electric Company (CEMIG) said in a statement obtained by CNN that the plane the singer was travelling on had hit a cable on an electric tower that is operated by the company. Minas Gerais police chief Ivan Lopes Sales said that, while it was too early to say why the plane had crashed, the “dispersed debris field” suggested that it had “hit something before the plane fell”.

“With immense regret, we confirm the death of singer-songwriter Marília Mendonça, her producer Henrique Ribeiro, her uncle and advisor Abicieli Silveira Dias Filho, and the pilot and co-pilot, of which we won’t reveal their names at this time,” read a statement posted to Mendonça’s official Instagram page.

“The plane took off from Goiânia to Caratinga where Marília would perform tonight. At the moment, this is all the information we have.”

Mendonça was one of the biggest stars in Brazil’s music scene and was the most listened to artist in the country on Spotify last year and in 2020, according to her representatives. She also had the most-watched livestream in the world, drawing in a peak viewership of 3.3million viewers on YouTube for an online concert.

The star was first nominated for a Latin Grammy for her 2017 album ‘Realidade’. Two years later, she collected her first trophy at the ceremony, picking up the Best Sertaneja Music Album award for ‘Todos os Cantos’.

A funeral will be held for Mendonça at 8am local time today (November 6) in an arena in the state capital of Goiânia.

Brazilian stars and public figures have paid tribute to Mendonça since the news of her death broke. Paris Saint-Germain and Brazil striker Neymar tweeted: “I swear I went to sleep asking God for everything to be a dream and that today I woke up only from a nightmare.”

Brazilian president Jair Bolsonaro called her “one of the greatest artists of her generation” and praised her “unique voice, her charisma and her music” which had “earned the affection and admiration of all of us”.

“In this moment of deep pain and sadness, I ask God to console the heart of her fans and, in particular, her friends and family, as well as of the other victims of the accident,” he added.

Rio de Janeiro governor Claudio Castro added in a statement: “Young and talented, Marília was the protagonist of a new chapter of Brazilian country music and inspiration for several singers in the segment. The country is shocked and mourns this loss that came too early.”

Mendonça is survived by her son, who will turn two in December.

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2022 Grammys to feature “inclusion rider” to guarantee staff diversity

The Recording Academy has announced that next year’s edition of the Grammy Awards will be produced with an inclusion rider, in order to ensure equity, diversity and inclusion during the production.

  • READ MORE: Why the Grammys are right to not add a Best K-pop category – and why it should stay that way

Inclusion riders are a provision in a person’s (typically an actor or filmmaker) contract that provides for a certain level of diversity in casting and production staff.

A template for inclusion riders was first developed by academic Stacy L. Smith in 2016, primarily for use in the film industry.

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Actor Frances McDormand popularised the concept further in 2018. While accepting her Academy Award for Best Actress, she said: “I have two words to leave with you tonight, ladies and gentlemen: inclusion rider!”

Grammys Recording Academy
Recording Academy logo. CREDIT: Getty

The Recording Academy has said it will add the rider to the contract between itself and the production company responsible for the Grammys. The full rider will be released publicly on September 16.

“This addendum is a contractual obligation for the production company to make its best effort to recruit, audition, interview, and hire on-stage and off-stage people who have been historically and systemically excluded from the industry,” the academy announced.

The inclusion riders follow a series of moves to modernise the awards. In April it was announced that the organisation would be scrapping its Nominations Review Committee, which had attracted ample controversy in recent years.

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Last year, Deborah Dugan – a former president of the academy – claimed there were “conflicts of interest” in the Grammys voting process that “taint the results”.

The awards has also faced criticism for a lack of Black artists being recognised in the “Big Four” categories – Album Of The Year, Record Of The Year, Song Of The Year and Best New Artist. Women have also been underrepresented in previous nominations, with former Recording Academy president drawing criticism for saying female musicians needed to “step up” at the 2018 event.

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TXT hit the skate park in teaser for ‘The Chaos Chapter: Fight Or Escape’

TXT have released a new teaser for their upcoming repackaged album, ‘The Chaos Chapter: Fight Or Escape’.

  • READ MORE: Tomorrow X Together – ‘The Chaos Chapter: Freeze’ review: K-pop’s fourth gen leaders find love in a hopeless place

In the video, which is dubbed a “concept clip”, the five-member group take over a skate park. it switching between grainy, handheld shots of each member skating around the park to blurry close-ups of the group. all set to Skipp Whitman‘s 2020 song ‘Never Afraid’. The visual later closes with the words “loser lover”, alongside spray-painted hearts and smiley faces.

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The concept clip, released today (August 3), is the first in a series of retro visuals released on the HYBE Labels YouTube channel. The label has also released individual concept clips for each member. Check them out here.

‘The Chaos Chapter: Fight Or Escape’ is a repackage of TXT’s sophomore Korean-language album ‘The Chaos Chapter: Freeze’, which was released in late May. The upcoming album will see new tracks added to the original tracklist, although specific details on these upcoming tracks have yet to be announced.

TXT’s ‘The Chaos Chapter: Freeze’ was awarded five stars in a review by NME’s Rhian Daly, who described the record as the group’s “best release to date”, as well as an album that “represents huge growth”.

“No wonder they’ve been crowned both the leaders and ‘it boys’ of K-pop’s fourth generation, two titles they’ve more than earned with their commitment to candid storytelling and forward-thinking originality,” she added. “Life might be bleak at the moment, but at least we have TXT to turn our many lemons into a wealth of lemonade.”

In related news, TXT scored their first entry on the Billboard Pop Airplay Chart with their English-language track ‘Magic’. They are one of only five K-pop groups to appear on the chart, following BTS, BLACKPINK, LOONA and MONSTA X.

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Acclaimed play featuring music by Arctic Monkeys, Jarvis Cocker and more now streaming online

The Band Plays On, an acclaimed play featuring music by Arctic Monkeys, Jarvis Cocker and other Sheffield legends, is now available to stream online.

  • READ MORE: We looked good on the dancefloor! Arctic Monkeys’ chaotic early gigs remembered by fans

From writer Chris Bush, the play comprises five monologues – all told by women – about people whose stories connect with events from the city’s history, each accompanied by a song by a Sheffield artist.

“An Olympic hopeful. A political car crash. The fallout from a fictional nuclear winter. Join us for stories of solidarity and survival from the Steel City, punctuated by songs from some of Sheffield’s best-loved bands and artists,” a description of the play reads.

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Songs in the play include: Arctic Monkey’s ‘I Bet That You Look Good On The Dancefloor’, Def Leppard‘s ‘Pour Some Sugar on Me’, Moloko‘s ‘Sing it Back’, Jarvis Cocker‘s ‘Don’t Let Him Waste Your Time’ and Slow Club‘s ‘Beginners’.

Bush created The Band Plays On after her award-winning play, Standing At the Sky’s Edge, featuring songs by guitarist Richard Hawley, was put on hold due to the coronavirus pandemic.

“We would have opened [at the National] in January, and I think we would still be on now, in another world,” Bush told BBC News. “It’s very, very galling.”

 

The characters in The Band Plays On include one whose father builds a nuclear shelter after seeing the 1984 TV drama Threads, in which a nuclear bomb is dropped on Sheffield; one who was at former Labour leader Neil Kinnock’s infamous pre-election rally in the city in 1992; and one who discovers that Sheffield had the world’s first football club.

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“I’m really proud of the city,” Bush said. “There’s something interesting in the way that Sheffield does or doesn’t promote itself in the way that maybe some other cities do.

“It feels like it has a very different energy to somewhere like Manchester, which is a city I love, but feels like there’s a very Mancunian ethos, which is about telling you exactly how brilliant they are, quite loudly, quite a lot of the time.

“Sheffield has this attitude that you will find that out for yourself, and when you’re here you’ll be very welcome, but we’re not a city that’s very good at shouting about itself actually. And I think, maybe because of that, there are stories that don’t get told.”

The Band Plays On can be streamed online until March 28.

Meanwhile, Arctic Monkeys‘ manager has revealed that the band are currently “working on music”, and had planned to go into the studio this summer before coronavirus restrictions halted the sessions.

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The Streets, Dizzee Rascal and Supergrass to play at new South Facing Festival

South Facing Festival, a new outdoor concert series in south London, has announced the first acts for its inaugural edition this summer.

Set to take place at the newly revived Crystal Palace Bowl amphitheatre in Crystal Palace Park, South Facing will run from August 5-31 and feature 12 live shows and a host of free midweek events for the whole community.

  • Read more: UK festivals on COVID testing and vaccination passports this summer: “Safety is all we think about”

The Crystal Palace Bowl, affectionately known as the ‘Rusty Laptop’ by locals, has previously played host to the likes of Bob Marley, Pink Floyd and The Cure during its 60-year history.

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Five of the 12 live shows have been announced by South Facing today (March 11), including gigs from Dizzee Rascal & The Outlook Orchestra (August 14), Supergrass (August 20) and The Streets (August 21).

Max Richter (August 28) and the English National Opera (August 27) will also perform. A second wave of shows is set to be announced soon.

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“After what’s been an extremely difficult 12 months for the live music industry, we can’t wait to put on a fantastic series of events that people can really get excited about,” South Facing’s director Marcus Weedon said in a statement about the upcoming live concert series.

“Not only do we have some amazing artists who are itching to put on a great show, we also have the privilege of being able to stage the festival at an iconic and important outdoor London venue, which has sadly been dormant in recent years. We’re all working incredibly hard to make sure South Facing is a fitting return to glory for the Crystal Palace Bowl!”

Early bird tickets for South Facing start at £35 plus booking fee, and are on pre-sale now from here.

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The Streets are set to headline the one-day MADE Festival in Sandwell Valley Country Park in July.

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‘Nomadland’ censored in China over director Chloé Zhao’s criticism of country

Chloé Zhao’s new film Nomadland has been censored in China due to comments the director made about the country in a past interview.

In 2013, Zhao, who became the first Asian woman to win a Golden Globe for Best Director last month.

Initially, the film’s upcoming release was promoted in China, with state media lauding Zhao as “the pride of China”.

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On Friday (March 5) though, show times for the film were removed from ticketing websites and references to the film began to disappear.

As the Guardian reports, a Nomadland-related hashtag on the Chinese microblogging site Weibo was removed, with a message saying it was taken down “according to relevant laws, regulations and political policies”.

Though the publicity for the film has been censored, Variety reports that an unpublicised release is still set to go ahead in the country.

The 2013 interview in question, with Filmmaker magazine, saw Zhao refer to China, where she grew up as a teenager, as “a place where there are lies everywhere”.

Nomadland
‘Nomadland’. CREDIT: Alamy

The Golden Globe-winning (Best Motion Picture – Drama) film is set to be released straight to the streaming platform Disney+ in the UK and Ireland.

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Disney also said the film will be made available in cinemas when they re-open, but that is not expected to be before May 17.

Based on the non-fiction book Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder, the film stars Frances McDormand.

Nomadland premiered at the Venice Film Festival back in September 2020, winning the Golden Lion. It opened in the US in select IMAX cinemas on January 29, 2021 before opening in cinemas and streaming simultaneously on Disney’s Hulu platform on February 19.

McDormand recently revealed that she was offered a job in Target while working on Nomadland.

While working on the film, director Chloé Zhao (The Rider) wanted the star to “blend in” with a real nomadic community. Speaking at a press conference held on Zoom, the filmmaker said: “It was really about setting up an ecosystem, working with the nomads, because they are not always stationary and getting Fran to blend in.”

McDormand, who has won two Oscars in her career, said that she knew the strategy was working when she was offered a job in a shop. “It was successful because in one town in Nebraska I went to the local Target and I was offered employment,” she said.

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Barry Gibb Greenfields: The Gibb Brothers Songbook

It wasn’t until 25 years after its release, and subsequent worldwide sales in excess of five million, that the writers of “Islands In The Stream” revealed that the song was originally written with Marvin Gaye in mind. Kenny Rogers and Dolly Parton ultimately gave the Gibb brothers’ their biggest country-related success, but the track’s origins are evidence of the form’s parallels with soul.

There’s further, irrefutable proof of that in the selections from the Bee Gees’ back catalogue that are now gracing Barry Gibb’s elegant duets project. Though fashioned in Nashville with the assistance of some the city’s finest musicians and a sprinkling of the genre’s most bankable marquee names, its contents are more widely evocative of the personality of the South.

Case in point is the slightly slowed-down tempo of “Jive Talkin’”, on which Miranda Lambert’s slinky drawl resonates with the Gothic sass of Bobbie Gentry over a loose Muscle Shoals groove. It’s there again in the gospel-flavoured yearning of Sheryl Crow on “How Can You Mend A Broken Heart”, and the homespun delicacy Gillian Welch and David Rawlings bring to “Butterfly”.

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For millions of devotees these songs may already be written in stone, but for Gibb himself the task was to honour the memory of his late brothers Robin and Maurice without reverting to carbon copies. It works like a charm in almost every instance; surrendering his own lead part in “I’ve Gotta Get A Message To You” to Keith Urban results in a thing of beauty that pitches its testifying tent somewhere between Glen Campbell and Otis Redding.

Yet for all the familiarity of hits, the pearl in the oyster is a number that’s relatively unknown. Gibb first recorded “Words Of A Fool” in 1986 for a solo album he shelved due to group commitments. Trading verses with Jason Isbell, Gibb infuses its lyric of heartache and regret with formidable grandeur, an extraordinary hybrid of soulful introspection and country classicism. That it should have lain dormant for so long is puzzling, at a time in the ’80s and ’90s when elder statesmen like George Jones were crying out for material with bite.

Mention of Isbell brings us to a key factor in the power of Greenfields. Producer Dave Cobb’s impressive CV features, in addition to Isbell, high-water mark releases by Sturgill Simpson, Waylon Jennings, Mary Chapin Carpenter, Brandi Carlile (herself a contributor to Greenfields) and Chris Isaak, and in his capable hands the album finds space to breathe and grow.

Whereas the Bee Gees’ own version of “Too Much Heaven” suffered from an overblown sonic template, here he strips it to the core before sparingly adding flourishes that complement rather than overwhelm the intimacy of the voiced pairing of Gibb and Alison Krauss. He pulls off a similar trick on “Run To Me”, building from a near-whispered Carlile intro to the life-affirming crescendo of the chorus, goosebumps-inducing harmonies in full effect. It’s a savvy exercise in identifying the emotive foundations of country while fearlessly seeking out its hitherto untapped possibilities.

Gibb’s last solo set, 2016’s In The Now, came four years after Robin’s death, and was, in its maker’s own words, stylistically geared towards the classic Brill Building pop of Carole King or Neil Sedaka, its songs written in tandem with his sons Stephen and Ashley. It may have been a conscious effort to draw a line under his Bee Gees past, but the huge outpouring of love that greeted his appearance in Glastonbury’s Sunday afternoon “legends” slot the following summer would have served to remind him that there is still substantial mileage in his previous achievements.

The subtitle of Greenfields reiterates that it’s an album celebrating those achievements, which simultaneously illustrates their relevance in the 21st century, the “Vol 1” coda teasing more to come – “I don’t think Barry’s finished with this project yet,” suggests Cobb.

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It’s a very fine thing when a writer and craftsman of Gibb’s standing embraces his own legacy and finds such persuasive ways of embellishing it.

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Uncut’s Best New Albums Of 2020

50 MARGO PRICE
That’s How Rumors Get Started
LOMA VISTA

Recording in Hollywood with Sturgill Simpson in the producer’s chair, the Midwest farmer’s daughter tried her hand at a West Coast pop album for her third LP. Rather than country confessionals, then, here were 10 songs taking in Heartbreakers-esque new wave, gospel and prime Fleetwood Mac. Complete with a more oblique, lyrical voice from Price, the result was another step forward for a musician who respects tradition but has never been shackled by it.

49 GWENIFER RAYMOND
Strange Lights Over Garth Mountain
TOMPKINS SQUARE

A fearsome live performer, foregoing chat for instrumental acoustic guitar intensity, Gwenifer Raymond in 2020 made the album that gave recorded shape to her uncompromising approach. Grown in ambition, if not noticeably in length from her 2018 debut, Garth Mountain drew both on the rabbit skulls and damp moss of British folk horror, and also a compositional wisdom that broadened the horizon of her American Primitive twang.

48 THE NECKS
Three
ReR MEGACORP

Normally, The Necks appear to simply roll up to the studio, record an hour’s music, and roll out. For this entertaining and accessible album, the Australian acoustic improvising trio (“jazz” doesn’t get it somehow) split their work into three 20-minute compositions. “Bloom”, a rattling yet spacious noise, threw back to the mesmeric charms of their classic Drive By. “Lovelock” explored creepier post-industrial ambience, while “Further” again returned to a groovy, percussive chatter.

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47 WORKING MEN’S CLUB
Working Men’s Club
HEAVENLY

Like LCD Soundsystem or Fat White Family before them, this Todmorden collective combine dance rhythms and post-punk awkwardness to fine effect. They were signed as a guitar band, but swiftly reconfigured for this, their debut, with some of its best tracks growing from frontman Sydney Minsky-Sargeant’s electronic demos. With Sheffield legend Ross Orton producing, the likes of “White Rooms And People” and “Valleys” suggested Mark E Smith collaborating with New Order.

46 ROGER & BRIAN ENO
Mixing Colours
DEUTSCHE GRAMMOFON

The brothers Eno have long exchanged music files, but it was only this year that the policy resulted in a full-length album. Obviously with this being an ambient album where all the tracks are named after naturally occurring colours, a part of you possibly imagines that this must be like listening to posh paint dry. In fact, it’s a lovely partnership that harmonises beautifully with recent Brian work – some of the reverberations familiar, but the tunes a pleasing set of frosted miniatures. A companion mini-album, Luminous, was also quietly radiant.

45 BRIGHT EYES
Down In The Weeds, Where The World Once Was
DEAD OCEANS

From the experimental opener “Pageturners Rag” to the gospel-tinged “Comet Song”, the trio’s first record since 2011’s The People’s Key recalled the opulent, unhinged creativity of their magnum opus, 2002’s Lifted…. Among these 14 tracks, there were electronic oddities (“Pan And Broom”), synthy new wave pop songs (“Mariana Trench”) and atmospheric piano ballads, the whole thing tied together by Conor Oberst’s playful, melancholic words.

44 EDDIE CHACON
Pleasure, Joy And Happiness
DAY END

Almost three decades after Charles & Eddie’s “Would I Lie To You?”, the duo’s surviving half returned with this masterful record of adventurous electronic R&B. It’s no grandstanding reappearance; rather, the mood is beautifully low-key, with keyboards warm and woozy, percussion subtle and mostly electronic, and Chacon’s voice tender and emotive. Underlining his status – that of a cult legend finally coming in from the cold – production came from John Carroll Kirby, collaborator with Frank Ocean and Solange.

43 SARAH DAVACHI
Cantus, Descant
LATE MUSIC

In 2020, Davachi offered strong private work from lockdown – her lo-fi “Gathers” cassette a set of site-specific works in progress – and two further EPs, but this album felt like it was the most substantial statement of her year. Geological of pace, these organ/keyboard drones were immersive in scale, contemplative in nature, and joined Davachi’s canon as a deeply empathetic work of haunting secular power. The singing was a new development, which hinted at new avenues to be explored – some of them Lynchian.

42 RÓISÍN MURPHY
Róisín Machine
SKINT/BMG

The former Moloko singer emerged as one of the heroes of lockdown, her exuberant living-room livestream – complete with impressively styled-out pratfall – putting other artists’ acoustic performances to shame. Subsequent album Róisín Machine felt like her definitive statement, a joyous update of classic disco and house manoeuvres, injected with maverick charisma and the emotion of hard-won experience.

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41 KEELEY FORSYTH
Debris
THE LEAF LABEL

As an actor, Keeley Forsyth may be known to you from her appearances in popular dramas like TV’s Happy Valley. Her voice, centre stage in this startling collection of songs, will be less familiar. Powerful and individual, Debris is as otherworldly in sound as Anonhi, but as drawn irresistibly to craggy outcrops as that performer is to the dancefloor. Arranged for string section or discreet laptronics, Forsyth’s songs sit like statuary: starkly and impressively against
the landscape.

40 BRIGID DAWSON & THE MOTHERS NETWORK
Ballet Of Apes
CASTLE FACE

A sometime member of John Dwyer’s Oh Sees, Brigid Dawson delivered in July a solo debut that displayed some of that band’s enjoyment of antique sounds (deep reverbs, sedate organ) but pursued them into far quieter realms. A stately singer-songwriter album poised between folky, countrified and chamber modes, the album in its later stages (check out the title track) expanded out into a warm and reflective jazz.

39 THE PSYCHEDELIC FURS
Made Of Rain
COOKING VINYL

One of the year’s most welcome surprises, the Furs’ first studio album in 29 years was every bit as good as ’80s high points like Talk Talk Talk and Forever Now. Realising that radical reinvention at this point in the career may not be necessary, Made Of Rain brought into focus the band’s gifts for twin saxophone-and-guitar attack, impressionistic lyrics and the wonderfully sardonic delivery of frontman Richard Butler.

38 BONNY LIGHT HORSEMAN
Bonny Light Horseman
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Brought together by Justin Vernon and Aaron Dessner, this collaborative project from Anaïs Mitchell, Eric D Johnson, and Josh Kaufman reinterpreted the traditional songbook for our perilous times. Drawing from English, Irish and Appalachian folk music, the trio recast lover’s laments, war ballads and more as existential, eternal dramas, full of humanity and heartbreak. The trio’s spacious arrangements, harmony choruses and subtle embellishments amplified the songs’ emotional punch.

37 SPARKS
A Steady Drip, Drip, Drip
BMG

“So much now needs addressing,” sang Russell Mael on Sparks’s 24th album. “So much is depressing…” The brothers, unsurprisingly, took it upon themselves to set the world to rights on these 14 songs: their tongue-in-cheek targets included modern technology (“iPhone”), suburban obsessions (“Lawnmower”) and even poor Igor Fyodorovich (“Stravinsky’s Only Hit”). The warmth and humanity at the heart of the Maels’ work, not to mention their operatic, day-glo tunes, ensured that Drip stands as one of the duo’s recent high-water marks.

36 DESTROYER
Have We Met
DEAD OCEANS

Dan Bejar’s 13th album as Destroyer was his most accessible to date, polishing the plush synthpop of 2011’s Kaputt to a glimmering sheen. Lyrically, of course, it remained a postmodern puzzle – “a circus mongrel sniffing for clues” – but once you’d tuned into his frequency, Bejar revealed visions of apocalyptic dread and heart-rending poignancy, all wrapped up in the continuing belief that music is the one true religion, expressed via knowing winks to The Smiths and New Order.

35 SHABAKA & THE ANCESTORS
We Are Sent Here By History
IMPULSE!

Cementing his status as a modern-day jazz kingpin, this is Shabaka Hutchings’ third consecutive entry in Uncut’s annual Top 50, each with a different band. But whereas Sons Of Kemet and The Comet Is Coming pinned you to the wall with their kinetic intensity, this second team-up with South African ensemble The Ancestors was an earthy and solemn affair, Hutchings’ snaking sax providing an insistent counterpoint to Siyabonga Mthembu’s revolutionary poetry.

34 ROSE CITY BAND
Summerlong
THRILL JOCKEY

A solo project by Ripley Johnson from Wooden Shjips/Moon Duo, RCB have mapped the lesser-spotted genealogical link between the road music of German motorik, Canned Heat and trucker country. In this context, this year’s Summerlong felt like an agreeable rest stop, with lazy slide guitars and a nod to funk offsetting the moments – like the dust-kicking “Real Long Gone” –in which Johnson showed off some tidy Bakersfield chops.

33 BANANAGUN
The True Story Of Bananagun
FULL TIME HOBBY

Helmed by Nicholas Van Bakel, this Melbourne troupe are following the tropical psychedelic path hacked out by Caetano Veloso, Gal Costa and others. Their debut showed that they share a manic energy and restless creativity with their compatriots in King Gizzard & The Lizard Wizard, yet their influences also stretched to The Incredible String Band, Fela Kuti and Dorothy Ashby on the turbo-charged “People Talk Too Much” and acid-funk groover “Freak Machine”.

32 THE FLAMING LIPS
American Head
BELLA UNION

After a decade of experimentation, the Lips returned to more graceful, accessible songwriting on their 16th LP. Kacey Musgraves was along for the ride as the group examined what it means to be an ‘American band’; but the album truly succeeded because Wayne Coyne and Steven Drozd were looking back wistfully and openly on their teenage years and the troubles experienced by them and their wayward relatives. Their finest since Yoshimi…

31 AFEL BOCOUM
Lindé
WORLD CIRCUIT

“Our social security is music,” the singer-songwriter told Uncut earlier this year. “That’s all we’ve got left.” On perhaps his finest album, and something of a spiritual follow-up to his 1999 debut Alkibar, Bocoum summoned up Mali’s traditional music to call for unity in his troubled country. With Damon Albarn co-producing, though, it wasn’t all trad: there were electric guitars, Joan Wasser on violin and drumming from Tony Allen in oneof his final performances.

30 CORNERSHOP
England Is A Garden
AMPLE PLAY

Perfectly timed to deodorise an unpleasant waft of bad vibes across the nation, England Is A Garden was the best album in nigh on two decades from this perennially undervalued British institution. Tjinder Singh and Ben Ayers’ winning recipe for
lifting spirits involved a singular combination of flute funk, Punjabi folk and Bolan boogie, topped off with a jaunty ska singalong about racial profiling.

29 SONGHOY BLUES
Optimisme
TRANSGRESSIVE

With producer Matt Sweeney encouraging the band to up the tempos and power, Bamako’s greatest rock group hit hard on their stripped-down third album. The piledriving rhythms and distorted riffs, sometimes akin to Thin Lizzy jamming with Ali Farke Touré, were immediately thrilling, but the melodies and vocals ultimately proved more infectious; meanwhile, the translated lyrics showed Songhoy to be a positive and revolutionary force for change in Mali.

28 LUCINDA WILLIAMS
Good Souls Better Angels
HIGHWAY 20/THIRTY TIGERS

Although Williams returned to live in Nashville this year, her 14th studio album was anything but comfortable: here, recording live in the studio with her road band, the singer and songwriter was snarling and passionate, whether dressing down Trump on “Man Without A Soul” or searching for strength on the closing, seven-and-a-half-minute “Good Souls”, her voice earthier and more emotive than ever. 41 years on from her debut, Williams remains utterly compelling.

27 KEVIN MORBY
Sundowner
MARE/WOODSIST

Hard to imagine a more likeable singer-songwriter mode than that presented by Kevin Morby. On Sundowner, his horizontal and lightly-conceptual sixth, the sometime Woods man inhabits the croon of Nashville Skyline, the bibulous wisdom of Leonard Cohen, even (on “Wander”) the lilt of Kendrick Lamar – all while never endangering his own voice. This was calm and meditative guitar songwriting, quietly focused on the quiet bummer at its heart.

26 ROLLING BLACKOUTS CF
Sideways To New Italy
SUB POP

After the rush of their debut, Rolling Blackouts felt no inclination to slow down. Still dealing in brisk, melodic indie rock, instead the band deepened their impact: the lyrical touches in their suburban dramas more telling; the piling of melodies still more effective. Fran Kearney’s continuing ability to nail formative experience (“Cameo”, “Sunglasses At The Wedding”) grew in confidence, while guitarists Joe White and Tom Russo nailed their first classics.

25 NUBYA GARCIA
Source
CONCORD JAZZ

Acknowledged as a key instigator of the new UK jazz explosion, the Camden-born saxophonist finally got around to releasing her terrific solo debut this year after telling contributions to albums by Maisha, Nérija and others. Her generous, soulful tone already well-established, she set about exploring her Caribbean heritage, deftly folding in elements of dub, soca and cumbia.

24 MOSES SUMNEY
Græ
JAGJAGUWAR

Released in two parts in the first half of this year, Sumney’s second album left behind the muted, stripped-back feel of
his 2017 debut, Aromanticism, for a bold, maximalist explosion of colour. Spanning 20 songs, and featuring contributions from Daniel Lopatin, James Blake and Jill Scott, Græ found Sumney impressively combining his stellar vocals with explosive electronics, avant-garde textures, orchestral and jazz arrangements and moody funk.

23 PAUL WELLER
On Sunset
ISLAND

If the Weller of 2018 continued to draw strength, in his own way, from English folk traditions, string arrangements and what we might call “the Nick Drake vibe”, this year’s model cast the net far wider. Oh yes, there was still “Ploughman”, an oo-arrr Ronnie Lane romp, but elsewhere Wellers past and future collided as he investigated funk and soul, even (on tunes like the great “More”) German motorik. Staunch.

22 FIONA APPLE
Fetch The Bolt Cutters
EPIC/CLEAN SLATE

Eight years after The Idler Wheel…, Apple returned with this loose and magnificent fifth album. With much of it recorded by Apple herself at her Venice Beach home, and featuring copious percussion and the barking of her beloved dogs, …Bolt Cutters was raw and emotive; like, say, Lennon’s Plastic Ono Band, that rough setting proved to be the perfect backdrop for Apple’s dynamic voice and her compelling songs of struggle and hope.

21 JAMES ELKINGTON
Ever-Roving Eye
PARADISE OF BACHELORS

The Chicago-based English guitarist has, like his friend Joan Shelley, found new areas to explore in that most over-mined tradition, acoustic singer-songwriting. On his second solo album, assisted by the likes of Spencer Tweedy and The Weather Station’s Tamara Lindeman, Elkington mixed the swinging picking of Nick Drake and John Renbourn with his own wry and subtle musings. The title track, meanwhile, introduced dronier, more psychedelic leanings.

20 BRUCE SPRINGSTEEN
Letter To You
COLUMBIA

Back with the E Street Band for the first time on record since 2014, Letter To You was – in Steve Van Zandt’s words – “the fourth part of an autobiographical summation of [Springsteen’s] life”, after his memoir, the Broadway show and Western Stars album. The dominant themes here were faith, music and comradeship – delivered in euphoric, stadium-sized chunks by his reinvigorated cohorts. The addition of three previously unrecorded early-’70s songs neatly emphasised the ongoing nature of Springsteen’s musical mission.

19 BRIGID MAE POWER
Head Above The Water
FIRE

Since her 2016 debut, I Told You The Truth, Power has been combining folk music with defiant, confessional songwriting and haunting, musical drones. For her third album, the addition of a modest-sized band brought warmth and extra texture to her songs, blending elements of jazz, country and even psychedelia with her voice – otherworldly, hypnotic and as powerfully transcendent as ever.

18 FRAZEY FORD
U Kin B The Sun
ARTS AND CRAFTS

As a songwriter, the former Be Good Tanya has built upon her intimate version of Southern soul, investing U Kin B The Sun with sun-lit piano-driven grooves and a folk-country lilt. Although this album came freighted with Ford’s personal emotions – the death of her brother, her fractious relationship with her parents, break-ups – her positivity endured. “There is beauty in this world/So hold it any way you know how,” she sang. Amen.

17 SAULT
Untitled (Black Is)
FOREVER LIVING ORIGINALS

Having released two intriguing albums in 2019, the anonymous neo-soul collective – believed to include Michael Kiwanuka collaborator Dean “Inflo” Josiah, plus vocalists Cleo Sol and Melissa “Kid Sister” Young – really seized the day with this urgent 20-track opus, written in response to the killing of George Floyd and released just three weeks later on the Juneteenth holiday. A multifaceted work of elegant defiance, they followed it up in September with the equally essential Untitled (Rise). 

16 STEPHEN MALKMUS
Traditional Techniques
DOMINO

“Top of the bill in Blackpool/Come and see us shred…” The eighth Malkmus album drew deeply and delightfully on some of his own traditional techniques: chiefly wry observation. Elsewhere, though, it curated a virtual festival in British folk-rock circa 1969/70. 12-string guitars, flute and nods to Eastern modes gave the whole a slightly dank Led Zeppelin III vibe that was customarily deadpan and irresistible.

15 FONTAINES DC
A Hero’s Death
PARTISAN

After the bright promise of their debut, the Dublin band’s second album showed a darker flowering of their talents into a rowdy and percussive post-punk. Kudos then to hyperactive FDC singer Grian Chatten – the romantic hero of this particular drama – in particular for locating the melodies that would turn this reverberating guitar abstraction into something epic and memorable.

14 COURTNEY MARIE ANDREWS
Old Flowers
LOOSE/FAT POSSUM

Having spent half a lifetime crafting elegant and delicate songs, the prolific Andrews reached a creative peak with Old Flowers, her seventh album. Ostensibly a break-up record – “you can’t water old flowers” – Andrews delivered her ruminations on lost love against a backdrop of gospel-inflected country-soul. Her message was forgiveness and compassion, delivered with understated grace, her voice moving elegantly from zen-like acceptance to trembling tenderness.

13 TAME IMPALA
The Slow Rush
WARP

Kevin Parker’s journey from slacker guitar burnout to laptop Brian Wilson has been one of the stranger and more enthralling stories of the last decade or so. The first Tame Impala album for five years found Parker almost precisely halfway between Air (1970s soft-rock tunes and diaphanous atmospheres) and Daft Punk (buzzing noises, driving beats). Soft to the touch sonically, the sweetness of the tunes helped the Frank Ocean-style confessionals at Parker’s sad disco slip down even easier.

12 MOSES BOYD
Dark Matter
EXODUS

The title’s double meaning – reflecting Moses Boyd’s interest in both astronomy and the plight of the African diaspora – also alluded to an intriguing duality in the music. Boyd is a producer as well as a virtuoso jazz drummer, and the Mercury-nominated Dark Matter expertly combined fiery live takes with programmed beats and synthy atmospherics. The result sometimes brought to mind ’80s Miles Davis or Jeff Mills’ recent EP with Tony Allen, but with a distinct London edge that tilted towards UK garage and broken beat.

11 JASON ISBELL
Reunions
SOUTHEASTERN

Now seven albums into his solo career, Isbell continued the purple patch that began on 2013’s Southeastern with what might be his richest, subtlest album to date. His loyal group The 400 Unit played a blinder, their performances funky and spacious on opener “What’ve I Done To Help” and sensitive on the atmospheric “River” and “St Peter’s Autograph”; yet it’s Isbell’s songs, both politically and emotionally aware, that were the real jewels here.

10 LAURA MARLING
Song For Our Daughter
CHRYSALIS/PARTISAN

After her exploratory Lump project with Tunng’s Mike Lindsay, Marling tiptoed back to a sort of classicism for her seventh record: while influences include Leonard Cohen on “Alexandra” and Paul McCartney on “Blow By Blow”, the stately sophistication of these 10 songs was testament to Marling’s talents alone. There were no reinventions here, just the songwriter stripped back to the essence of her art.

9 SHIRLEY COLLINS
Heart’s Ease
DOMINO

Eighty-five years young, England’s greatest living folk singer here truly regained the voice that sat dormant for decades, making a record that stood up to her late-’60s and early-’70s marvels. Collins is still an adventurer, too: she tried out a few songs written by her nephew and ex-husband alongside the trad.arr tunes, while the closing “Crowlink” bravely placed her among field recordings and experimental electronic drones.

8 JARV IS…
Beyond The Pale
ROUGH TRADE

Forming a bona fide band for the first time since Pulp’s dissolution in 2002 clearly reinvigorated Jarvis Cocker. On this debut LP, he and his group – including Serafina Steer and Jason Buckle – presented seven epic songs that touched on krautrock, house and dub, and were developed and recorded at live gigs over the past couple of years. Above it all, Cocker examined our cave-dwelling past, the curse of nostalgia and the detritus of broken lives on some of his deepest lyrics.

7 BILL CALLAHAN
Gold Record
DRAG CITY

Many of Callahan’s albums seem to come with difficult labours, but Gold Record, his second album in two years, almost waltzed in, feeling fresh and natural. It’s been an organic transition for the songwriter, now very much the settled and happy family man, and though some may pine for that tortured misanthrope of the Smog years, the likes of “Pigeons”, “Ry Cooder” and “As I Wander” were pinnacles of wry wisdom and storytelling.

6 WAXAHATCHEE
Saint Cloud
MERGE

Sobriety brought Katie Crutchfield back to her Americana roots on this, her fifth album. Like Lucinda Williams, one of her inspirations, here she filtered country through a gnarlier indie lens, singing of her struggles with recovery, growing up and relationships. Eventually, on “Witches”, a lilting, harmony-laden highlight of this subtly phenomenal record, Crutchfield discovered that the struggle is the point of it all.

5 THUNDERCAT
It Is What It Is
WARP

Bass virtuoso and Kendrick veteran Stephen Bruner continued his journey into the furthest reaches of exploded fusion. Seeming to chronicle the boom-bust cycle of a love affair, his fourth album was composed of short pieces (the better, perhaps, to accommodate busy electronica, hard ’70s grooves and sweet soft rock) but visionary and unified in scope, floating on Thundercat’s falsetto and the sweetly candid nature of his lyrics. Joining him on the mind-expanding mission were guest stars Steve Arrington and the idiosyncratic rapper Lil B.

4 DRIVE-BY TRUCKERS
The New OK
ANTI-

Events in 2020 moved so fast that the year needed two Drive-By Truckers albums to tackle them all: The Unraveling in late January and The New OK in December. Both albums were full of fury about the state of America, addressing school shootings, the demonisation of immigrants, the opioid addiction and sundry madness from the American Scream. Following 2016’s American Band, Drive-By Truckers have gone from being a great band to an important one: we need them now, more than ever.

3 PHOEBE BRIDGERS
Punisher
DEAD OCEANS

The finest songwriters develop their own singular voice, and Los Angeles’ Phoebe Bridgers has certainly done that in the six years since her first single. Like, say, Bill Callahan or frequent collaborator Conor Oberst, her musings on sex and death flow organically but with a rare power and playfulness. Her second album Punisher was her strongest work to date, the hallucinatory mix of electronics and eerie chamber folk propelling highlights such as the title track, “Chinese Satellite” and “Moon Song”.

2 FLEET FOXES
Shore
ANTI-

A wonderful surprise, not just because of its sudden appearance on the autumn equinox, but because Robin Pecknold sounded like a man reborn, matching the wide-eyed folksy innocence of the Fleet Foxes’ classic debut to gleaming pop production. Despite lyrics touching on isolation, depression and loss – “Sunblind” paid tribute to Richard Swift, David Berman and others very much missed – Shore was relentlessly sunny and optimistic, a celebration of nature both wild and human.

1 BOB DYLAN
Rough And Rowdy Ways
COLUMBIA

If nothing else, 2020 has proven how resilient music can be. Despite the vicissitudes of the pandemic, hearteningly, good music has found a way to endure – on record at least. As our poll demonstrates, our team of writers have zoned in on the rich seam of creativity running through 2020, finding comfort in familiar friends like Fleet Foxes, Bill Callahan, Drive-By Truckers (twice), Stephen Malkmus and Paul Weller while also searching diligently for the new and innovative: Sault, Nubya Garcia, Sarah Davchi and Bananagun among them. Some songwriters have released their best records yet – Frazey Ford, Brigid Mae Power, Courtney Marie Andrews, Phoebe Bridgers – while artists who we considered newcomers just a short while ago, such as Fontaines DC, Margo Price and Shabaka Hutchings, have settled themselves firmly at our top table.

It is, perhaps, no surprise that the artist who defined 2020 for us was Bob Dylan – hitting the No 1 spot for a record-setting third time in our Albums Of The Year. Heralded by “Murder Most Foul” in March – an elegiac, 17-minute song ostensibly about the assassination of John F Kennedy – Rough And Rowdy Ways was a ferocious, urgent, marauding album that felt almost supernaturally relevant to the present. Arguably, of course, Dylan’s most prized albums have always arrived at fraught moments. But with this, his 39th studio album, he seemed to have found new, invigorating ways of illuminating American history and reflecting it against the present day. The ghosts of the 20th century – Buster Keaton, Walt Whitman and General Patton among them – coexisted with spirits from earlier civilisations, all of whom had something to say, in their own oblique ways, about today. Dylan’s point? History is cyclical; societies emerge, flourish, decline. Not bad going, then, for a man last seen peddling his own brand of whiskey.

What Rough And Rowdy Ways ultimately demonstrated, though, was Dylan’s continuing capacity – as he approaches his 80th birthday – to confound and delight us. Who else is there, this far into their careers, who has that ability? A remarkable achievement; a remarkable album. “The last of the best/ You can bury the rest”, he sang on “False Prophet”. He wasn’t far off.

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BTS get cosy in new ‘on my pillow’ version of ‘Life Goes On’ video

BTS have shared a new version of the video for ‘Life Goes On’, dubbed ‘on my pillow’ – scroll down the page to watch it now.

The band released the new single, along with their latest album ‘BE (Deluxe Edition)’, yesterday (November 20).

  • Read more: Everything we learned from BTS’ blockbuster ‘BE’ global press conference

The ‘on my pillow’ video was filmed in a bedroom in the band’s dorm in Seoul and shows the seven members hanging out on two beds, taking photos of each other and lounging around as they sing the track.

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Like the original version of the video, member Jungkook is credited as director. Watch ‘Life Goes On: on my pillow’ below now.

 

BTS began work on ‘BE (Deluxe Edition)’ after their ‘Map Of The Soul’ stadium world tour was forced to be postponed due to the coronavirus pandemic. It follows their previous record, ‘Map Of The Soul: 7’, which was released in February 2020.

In a four-star review of ‘BE’, NME wrote: “Over seven songs (and one skit), BTS strike the perfect balance between encouragement and reassurance, and sharing in the dark cloud of everyday struggle Covid-19 has cast over us […] When NME spoke to the world-conquering band in August, RM said they were “eager to comfort and give joy to people through our music and performance more than ever”. Mission accomplished.”

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‘Life Goes On’ will be given its first live performance at the American Music Awards tomorrow (November 22). BTS are also nominated for two awards at the ceremony – Favourite Social Artist and Favourite Duo Or Group – Pop/Rock.

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Jarvis Cocker is reviving his Domestic Disco for new UK lockdown

Jarvis Cocker is set to revive his Domestic Disco this weekend as the UK continues its second lockdown.

  • Read more: Jarvis Cocker on his forward-thinking new album: “‘Cool Britannia’ made me throw up”

Back in April, the Pulp frontman span tunes from his living room on Saturday nights, in a bid to entertain fans during the coronavirus-enforced lockdown.

Now, he’s announced that it will return this Saturday (November 14), writing on Instagram: “Searching for something to do on Saturday night? The Domestic Disco returns from 8 – 10pm GMT!

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“More details soon – in the meantime: put it in your diary.”

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Searching for something to do on Saturday night? The Domestic Disco returns from 8 – 10pm GMT! More details soon – in the meantime: put it in your diary (image courtesy @cschoonover) #domesticdisco #dancingformentalhealth #comecelebrate

A post shared by @ jarvisbransoncocker on

In the wake of the first set of Domestic Discos, Cocker shared a mammoth four-hour Spotify playlist comprising of the songs he played during the livestreams.

The Spotify collection includes David Bowie‘s ‘Let’s Dance’, The Cure‘s ‘A Forest’, Happy Mondays‘ ‘Kinky Afro’ and Faithless‘ ‘Insomnia’. Elsewhere are songs from Gary Numan, The War On Drugs, Fleetwood Mac and the late Bill Withers – whose hit ‘Lovely Day’ closes the playlist.

In another attempt to entertain fans during lockdown earlier this year, Cocker followed his Saturday night discos with a Bedtime Stories series on Sunday evenings.

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Speaking to NME earlier this year about the Instagram Live discos, Cocker said: “It was nice because they could send messages to me, but they were also sending messages to each other.

“In the very last one that I did this really bizarre discussion of sausage rolls started. I think that’s why I latched on to it. It really did feel like something real, and the fact that it was happening live was a big thing. It did get a feeling of a collective experience.”

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In Conversation with Biffy Clyro: “We’ve already got a sprawling new sister record coming”

A lot has been written about how Biffy Clyro‘s opulent ninth album ‘A Celebration Of Endings‘, with its theme of everyone having a thorough word with themselves and starting anew after centuries of calamitous shithousery, has proven to be oddly prescient.

“I’m still thinking through an awful lot,” says frontman Simon Neil. “We’re coming to terms with the reality of our lives changing, this virus that’s trying to kill us all. It’s impossible to be unaffected. If you were to try, you’re probably psychotic. If you deny that it has changed your outlook, you’re probably psychotic.

“There’s no way that it couldn’t feed into any piece of work that anyone is making in this world right now.”

It’s hardly any wonder then, that as soon as ‘A Celebration Of Endings’ was in the can, the band were already fired up and inspired enough to crack on with another record. While the dust hasn’t even settled on their ninth opus (currently sitting at Number One in the midweek album charts), Simon Neil sat down with NME to talk to us about his plans to have four new albums finished by the end of the year (and how he’ll be on the long road to Eurovision).

So, you’ve got another new album written then?

Simon: “We’ve got 15 songs that didn’t make the album that we’re going to record as soon as possible. The plus side of not touring is that we can go straight in and make music.”

What do the new songs sound like?

“Some of them are like, right electronic. There are a few that just BIG. We’ve got this song called ‘Slurpy Slurpy Sleep Sleep’, that’s just one of those rhythms you can listen to all night and makes me feel so good. There will be a different aim to that record from ‘A Celebration Of Endings’. I want it to be a bit more sprawling and a little bit less, song-y.”

Biffy Clyro, 2020. Credit: Ash Reynolds
Biffy Clyro, 2020. Credit: Ash Reynolds

So they’re going to be pretty nuts?

“They’re not all weird, it’s just the way that they fall in. The thing about the second wave of songs that don’t make an album is that I don’t work on them as much, so they have less shape. Musically, I like the songs being a bit less sure of themselves rather than taking them to their logical conclusion. Going into something like this, away from the usual machinery, it’s pure creative spaff. I wish I’d chosen a better word… it’s pure joy. It’s the opposite of being conscious of it. Music can become complex in your career, but it shouldn’t be. The actual act of it should be as simple as it’s always been.”

How do the lyrics relate to your recent material?

“I will definitely rewrite those lyrics. I wouldn’t have done that before, but I’ve definitely got a lot more to say and I’m not going to apologise. It’s not even politics we’re talking about, it’s just decency. What do you want the next generation to have? Let’s give them something to work for – something to potentially try and achieve rather than everything being dead on arrival. You can’t get a job, there’s no point in studying, there’s nothing at the end, no opportunities, no money, no houses. It’s like, fucking hell – it does my head in.”

Would you call it a sister record to ‘A Celebration Of Endings’?

“It will be a sister record, and it will be called something like ‘A Commemoration Of Commiserations’ or something like that.”

The Atmosphere and The Duke of Marmaduke Duke performs on stage on the last day of Leeds Festival at Bramham Park on August 30, 2009 in Leeds, England. (Photo by Gary Wolstenholme/Redferns)

How are things progressing on the long-awaited new album from your side project, Marmaduke Duke? 

“We’ve still got three songs to do, but it is coming. We’ll go in and record the new Biffy stuff, then we’ll move on to the Duke. By the end of this year, I’m going to have four new records done.”

Four new albums, eh?

“Yeah, so we’ve got the new Biffy record, Marmaduke Duke’s ‘Death Of The Duke’, then we’ve got Tippie Toes which is a mong-ageddon drone project where you can just take some valium and chill out, and then a grindcore extreme metal album called ‘Empire State Bastard’. Honestly, it’s the one thing getting me through not touring – just knowing I can spend the year making new music.”

Sounds like you’ve been busy. Any other lockdown hobbies you’re not telling us about?

“I’ve been trying to learn how to sing the opera song, ‘Nessun Dorma’ – made famous by Pavarotti. There was a programme on at the start of lockdown where it was talking about this being played a lot during some World Cup. I kept hearing this song and it grew on me. It’s one of the most beautiful pieces of music that I’ve ever heard. I think I have the tone and can go that bellow. I’ve given myself the challenge to be able to sing ‘Nessun Dorma’ in a Pavarotti style, top to bottom without looking at the lyrics.”

How wonderfully unexpected. 

“I like putting myself in these positions where I’m like, ‘I should never be doing this, so this is what I’m going to do’. I don’t just want to do the same shit. Every time between records, I want to do something that’s fucked up and off the wall. It brings me back to Biffy and I’m more in love with it now than I’ve ever been.”

Reckon next year you’ll also be working towards your dream of performing at Eurovision?

“I fucking better be. Everyone thinks I’m joking about that. When we made the second Duke record, we were on Warners [record label] and wanted to promote it in the weirdest fucking way possible. I just had my epiphany about Eurovision. That’s one of my dreams. We have the song ‘Je Suis Un Funky Homme’ that’s French and has the German line ‘Du hast der grosse schwitzen‘ (“You sweat the big one”), plus English – we nailed it. If we went on, I would need to get Finland in there, Greece, Italy, it would be a beast.”

Maybe Scotland will have separated from the UK by then and you’ll stand more chance of winning?

“Yeah, they might not hate as much if we’re not from the UK. What I will say is that did you know that Scotland’s national animal is a unicorn? It’s on the passports. We believe. We dream.”

So for your headline slot at Download festival you could perform with four bands and an opera and do some Eurovision choreography?

“Yes, I know I’ve made a huge rod for my own back today, but fuck it. I’m not doing anything else!”

Watch the full In Conversation video interview above, as Neil also opens up about saving music venues, politics, perseverance and partying at the legendary Pikes Hotel in Ibiza.

‘A Celebration Of Endings’ by Biffy Clyro is out now. 

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The Jayhawks XOXO

It is 35 years, give or take, since The Jayhawks formed in Minneapolis. It cannot have seemed, at the time, a likely long-term endeavour. In a city whose mid-’80s rock’n’roll soundtrack was being furnished by local punks like The Replacements, Hüsker Dü and Soul Asylum, the establishment of a country band dedicated to chiming choruses and soaring sunshiney harmonies was a spectacularly headlong windmill-tilt.

But all those years later, here The Jayhawks still are, and with an album that is certainly no worse than any of its 10 splendid predecessors, and that might age well enough to rank among their best. XOXO is the result of a recalibration of The Jayhawks’ internal dynamics: Gary Louris, The Jayhawks’ primary singer and songwriter, decided to open the floor to his colleagues. Though all have contributed to the writing before now, no previous Jayhawks album has been quite such a team effort in this respect. Only two tracks are credited solely to Louris. On six tracks, he isn’t credited at all. Lead vocal duties are shared.

This wasn’t ever likely to result in an upending of The Jayhawks’ aesthetic: bassist Marc Perlman has been with them since the start, and drummer Tim O’Reagan and keyboardist Karen Grotberg both date the beginnings of their service back to the mid-’90s. However responsibilities are divided, if these four people make a record, it’s going to to sound like a Jayhawks record. In terms of other Jayhawks records, then, XOXO probably has most in common with the big pop sound of 1997’s Sound Of Lies and the fretful country-rock of 2003’s Rainy Day Music: at the moments when
that balance is most adroitly negotiated, XOXO sounds something like a classic.

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Opening track “This Forgotten Town” sounds, therefore, even more like a declaration of intent than it normally might. Lead vocals are swapped between Louris and O’Reagan, and the song itself sounds something like a cut-and-shut between The Jayhawks of Hollywood Town Hall (choogling Creedence Clearwater Revival country verses) and The Jayhawks of Sound Of Lies (ecstatic, harmony-drenched Gerry & The Pacemakers-variety choruses; it does not feel insignificant that the cover image is Duncan Hannah’s “The British Invasion”, depicting a beehive-bouffanted 1960s pop fan contemplating her copy of The Zombies’ “Tell Her No”).

XOXO is sequenced a bit like a set by a nervous group preparing to play to an audience unfamiliar with them: The Jayhawks have massively frontloaded the irresistible tuneful bangers. O’Reagan’s “Dogtown Days” is a gleeful powerpop stomper, swaggering like Big Star and as hook-happy as Cheap Trick. Louris’s “Living In A Bubble”, following that, does have a point that it wishes to make – it’s a rumination on the information overload that is the default condition of 21st-century humanity – but it’s wedded to a jaunty honky-tonk piano backing that recalls one of Randy Newman’s sardonic country tunes, or even Gilbert O’Sullivan at his less vexingly twee.

The gear is shifted into the rest of XOXO by Grotberg’s “Ruby”, a stately, solemn ballad that resembles something Lynn Anderson might have sobbed through during Nashville’s golden age. There are a few tracks that almost sound like they were written in the hope that Billy Sherrill or Al De Lory could have been resurrected to produce them. “Bitter Pill”, a wistful, mid-paced lament led by Louris, sounds like it wandered in from an early-1970s Glen Campbell album. “Homecoming”, another Louris tune, convincingly evokes the cosmic country of Gene Clark’s early solo efforts.

During The Jayhawks’ first decade – and during a brief and apparently unhappy reunion around 2011’s Mockingbird Time – the key dynamic of the group’s sound lay in the tension between Gary Louris’s rock instincts and the gentler predilections of co-founder Mark Olson. It’s entirely to The Jayhawks’ credit that, rather than huddling permanently around the vision of one member, they’ve ended up with a broader range than ever, and sufficiently confident to rouse their dormant inner Fleetwood Mac on the unapologetic roof-down AOR of “Little Victories” and to dispense with percussion entirely on the full-blown coffee-shop folk of “Down To The Farm”.

After 35 years, give or take, The Jayhawks just about deserve to be thought of as a genre unto themselves: a sweet and glorious synthesis of all the Americana music of their time, and from some time before that. XOXO is, astonishingly and hearteningly, the sound of a group still finding new ways to be themselves.

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Billy Bragg on Glastonbury and activism: “The idea of the younger generation not being political has gone in the dumpster”

“What I really love to do at Glasto is walk around with a great big bag of doughnuts, looking at weird stuff that I’ve never seen before,” Billy Bragg tells NME about what he’s missing the most about Worthy Farm, and his plans to fill that Glastonbury-shaped hole in his life this weekend. “Maybe I’ll sit around the campfire, and play some loud dance music from the living room with the windows closed so I can get that damp ‘doof doof doof’ sound in the distance.”

As LeftField stage where music and politics combine for punters to “recharge their activism”, Bragg has become part of the fabric of the festival – like the mud, the drop-toilets, Michael Eavis’ infectious grin and those blissful sunrises at the Stone Circle. While having to ‘Glasto At Home’ like the rest of us, Bragg isn’t resting on his laurels. As well as recording a cover of Taylor Swift in tribute to this year’s headliner for NME, Bragg also took the time to talk to us about alternative ways to stay engaged, the current political climate, new music, and his favourite Glastonbury eateries.

Hello Billy. You must be feeling quite inspired at the moment, what with the way the world is falling apart and all?

Billy: “Yes, with the world falling apart some things stay in place. There’s always something to write about, but particularly at the moment. Whether it’s the pandemic and the implications of that, the ramifications of the killing of George Floyd, you know. I came into politics through Rock Against Racism, and I’ve seen things I never thought I’d see – in terms of the way that the younger generation has reacted. The idea of them not being political has gone in the dumpster.”

Does it feel like real and positive change is possible at the moment?

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“Yeah, because I think people are taking it into their own hands. The toppling of the Colston statue in Bristol was remarkable in the sense that police stood there and didn’t do anything about it. I saw a senior officer from Bristol say that you have to understand the context of these things. Jeez, I’ve never heard the police say that before. Even the police recognise that something has changed.”

Billy Bragg (Photo by Brill/ullstein bild via Getty Images)

Do you feel that’s more widespread than before?

“There’s been a change in perception, and that can be transferred to the way that people react. When we were doing Rock Against Racism, we were campaigning against The National Front. You know, ‘Look at those bad people over there, let’s campaign against them’. The implications now are that racism is not necessarily just about bad people, but the structure of society. The way that the white majority see the world is part of the problem. White privilege becoming visible will hopefully lead to some greater understanding.”

Naturally Glastonbury and activism go hand in hand. What do you think the dialogue would have been about this year?

“Well we have recorded two panels to talk about what’s going on. One of Left Field’s panel curators John Harris from The Guardian has put together one concerning activism during the pandemic and how communities organise themselves to ensure that people are fed and looked after, and Rosie Rogers from Greenpeace has done one about where we go from here. We recorded them last week so they’re pretty up to date about what’s been happening.”

 

Anything else in particular about Glastonbury that you’re really missing?

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“Near our stage last year was a place called Crumble Shack, which only served different types of crumble dessert. I just lived on that all weekend. You can see it from the stage so I just kept giving them a shout-out and they kept giving me free crumble. It was heaven for me. I must have put on three or four pounds last year.”

Any other underrated Glasto spots that you’d like to give a shout out to?

“Another one of my favourite places is Rosie’s Tea Room. I’m shit in the morning without a cup of coffee, but theirs is great. I remember going there the morning of the Brexit result in 2016 and there were two young blokes there going, ‘What you gonna do about it mate?’ It was before my coffee and I was like, ‘What am I gonna do? What are you gonna do? I’ve been to Europe, I’ve had the benefit of EU memberships, your generation are the ones who are fucked – what are you gonna do?’ That’s why I’m really encouraged to so many of them out there on the streets recently.”

That Brexit morning at Glastonbury was a very dark one. 

“I remember coming out of our dorm at Glastonbury and hearing on the radio that Brexit happened and that David Cameron was stepping down. Singer-songwriter Will Varley was sat there with his head in his hands and said, ‘I’ve got about five or six songs that mention David Cameron – what am I going to do?’ I said, ‘Don’t worry mate – Boris Johnson is the same amount of syllables – just put him in and you’ll be fine’.”

Are you looking forward to another three years of Boris Johnson being in charge

“Not really. I’m hoping that we might be able to do something about him before then. I think Brexit could still blow up in their face. Brexit forces them to choose between what the Conservatives laughingly thought were the two pillars of their ideology; free trade or sovereignty? You can’t have both. I’ve seen nothing in Boris Johnson’s handling of the COVID crisis to suggest that Brexit will be anything other than a slow-motion car crash. But, at least we’ve got Taylor Swift on our side now – which we didn’t have before!”

Taylor Swift, Emily Eavis and Billy Bragg at the NME Awards 2020. Credit: Dean Chalkley/NME

You’ve described Taylor Swift as a ‘kindred spirit’? 

“I didn’t quite take on board that I’d be presenting with Taylor Swift at the NME Awards, I don’t know why. I felt before I met her that she was trying to use her platform in a more constructive way. You could tell from the types of song she was writing. Since she started Tweeting about Black Lives Matter, it’s very clear where she stands. At the awards she said to me, ‘I really respect what you do’, but I said, ‘I’m Billy Bragg and I’m supposed to, it’s when you and someone of your stature does it that it has the possibility to make a real difference – so more power to you’.”

Would you have been angling to join her on stage at Glastonbury this weekend?

“No, I don’t think I’d have fitted in with her act! But I’d have loved to have invited her down to the Left Field. We’ve got a nice area to hang out backstage, hot showers and free cups of tea. If that isn’t socialism then I don’t know what is. She’d fit right in. Maybe another time.”

How do you feel about not being able to play live for a while?

“I think the number of people doing online gigs is interesting. I wonder if there will still be a space for that when all of this is over, and whether people will be willing to pay for and participate in. When I see the way people are doing these things, it reminds me of the original spirit of Glastonbury festival because it’s all pretty ad-hoc. Glasto was just people doing something to see how it would feel. You know, come down, get some free milk, park anywhere, relax, see what happens.”

But nothing can replace that real Glastonbury feeling?

“No. There’s an emotional solidarity in being in a crowd and all singing the same song together. You come away feeling like you’ve been lifted up. That’s why people sing in church, that’s why people sing at football matches – because you’re sharing an emotion. Music doesn’t have agency to change the world but it can change how you feel. It’s about empathy. We can’t just dismiss it as entertainment. When we come out the other side of this, I think we’ll appreciate these things a lot more.”

‘The Best of Billy Bragg at the BBC’ is out now.

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Taylor Swift says US census erases transgender and non-binary people

Taylor Swift has spoken out about the US census, saying it erases transgender and non-binary people.

  • Read more: “We should be together”: how the LGBTQ+ community is trying to mark Pride 2020

The census collects data on every person living within the United States and its five territories, Puerto Rico, the US Virgin Islands, Guam, the Northern Mariana Islands, and American Samoa.

During a speech for Pride Live’s celebration of Stonewall Day, Swift called out the makers of the census for only offering two gender options. “I got my census the other day and there were two choices for gender, there was male and female,” she explained. “And that erasure was so upsetting to me, the erasure of transgender and non-binary people.

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“And when you don’t collect information on a group of people, that means that you have every excuse in the world not to support them. When you don’t collect data on a community, that’s a really, really brutal way of dismissing them. So obviously we all need to exercise our right to vote this year, we need to check out our absentee ballot policy in our states, and we need to make sure that we elect people who care about all communities.”

Earlier in her speech, Swift had highlighted some progress for the LGBTQ+ community, as well as emphasising the work still to be done. “We had a really good step forward recently with the Supreme Court ruling based on discrimination based on sex,” she said. “But we still have so far to go in terms of equality and protections for LGBTQ people and people in the trans community. The Equality Act has still not been passed and that needs to happen.”

Watch Swift’s speech in full above, from approximately 1:07:04.

Swift has been outspoken on a number of issues lately, including the need to dismantle statues to racist figures, the Black Lives Matter movement and more. Earlier this month, she announced she would be giving her employees Juneteenth off “from now on” and pledged to “never let privilege lie dormant”.

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Meanwhile, the pop star recently shared a video of her performing ‘Cornelia Street’ at her ‘City Of Lover’ concert, which took place in Paris in September 2019. The entire gig was previously released as a concert film on Hulu and Disney+.

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Watch Taylor Swift perform ‘Cornelia Street’ at her one-off Paris concert

Taylor Swift has shared a video of her performing ‘Cornelia Street’ at her special 2019 gig in Paris – watch it below.

The gig, dubbed ‘City Of Lover’, was Swift’s first live performance in support of her latest album ‘Lover’, and has recently been released as a concert film on Hulu and Disney+.

  • Read more: Taylor Swift’s The City of Lover concert: an intimate celebration of her fans and career

Until now, no footage from the show has been widely available to view, though, and the ‘Cornelia Street’ performance is the first taster of the film to make it to YouTube.

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Watch the performance below.

Reviewing the Paris gig, which saw Swift play acoustic versions of tracks from ‘Lover’ and beyond, NME wrote: “The lyrics to each song – even those that have only been out a few weeks – are bellowed back to the singer, and revellers hush one another while Swift is talking so they can hear her better.

“Other personal touches include a ginormous screen showing messages that fans had written, and LED wristbands that flicker and flash in sync to the music.”

Taylor Swift has postponed all her 2020 tour dates behind ‘Lover’ due to the coronavirus pandemic. The run of dates were set to include a headline slot at Glastonbury, a huge London gig at BST Hyde Park and her own US festival called Lover Fest.

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Swift has been vocal in her support of the Black Lives Matter movement in the last month, marking Juneteenth celebrations last week (June 19) by promising to be “loudly and ferociously anti-racist” in the future, and to “never let privilege lie dormant”.

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Kendrick Perkins Calls Out NBA Owners For Lack Of BLM Support

Kendrick Perkins isn't impressed with the NBA's response so far.

Following the death of George Floyd at the hands of the police, protests erupted all across the country and they are still ongoing in some areas. Numerous sports leagues have taken a stand against racial injustice, including the NFL which plans to donate $250 million over the next 10 years as a way to combat systemic racism. Even the NBA has spoken up about racism as Adam Silver sent a memo to all of its teams.

However, not every NBA owner has come out and said something. Some figureheads like James Dolan have proven to be dormant in this time of need and this isn't sitting right with retired player Kendrick Perkins. During an appearance on ESPN's First Take, Perkins blasted the NBA's owners for not speaking up more and noted that it sets a bad example to the players who are hoping for some leadership and solidarity.

What makes this even more interesting is the fact that the NBA is expecting players to report to Orlando next month for the resumption of the NBA season. Some players have expressed wariness about returning to action as they don't want to distract from all of the protests that are going on.

With this in mind, things could get very interesting over the next few weeks.

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The Best Young Thug & Chris Brown Lyrics On "Slime & B"


On their collaborative album “Slime & B,” Young Thug and Chris Brown have attempted to redefine twenty-first-century love as we know it.

Hip-hop is for lovers, or so the story goes. At least, such is the case for our latest band of wistful heroes –Young “Slime” Thug and Chris “B” Brown– two gentlemen who have taken to roaming the world in a Bill & Ted-esque fashion on a seemingly endless quest to satiate their unquenchable hearts. As it happens, the recently released Slime & B marks a first-hand documentation of said journey. One that reveals deeper insight into what makes our heroes tick, their vices and desires alike. Sometimes, their desires are their vices. 

Take Thugger for instance, a man of material means. For him, he wears his fortune like a peacock wears its feathers. One glimpse of the coupe and the deal has already been half-sealed, as he tells it. Next thing you know, your girlfriend has become a master of disguise, a veritable adulterous Dana Carvey.

Look at her stare at the coupe when I’m droppin’ the top for the sky
I hit your lil’ bitty bitch, got her running around disguised
I got a coupe, cost a million, I bungie that bitch when I ride

– Go Crazy

While Thugger tends to use his net worth as a means of whittling down his prospects, his compatriot Breezy understands the inherent dangers posed by living a lavish lifestyle. Especially when romantic prospects can’t be fully trusted to form the connection he professes to seek. Yet he doesn’t seem to mind, as his desire for x-rated debauchery has never once been dormant.

Hoes on my phone when they find out that I’m rich
Then they switch when they see I’m choosin’ on my bitch
Top down, got her doin’ donuts on the dick, yeah 

– Go Crazy

The Best Young Thug & Chris Brown Lyrics On "Slime & B"

C Flanigan/Getty Images

On that note, it’s clear that Thug places the utmost value on physical attraction, lining damn near every verse with heightened sexuality. Even when he runs the risk of revealing Too Much Information, his imagery is so undeniably evocative it borderlines on absurdist comedy. Sometimes, he comes off like Jim Carrey in the elevator scene in Liar Liar, dealing in a blunt and smutty directness that leaves nothing to the imagination. 

Nuttin’ three or four times
Automatic drapes gonna wake you, no blinds
You’re my mommy, yes I know, ma
Someone call the officer, lift the blouse on her

– Help Me Breathe

Yet even he has his limits — tempting though it may be to dete from them in the heat of the moment.

I had to pay her tuition, the way this lil’ baby was suckin’ my nuts
I gotta keep this shit pimpin’, man I’m never fallin’ in love with a slut

– I Got Time

In fact, though Thug seems to appreciate a night of bawdy hedonism, his “relationship goals” are far more straightforward. He simply wants somebody he can relax with, someone to fall back on after a whirlwind evening on the town with Breezy. For those moments, he remains unafraid to drop his front, demanding to be respected even at his most slovenly. 

Lovin’ skills, I need some lovin’ skills
Left my dirty drawers and you love me still
Eyes come lazy, but she is real 
Dressed to kill , we can bump bump til you’re tired

– Go Crazy

The Best Young Thug & Chris Brown Lyrics On "Slime & B"

Kevin Mazur/Getty Images

Though both men seem to enjoy the thrill of enacting pornography on a nightly basis, to the point where Thug actually requested to have “pussy” on his rider at all times (“Trap Back”), it should be noted that Breezy possesses the foresight to understand the inherent dangers in seeing such a lifestyle run to its conclusion. Cautionary reflections ring all the more profound when paired with a melancholic guitar-driven beat. True, that doesn’t mean he intends on taking preventative measures, but as they say, knowing is half the battle.

Poppin’ bottles in the club
Fuckin’ models, doin’ drugs
And I can’t do this anymore
I feel like an animal

– Animal

And never forget, as pointed out by the likes of Pat Benetar and Jordin Sparks, that love can and will feel like a battlefield at times. Breezy may make the sunnier side of the journey seem like a rollicking good time, but he’s not about to sugarcoat those inevitable dark days. Remember how frivolously Young Thug seemed to boast about turning taken women into disguise donning cheaters? It’s no coincidence that Breezy’s most brutally honest moment of musings finds him invoking similarly disguise-centric language — might he not have been on the receiving end of a similar tactic? Live by the sword, and so on.

You took my sanity, I got no peace of mind
Overdrawn on my memory, bank can’t buy back my time
But you tryna cap though, talkin’ ’bout you layin’ low
When you switch on n***s like you change clothes

– Stolen

Like many stories in the midst of being told, we have yet to see a proper ending on the horizon. As of now, Slime & B paints a picture of two men eager to settle down and find romantic stability — though the constant temptations that frequently arise as a result of their chosen lifestyles make doing so more difficult than it needs to be. But given the joy, they seem to derive from engaging in uninhibited sexcapades, we’d be fools to shed tears for these would-be romantics. If the joyous sounds of their first debut album are any indication, they’ll figure it eventually. 

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Eminem Vows "Sweet Revenge" On Jessie Reyez


Following the conclusion of their unofficial trilogy, Eminem and Jessie Reyez look for some bloody closure on “Coffin.”

Eminem has never been one to shy away from violence, especially when deep in the throes of passion. Though he’s certainly been doing his best, it would appear that his newfound collaborator Jessie Reyez has awakened some of his long-dormant demons. Together, the pair of dysfunctional musical lovebirds sparked a three-part series closer in spirit to Park Chan-Wook’s Vengeance trilogy than your average-run-of-the-mill love song barrage.

Eminem Vows "Sweet Revenge" On Jessie Reyez

Dave J Hogan/Getty Images 

On Kamikaze, Eminem introduced the couple and their woes on the back-to-back tandem of “Nice Guy” and “Good Guy,” the latter of which found Reyez brutally murdering Slim in a desperate attempt to escape their toxic relationship. Should you wish to see the macabre scene play out, check out Em and Jessie’s “Good Guy” video right here. Closure, it would seem — that is until Jessie Reyez dropped off her debut album Before Love Came To Kill Us, which found Eminem rising from the grave to seek his revenge on “Coffin.”

Naturally, the cinematic scenario is tailor-made for the visual treatment, and it looks like we’ll be receiving exactly that. Eminem took to Instagram to share what appears to be a screenshot from the climactic visuals, teasing his return from the proverbial dead. “Forever the #GoodGuy,” writes Em, alongside a playful heartbreak emoji. “@jessiereyez killed me on #Kamikaze and now I’m gettin’ sweet revenge!” 

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PJ Tucker To Open Up His Own Sneaker Store In Houston: Report


Coming to Houston this Fall.

It appears PJ Tucker is looking to turn his passion for sneakers into his next business venture. On Saturday night, the Houston Rockets forward decided to join an IG Live session with Nate Robinson and announce that he’s planning on opening up his own sneaker store in Houston later this year.

“I’m actually, which I can confirm now, opening my store,” Tucker reportedly said. “We’re looking at grand opening in October. We’ve got a lot of dope collabs coming. We’re going to have some fun with it, and I’m excited about that.”

PJ Tucker To Open Up His Own Sneaker Store In Houston: Report

Pascal Le Segretain/ Getty Images

Tucker is looking to bring new perspective to the city of Houston where he has felt most at home in the NBA. Although the shop’s physical location hasn’t been revealed, a dormant @TheBetterGeneration Instagram account has already been created, hinting at the stores name.

“The shoe culture in Houston is cool,” he said. “There’s a lot of sneakerheads and a lot of people that love shoes here — a lot more than I thought. … I just think there should be more activity.”

Not much else is known about the shop at this time as its still in the early stages, but we’ll keep you posted once more info gets unveiled.

 

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Here’s What’s Coming To Hulu In April: "Parasite," "Kill Bill," & More

Hulu prepares for the copious amount of streaming to come with the onset of social distancing. Here's the list of what's joining and leaving the platform in April.

Hulu is armed and ready for the millions of subscribers who will be tucked away in self-quarantine for the foreseeable future in response to the Coronavirus. For the month of April, the streaming service is adding a surplus of noteworthy films and TV shows for your amusement. 

Here's What's Coming To Hulu In April: "Parasite," "Kill Bill," & MoreKevin Winter / Getty Images

The list is spearheaded by this year's Academy Award winner for Best Picture, Parasite. Bong Joon-ho's newest film is a welcome critique of class structure and income inequality told through the juxtaposition of two families in South Korea.

Parasite is far from the only highlight.  Providing support are both Kill Bill: Volume 1 and Kill Bill: Volume 2ZombielandRisky BusinessMisery and more. 

As for what is leaving Hulu by the end of April, 28 Days Later, National Lampoon’s VacationThe Tenant and others will all be gone by April 30th. Make sure to stream them beforehand. 

Check out the full list of what's being added and what's being removed from Hulu in April below courtesy of Uproxx.

Available 4/1
Kabukicho Sherlock: Complete Season 1 (DUBBED) (Funimation)
60 Days In: Narcoland: Complete Season 1
90 Day Fiance: Happily Ever After?: Complete Season 4
Alone: Complete Season 6
Breaking Amish: Complete Seasons 2 & 3
Bring It!: Complete Season 5
Chopped: Complete Season 36
Cutthroat Kitchen: Complete Season 12
Dance Moms: Complete Seasons 2 & 6
Diners, Drive-Ins, and Dives: Complete Seasons 27 – 29
Dr. Pimple Popper: Complete Season 3
Fast N’ Loud: Complete Season 13
Fixer Upper (How We Got to Here: Looking Back on Fixer Upper): Special
Forged in Fire: Complete Season 6
Gold Medal Families: Complete Season 1
Hidden Potential: Complete Season 1
House Hunters: Complete Season 120
Kids Behind Bars: Life or Parole: Complete Season 1
Little Women: Atlanta: Complete Season 5
Little Women: LA: Complete Seasons 7 & 8
Love It or List It: Complete Season 14
Married at First Sight: Complete Season 9
Marrying Millions: Complete Season 1
Property Brothers: Complete Seasons 10 & 11
Taken at Birth: Complete Season 1
The Family Chantel: Complete Season 1
The Food That Built America: Complete Season 1
The Kitchen: Complete Seasons 16 – 18
Til Death Do Us Part: Complete Season 1
TRANsitioning: Complete Season 1
The Ant Bully (2006)
Bangkok Dangerous (2008)
Bend It Like Beckham (2003)
Blazing Saddles (1974)
The Book Of Eli (2010)
The Boost (1988)
The Chumscrubber (2005)
Diary of a Hitman (1991)
Dr. Seuss’ Horton Hears a Who (2008)
Dr. T. and the Women (2000)
The Eternal (1998)
Free Birds (2013)
The Full Monty (1997)
Fun in Acapulco (1963)
Gator (1976)
Get Smart (2008)
Gods and Monsters (1998)
Gorky Park (1983)
Hud (1963)
Kill Bill: Volume 1 (2003)
Kill Bill: Volume 2 (2004)
The League of Extraordinary Gentlemen (2003)
Let Me In (2010)
Madagascar: Escape 2 Africa (2008)
The Mexican (2001)
Misery (1990)
Moll Flanders (1996)
Phone Booth (2003)
Repentance (2014)
Risky Business (1983)
Romancing the Stone (1984)
The Jewel of the Nile (1985)
The Sender (1982)
Shirley Valentine (1989)
Spider-Man (2002)
Trapped: The Alex Cooper Story (2019)
Victoria Gotti: My Father’s Daughter (2019)
Who Let The Dogs Out (2019)
The X-Files: I Want to Believe (2008)
Zombieland (2009)

Available 4/3
Future Man: Complete Final Season (Season 3)
Your Pretty Face is Going to Hell: Complete Season 4
Siren: Season 3 Premiere

Available 4/6
Too Cautious Hero: Complete Season 1 (DUBBED) (Funimation)

Available 4/7
No Guns Life: Complete Season 1 (DUBBED) (Funimation)

Available 4/8
Parasite (2019)

Available 4/9
Who Wants to be a Millionaire?: Series Premiere
Kono Oto Tomare!: Sounds of Life: Complete Season 2a (DUBBED) (Funimation)
Little Joe (2019)

Available 4/10
Real Housewives of Potomac: Complete Season 4

Available 4/12
My Little Pony: Friendship is Magic: Complete Season 9B
My Little Pony: Friendship is Magic en Español: Complete Season 9B

Available 4/14
The Bachelor: Listen to Your Heart: Series Premiere
The Baker and the Beauty: Series Premiere
Songland: Season 2 Premiere
Vault (2019)
Unlocked (2017)

Available 4/15
Mrs. America: Series Premiere (FX on Hulu)
The Masked Singer: Sing-Along Spectacular: Special
A Teacher (2013)
The Messenger (2009)

Available 4/16
What We Do In The Shadows: Season 2 Premiere
Harry Benson: Shoot First (2016)

Available 4/20
Paranormal Activity 3 (2011)
A Kind Of Murder (2016)

Available 4/22
Special-7: Complete Season 1 (DUBBED) (Funimation)

Available 4/23
Cunningham (2019)

Available 4/24
Abominable (2019)

Available 4/29
Footloose (2011)

Available 4/30
2020 Billboard Music Awards: Special

Available with the STARZ premium add-on:
The Accused (1988) (4/1)
Cadillac Man (1990) (4/1)
Diana (2013) (4/1)
Dude, Where’s My Car? (2000) (4/1)
Finding Steve McQueen (2019) (4/1)
The Forgotten (2004) (4/1)
My Bloody Valentine (1981) (4/1)
Nanny McPhee Returns (2010) (4/1)
Nutty Professor II: The Klumps (2000) (4/1)
The Nutty Professor (1996) (4/1)
Original Sin (2001) (4/1)
Paranormal Activity (2009) (4/1)
Showtime (2002) (4/1)
Snatch (2000) (4/1)
Spider-Man (2002) (4/1)
Spider-Man 2 (2004) (4/1)
Superstar (1999) (4/1)
Surf’s Up (2007) (4/1)
Undercover Brother (2002) (4/1)
WarGames (1983) (4/1)
Zombieland: Double Tap (2019) (4/3)
The Comedian (2017) (4/4)
Irrational Man (2015) (4/4)
Lady in the Van (2015) (4/4)
Where’s My Roy Cohn? (2019) (4/6)
Garden State (2004) (4/10)
Hellboy (2004) (4/10)
Napoleon Dynamite (2004) (4/10)
Night at the Museum II: Battle of the Smithsonian (2009) (4/10)
Rent Due (2020) (4/10)
The Sandlot 2 (2005) (4/10)
The Sandlot (1993) (4/10)
Funny People (2009) (4/16)
Overcomer (2019) (4/17)
The Animal (2001) (4/17)
Bachelor Party (1984) (4/17)
Bulworth (1998) (4/17)
Butch Cassidy and the Sundance Kid (1969) (4/17)
First Sunday (2008) (4/17)
The French Connection (1971) (4/17)
The Haunting (1999) (4/17)
Ithaca (2015) (4/17)
Sense and Sensibility (1995) (4/17)
Small Soldiers (1998) (4/17)
Big Fat Liar (2002) (4/18)
Bigger Fatter Liar (2017) (4/18)
Generation Columbine (2019) (4/20)
Beethoven (1992) (4/24)
Toxic Beauty (2019) (4/27)
The Bravest (2019) (4/29)

Available with the HBO premium add-on:
Run: Series Premiere (4/12)
Insecure: Season 4 Premiere (4/12)
Night of Too Many Stars: Special (4/18)
We’re Here: Series Premiere (4/23)
I Know This Much is True: Limited Series Premiere (4/27)

Available with the SHOWTIME premium add-on:
Outcry: Documentary Series Premiere (4/3)
Penny Dreadful: City of Angels: Series Premiere (4/26)

Leaving Hulu in April:

April 30
My Best Friend’s Wedding (1997)
American Buffalo (1996)
Cinderfella (1960)
Girls! Girls! Girls! (1962)
Golden Gate (1994)
The Bellboy (1960)
The Patsy (1964)
The Tenant (1976)
Unforgettable (1996)
Buffalo 66 (1998)
Captain Kronos: Vampire Hunter (1974)
Still Smokin’ (1983)
Earth Girls Are Easy (1988)
Judgment Day (1999)
Lord of War (2005)
National Lampoon’s Dirty Movie (2011)
National Lampoon’s Dorm Daze 2: College @ Sea (2006)
Southie (1999)
The Last Stand (2013)
The Last Warrior (2000)
The Man Who Could Cheat Death (1959)
The Spy Next Door (2010)
28 Days Later (2003)
Robin Hood (1991)
Say Anything (1989)
Bridget Jones: The Edge Of Reason (2004)
Bridget Jones’s Baby (2016)
Bridget Jones’s Diary (2001)
For Colored Girls (2010)
John Q (2002)
National Lampoon’s Christmas Vacation (1989)
National Lampoon’s European Vacation (1985)
National Lampoon’s Vacation (1983)
Vegas Vacation (1997)
Madagascar: Escape 2 Africa (2008)

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U-Haul Offers College Students Free Storage Amidst Coronavirus Scare


U-Haul is offering displaced college students free storage amidst the coronavirus.

With the coronavirus pandemic officially upon us and announced as a national emergency, U-Haul is offering displaced college students free storage space for those forced out of their dorm areas. According to CNN, the moving storage company is offering a total of 30 days of free storage to college students who are able to present their college IDs at their local U-Haul in order to safely store their belongings. With the life-threatening virus shutting down major sporting events such as March Madness and large gatherings including Coachella, the Dreamville Festival, and more, the masses are taking precautions in order to preserve themselves from contamination.  

U-Haul Offers College Students Free Storage Amidst Coronavirus Scare

Tim Boyle/Getty Images 

U-Haul’s company President, John Taylor released an official statement the company’s website offering students his support in these troubling times, which states:

“We don’t know how every student is affected. But we know they are affected. More and more universities are giving instructions to leave campus and go home. Students and their parents are in need of moving and storage solutions. We have the expertise and network to help, and that’s exactly what we’re going to do.” Taylor continues, “The 30 days free self-storage offer is typically extended to communities impacted by a natural disaster,  this marks the first time U-Haul has extended the offer Company-wide.”

According to corona.help, the global death toll has risen to 5,621, while over 150,000 cases of COVID-19 have been confirmed, and 72,509 patrons have successfully recovered from the virus. Fortunately, U-Haul is utilizing its assets and property to help those less fortunate during these troubling times.

Check out the brief message from CBS’ WJTV about U-Haul’s free storage announcement in the video provided below. 

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Navy Lineman David Forney Dies After Being Found Unresponsive

David Forney, a senior offensive lineman for Navy, died Thursday night after being found unresponsive in his dorm room.

Navy offensive lineman David Forney, 22, died Thursday night according to ESPN.

Forney was found unresponsive in his dorm room and transported to Anne Arundel Medical Center, according to Naval Academy officials. He was pronounced dead at 11:28 PM.

"Words cannot express our pain and sorrow," Navy coach Ken Niumatalolo said in a statement. "First and foremost, our deepest condolences to the Forney family. The Navy football brotherhood is not a team, we are a family. We are devastated to have lost one of our brothers. We all loved -- and will always love -- David. We pray for strength during this most difficult time."

Averaging 360.5 yards per game, Navy led the FBS in rushing.

 "The entire Naval Academy family -- the Brigade of Midshipmen, the faculty, staff and coaches -- are heartbroken over the tragic and unexpected loss of Midshipman David Forney," said Vice Adm. Sean Buck, superintendent of the Naval Academy. "On behalf of the Naval Academy family, my wife, Joanne, and I extend our deepest condolences and heartfelt sympathies to the Forney family, their friends, as well as to David's extended Naval Academy family."

The cause of death was not announced.

Forney was scheduled to graduate on May 22.

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"The Matrix 4" Has Begun Filming


Production begins on “The Matrix 4” as Neo and Trinity go for a Chinatown stroll.

Reboot fever is a double-edged sword. Though it does lead to a staggering lack of originality in Hollywood, it can occasionally bring long-dormant franchises into the fold once more. Such was indeed the case for the classic Matrix trilogy, an adventurous science-fiction epic starring Keanu Reeves, Carrie-Anne Moss, Lawrence Fishburne, and Hugo Weaving. Now, years removed from the conclusive Matrix Revolutions, the fourth installment has officially kicked off filming. 

"The Matrix 4" Has Begun Filming

1999 Warner Bros. and Village Roadshow Film/Getty Images

As confirmed by the San Francisco Examiner, The Matrix 4 has begun production in the Bay Area’s Chinatown. Onlookers managed to snap a few pictures of the set, revealing Reeves and Moss reprising their roles as Neo and Trinity. While it’s impossible to discern any plot details, it would appear that a casually-dressed Neo and Trinity have returned to the Matrix, their purpose as of yet unclear. 

With the film set to drop on May 21, 2021 (the same day as Reeves’ other franchise John Wick 4), it won’t be much longer before we gain further information about the upcoming sequel. Though not pictured here, the film also stars Yahya Abdul-Mateen II, Jessica Henwick, Neil Patrick Harris, Jonathan Grof, and a rumored return from Lambert Wilson — the Merovingian himself. Check out the pictures below.

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Teairra Mari Takes Shot At 50 Cent, Fofty’s Wrath Be Damned


Teairra Mari is playing with fire.

Night and day. Yin and yang. Ice and fire. Many things exist in oppositional states. Though many have found themselves on the receiving end of 50 Cent‘s wrath, few have withstood his barrages like his former sparring partner Teairra Mari. Even after losing a lawsuit left her indebted to her bitter rival, Mari has remained adamant about taking shots at every turn. Even after 50 vowed to forsake argumentative behavior, going so far as to politely inquire about the state of his still-owed finances. 

Teairra Mari Takes Shot At 50 Cent, Fofty's Wrath Be Damned

Leon Bennett/Getty Images

Following the verdict that Mari was to pay Fif an additional five-thousand dollars in legal sanctions, Mari took to Instagram to let off some steam. TSR captured a post-and-delete she uploaded to her IG page, sarcastically congratulating Fif on his recent induction to the Hollywood Walk Of Fame. To add insult to injury she cropped his head onto that of a bagel-eating vagrant, knowing full well how much 50 enjoys a volley of memes.  

How much longer can his argument embargo carry on? Especially if Mari keeps provoking the proverbial bear, knowing full-well that Fofty’s wrath lies dormant. If anyone can bring the sinister alter ego out of retirement, it’s his old friend Teairra. 

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The UFC 2020 Fan Wishlist


As the UFC prepares to get its year in full swing, we take a look at the organization’s potential landmark moments.

MMA’s premier league, the Ultimate Fighting Championship, is arguably at the peak of its powers. A preeminent force in all corners of the globe, the Dana White-fronted company has all but shed its subcultural roots and became an integral cog of the landscape. Experiencing a period of sustained evolution that took it from the outskirts of social acceptability and into the homes of ESPN+ viewers the world over, the past 10 years have set the stage for an exciting time in the organization’s history.

More eager than ever to skirt weight class dogma in the name of a super fight, the Endeavor regime of the UFC has the same sense of unpredictability that came with the glory days of Japan’s Pride Fighting Championship. Often referred to as the “entertainment era” by fans and commentators alike, the financial demands of putting on upwards of 35 cards a year means that MMA’s premier organization has to hurtle from one hyped bout to the next in order to retain its momentum — all while striving to retain some adherence to rankings and other logical matchmaking factors.

With their year set to get underway on Saturday, January 18th with UFC 246, the arrival of 2020 brings a fresh batch of hypothetical scenarios that have burrowed into our brains and refused to disperse. Compiled in no particular order, it’s time to break down the fights and potential paradigm-shifting announcements that we hope to see before the year is out.

The UFC 2020 Fan Wishlist

Dean Mouhtaropoulos/Getty Images

DARREN TILL VS ROBERT WHITTAKER

When a champion or top-ranked contender feels the bitter sting of defeat, it can leave them scrambling to regroup. For both Robert “The Reaper” Whittaker and Liverpool’s favorite son Darren Till, this was a grim reality that they had to dishearteningly face in 2019. The recipients of brutal stoppages from Israel Adesanya and Jorge Masvidal respectively, Whittaker found himself in the unfamiliar terrain of the losing column for the first time since a 2014 TKO from Stephen Thompson, losing his middleweight strap in the process.

Till faced yet another setback when he was left unconscious within two rounds. Touted as a future welterweight champion at one stage, the charismatic 27-year-old from England took a daring leap by abandoning 170 in favor of pastures new. Debuting at 185 in late 2019, his back-and-forth bout against Kelvin Gastelum led him to walk away from UFC 244 with the split decision victory, instantly catapulting him up the divisional ranks.

Absent from the octagon since losing to Stylebender in his home nation, the hard-hitting Whittaker will attempt to overturn his fortunes when he fights Jared Cannonier at UFC 248 in March. If he should deliver an impressive showing, a title eliminator between himself and Till wouldn’t only be a logical next step for the division, but would promise to be an enthralling kickboxing clinic be unlikely to make it to the final bell.


ZABIT MAGOMEDSHARIPOV VS. YAIR RODRIGUEZ 

For one reason or another, some fights gestate for so long that it feels like they might never arrive. Fostered by a concoction of injuries, scheduling conflicts, and other misadventures, the bout between featherweight’s destructive hot prospect “Zabeast” and Yair Rodriguez has become one of them.

Initially scheduled for UFC 228 in September of 2018, an injury that the Mexican striking specialist sustained stopped the fight in its tracks with only two weeks left to go. In the meantime, both men have continued to tear through the FW ranks, each picking up victories over Jeremy Stephens and in El Pantera’s case, doling out one of the knockouts of the decade against Zorean Zombie. Said to have been “impressed” by the dominant Zabit after his submission victory over Brandon Davis, the two are undoubtedly in contention for a shot at Alexander Volkanovski’s recently acquired title. Putting this lingering debate to rest once and for all would make perfect sense.


NUNES VS SHEVCHENKO III

After eking out the decision victory against Germaine De Randamie at UFC 245, it seemed all but a foregone conclusion that when it comes time for her retreat from the limelight, Amanda “The Lioness” Nunes will go down as the best female fighter to ever approach the cage. Since dispossessing Miesha Tate of the women’s bantamweight title at UFC 200, Nunes has looked nigh indestructible, thwarting every opponent sent her way. But if there was one recurring challenger that she just can’t evade, it’s Valentina Shevchenko.

Currently holding court as the UFC’s flyweight champ, the menacing 125-pound fighter has been laying waste to high-level competition at every turn. And if she ever had a chance to do what she’d previously failed to and dethrone Nunes in a cross-division super fight, it’s now. Operating at the absolute pinnacle of her game in the modern era, the fact that their second square-off at UFC 215 led many to call it in favor of “The Bullet” means that a third fight should promise to be the most hard-fought and explosive yet. Although Amanda has been quick to rebuff the idea of a trilogy, it would give her an opportunity to enshrine her status as women’s MMA’s all-time greatest beyond any shadow of a doubt. On the other hand, Shevchenko has been adamant that “it’s going to happen one day” and the redemption that she’s craved may still arrive.

The UFC 2020 Fan Wishlist

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STYLEBENDER VS PAULO COSTA

Over the past few years, there have been mounting allegations that the UFC is incapable of producing stars of the same magnitude as a McGregor, Liddell or Rousey. Overrun with fighters that are attempting to emulate The Notorious’ trash talk-fuelled formula, it can be hard for any one fighter to truly stand out from the crowd and captivate the audience’s attention. Israel “The Last Stylebender” Adesanya is the antidote to that. A jol, anime-loving individual capable of breath-taking feats when the time comes to throw down, the New Zealander/Nigerian’s flashy yet technically masterful style of striking offense has made him into a phenomenon in waiting.

After besting Robert “The Reaper” Whittaker in front of a hostile Australian crowd, the answer to the question of where he goes from here has remained up in the air. Yet no matter how eager the UFC is to get him to square off against Yoel Romero, this fight pales in comparison to an encounter with Paulo Costa. Better known to MMA fans as “Borrachinha,” the hulking, undefeated Brazilian boasts a record of 13-0 with a repertoire of highlight-reel finishes to his name. Ever the showman, Stylebender has belittled him as a “Ricky Martin wannabe” and “a swimsuit model” before claiming that he wasn’t impressed by his basic skillset. Coupled with Costa taking things into personal terrain by labeling Adesanya a “pussy African,” it seems that their eventual showdown will yield nothing short of fireworks.


MCGREGOR VS MASIVDAL

No matter how much we cling to the concepts of honour, integrity and the valor of competition in martial arts, the simple fact is that money fights keep the MMA world spinning. And when it comes to lucrative contests that could actually live up to the hype, they don’t come much bigger than Jorge Masvidal Vs “The Notorious” Conor McGregor. Peering back a few years, the “Gamebred Fighter” from Miami wouldn’t have even been a speck on McGregor’s radar and may have gotten a similar dismissal to the one Jeremy Stephens received when attempting to throw his hat in the ring for a fight with the former double champ.

A resilient and obscenely tough competitor that cut his teeth on the street-fighting circuit alongside the late Kimbo Slice, Masvidal had some big wins over accomplished brawlers such as Donald Cerrone and Ross Pearson but had never perforated the glass ceiling until 2019. Widely recognized as the fighter of the year, Jorge went on a tear, seeing off Darren Till and Ben Askren in showstopping fashion before capturing the newly minted BMF title from Nate Diaz at UFC 244.

Now with McGregor returning to the fold, he spoke about the chance to pit his skills against those of Masvidal in an interview with The Mac Life, stating, “Yeah, I’d face Jorge. I’m not going to 170 just for Jorge. He hasn’t got really anything. I wasn’t happy with how that bad motherfucker thing (BMF title fight against Nate Diaz] ended. In my opinion, that bout is unfinished. It was only getting into a good bout I believe.” Seemingly assured in the belief that Jorge would present no problem for him, the Gamebred fighter is enticed with the financial rewards that this bout would spawn and would be willing to turn down a welterweight title fight just to make this blockbuster main event happen.

The UFC 2020 Fan Wishlist

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COVINGTON VS WOODLEY 

When two outspoken fighters collide, the result can often be incendiary. The verbal jabs have certainly come thick and fast between Tyron Woodley and Colby Covington. Regularly pictured with a MAGA hat atop his head, Colby has willingly adopted the role of a leading agitator within the MMA world and has delighted in watching the vast majority of the fanbase rooting for his demise. But whether you love or loathe him, you can’t deny the mix of grit, determination and talent that Colby has displayed, not least of all during his recent welterweight championship opportunity against the reigning welterweight king Kamaru “The Nigerian Nightmare” Usman.

Coming away with a speculated broken jaw, Covington coming up short against the champ means that the next logical step is an eventual collision against former WW titan Tyron Woodley. With Covington claiming that he’s “whooped” Woodley during previous sparring sessions and T-Wood openly upfront about his disdain for the man that he sees as a “disgrace” to the sport, their combined wrestling pedigrees, finishing abilities and the vats of bad blood between them should ensure that their eventual collision will be a fascinating contest.


THE RETURN OF GSP

When a fighter takes a hiatus from competition, there’s often a lot of speculation over where they’ll still have their killer instinct upon return or if the dreaded “ring rust” will set in. Four years since he’d last set foot in the octagon, Georges St Pierre returned to fight Michael Bisping for the middleweight title at UFC 217. The story was simple: new era, new weight class, same old GSP.

Capturing a belt with the ease of a man that’d never left, he then declared that once again, he’d be bowing out at the top. After another extended reprieve from the competition, the rumor mill has ramped up that the legendary French-Canadian may return for one more go-around. “I don’t want to speak for the guy. I don’t think he’s done,” declared his longtime coach Firas Zahabi at the start of the year. “I just think he’s so competitive that one day he’s going to see a guy that everyone thinks is unbeatable and then he’s going to want to come back. Khabib is one of those guys. But it’d have to be a 165-pound fight. Will the UFC do it, that’s the question.”

The UFC 2020 Fan Wishlist

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HENRY CEJUDO VS JOSE ALDO

After he stepped in to face Marlon Moraes and capture the vacant bantamweight strap at UFC 238 in the process, Olympic gold medallist and reigning flyweight champ Henry Cejudo set himself on the course to become one of the sport’s undeniable greats. As opposed to fighting a canonical challenger to either of his straps, Cejudo has set his sights on fighting a legend of the octagon in Brazil’s Jose Aldo. Renowned as one of the greatest featherweights of all time, Aldo’s storied run at the top of the 145-pound division was defined by hard-fought wars, an impressive list of scalps and the fiercest leg kicks in the history of the UFC or WEC.

A divisive move that’s rubbed everyone from Petr Yan to Patricio Friere the wrong way, the nostalgic side of our brains can’t resist the allure of seeing Aldo take one final stab at the upper echelons of the sport. Although it may be a loss on paper, it’s arguable that Jose defeated Marlon Moraes in his last bout and it’s hard to deny that out of the current pack of challengers that’s pursuing Cejudo, the Brazilian legend will undoubtedly bring the most eyes towards the bantamweight title.


THE RETURN OF NICK DIAZ

Brash, fearless and dangerous whether on his feet or off his back, Nick Diaz is one of those transcendent competitors that could take a casual viewer and morph them into a diehard MMA obsessive. Dormant ever since his exhibition against “The Spider” Anderson Silva in January 2015, the appetite to see the Stockton native return and end his career on a less sour note has refused to subside. Freed from the suspension dramas that he’s been battling with over recent years, his little brother Nate’s recent defeat at the hands of one Jorge Masvidal galvanised something within Nick that hasn’t reared its head in many years.

Enraged by Masvidal’s claim that he’d “baptised” Nate, Nick’s manager Kevin Mubenga has made Diaz’s stipulations known to the public; “Nick has already begun training for the Jorge Masvidal fight. He intends on fighting in late April or May 5th, Cinco de Mayo, in Arlington, Texas at AT&T Stadium.” Exciting as this prospect may be, what remains to be seen is whether Nick can recapture the relentless pace and meticulous boxing that he’d once had after so many years on the side-lines — but there’s no denying it’d be a marquee fight for the organization.


JON JONES VS. STIPE MIOCIC

In March of 2019, UFC light heavyweight champ and general GOAT contender Jon “Bones” Jones posed a query to his Twitter followers:  “don’t think you guys are ready to witness @stipemiocic and I, would July give you all enough time?” Six months on from his proposed date for a fight between the two, it’s safe to say that it was more than enough.  

Alluded to since 2017 when Stipe felt the need to remind Bones that he was “the baddest man on the planet,” the concept of the LHW king squaring off against the reigning heavyweight champion is the stuff of fantasy MMA matchmaking dreams. Plus, where it’s often hard to envision Jones on the losing end of a fight, Stipe’s knock-down-drag-out style is reminiscent of one of the only men to truly give Bones a run for his money in Alexander Gustafsson. Add in Miocic’s size and this could be the toughest test that Jonny Bones has ever faced in his storied career. 

The UFC 2020 Fan Wishlist

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Predicting 2020 Music Trends


Forecasting the year to come and taking stock of what 2019 can tell us about the trends of tomorrow.

The past year in music brought with it a plethora of new faces and milestones, some of them more applause-worthy and conspicuous than others. Given that we’re still very much in the early transformative stages of the streaming era, understanding the shifts that are happening now will provide a window into the future. With all that said, let’s take a look at how the music industry is evolving as we head into the new decade.


Going Global

Beyond hip hop’s success in the U.S., where it’s now the biggest music genre in terms of total consumption, it has rapidly grown into a worldwide mainstream commodity. The unlimited connectivity of the internet has exponentially sped up this globalization and has amounted to substantial revenue opportunities. Expanded operations and an influx of capital on the African continent, as well as in Asia and the Middle East, are beginning to transform once dormant markets into legitimate players in the music economy, with the potential to not only reach billions of new users, but also expose more localized talent to a wider audience. Democratization and collaboration are the cornerstones of modernity, and hip hop’s forging of international bonds has the power to crack all manner of charts. The past year alone delighted fans with the mainstream arrival of acts ranging from Billie Eilish to BTS to Burna Boy, as well as increased visibility surrounding the UK’s effervescent grime scene and Asia’s experimental music fireworks.


A Post-Genre Era

Predicting 2020 Music Trends

Lil Nas X and 6lack attend the 2019 GQ Men of the Year After Party – Randy Shropshire/Getty Images 

Music journalists and industry gatekeepers have long had an unhealthy obsession with pigeonholing artists into categories. Yet thanks to the unfettered expansion of hip hop’s cultural footprint, diversification and hybridization were in full bloom in 2019, a year in which the stars aligned for several of music’s boldest and brightest trailblazers. None were more distinguished than Lil Nas X, who marched (spurred cowboy boots in tow) to the gates of Billboard to take on the charts giant, where he ultimately emerged unscathed with the longest running No. 1 song in U.S. chart history. The inescapable rise of “Old Town Road” would not have been possible without forward-thinking curatorial outlets like TikTok and Triller that allow users everywhere to repurpose and share their music. Such platforms have facilitated in breaking down barriers between genres through their capacity for virality and fueling of “music as memes” all manner of remixes, edits, and mashups. Prejudices and preconceived notions continue to crumble beneath the blossoming conception of music as a fluid frontier, capable of supporting the lush sonic smoothies of Koffee, the stylized he-loves-me-not musings of Tyler, The Creator, and the drill-based provocations of Pop Smoke.


More Breakout Success For Female Emcees

Predicting 2020 Music Trends

Kehlani & Megan Thee Stallion attend Rihanna‘s Diamond Ball, 2019 – Dimitrios Kambouris/Getty Images

One female emcee after another grabbed the public’s attention in 2019, whether it was Lizzo with her triumphant theatrics on “Truth Hurts,” Saweetie and City Girls with their call-and-response anthems, or Megan Thee Stallion and her devoted Hot Girl Summer “hotties.” Others like Noname, Rapsody, Rico Nasty, and Tierra Whack further contributed to the astounding resurgence of women in hip hop. In fact, 2019 “yielded the highest total of (female) rappers making their mark on the Billboard Hot 100 this decade,” a statistic that speaks to just how electrifying the conversation has become in recent years. While there’s no denying the outsized impact of women in hip hop over the course of the genre’s history, it finally feels as if the narrative is beginning to shift to appropriately honor and celebrate both the veterans who paved the way and the new faces who are preserving and building upon their legacy. 


Social Media’s Cult Of Personality

If Tekashi 6ix9ine’s dramatic rise and fall taught us anything, it’s that self-made stars and precocious personalities are hoisted by the masses of the social media age. Universal access to smartphones, and by association social media, is empowering artists to keep pace with their audiences at a previously unprecedented rate. Now more than ever, artists are encouraged to develop bold branding strategies and imagery that sticks, and they’re choosing to connect with listeners directly rather than through the squeaky clean lens of their handlers. All of this has produced a completely new and refurbished pop landscape in which music makers are firmly in the driver’s seat when it comes to nurturing media presence, while labels in the traditional sense of the word have resigned themselves to a more hands-off role as financial overseers and talent investors.


The Intersection Of Videos Games, Online Entertainment, & Live Music

Predicting 2020 Music Trends

Blueface performing at Rolling Loud LA edition 2019 – Photo by Evie Hoffman for HNHH exclusively

Virtual reality and live streaming are tech spaces with endless possibilities, and they’re aiding artists in orchestrating massive cultural moments that unfold in real time. In February, Marshmello’s historic Fortnite concert brought in upwards of 10.7 million live “attendees” in what could very well prove to be the tip of the iceberg for virtual viewership. Meanwhile, 800,000 users tuned in to the YouTube premiere of Ariana Grande’s “thank u, next” while over 600,000 scampered to Twitch to watch Ninja and Drake take a crack at duos in the aforementioned battle royale. Rolling Loud, “the largest hip-hop festival in the world,” boasted a throng 60,000 strong at its inaugural New York set this past fall, and with plans to take the show overseas, there’s no telling what the ceiling might be for high-end livestreaming experiences. Who knows: VR capabilities that enable Adam Levine and Jonah Hill to share courtside seats at a live Lakers game could translate into groundbreaking new avenues of engagement for those looking to snag virtual concert tickets and take in the action up close while still in their pajamas.


Riding The “Content” Tidal Wave

Content diversification on streaming services was never a matter of if but a matter of when. Investment in exclusive and original content is well underway: we’ve already seen Spotify take ambitious steps to monopolize the realm of podcasts with their purchase of Gimlet & Anchor, and Pandora established a Podcast Genome similar to the one that powers its internet radio service. Given how scalable technology has become, it’s no surprise that multi-format creative agencies are thriving. The crossover between music and gaming has taken video outlets YouTube and Twitch by storm, while music-based platforms such as COLORS and Lyrical Lemonade are creating compelling blueprints for the future and re-envisioning their role in the space along the way. This entrepreneurial spirit has resulted in the convergence of different areas of media, whether that be music, fashion, film, etc. Rihanna’s Fenty Beauty, Action Bronson’s “Fuck That’s Delicious,” Offset’s partnership with esports organization FaZe Clan, and Drake’s involvement in the revival of Top Boy are but a few example of artists re-envisioning themselves as entertainers and content creators.


No End In Sight For Album Tug Of War

Augmented by the boon of major platform playlists, the discussion surrounding the fluctuation of the album format has been defined by two distinct schools of thought. On one hand, homogenized and inoffensive music devoid of creative merit has engendered passive consumption on a massive scale, as vastly popular algorithms continue to dictate the prosperity of bloated releases. It’s a trend that isn’t going anywhere: lengthy tracklists do numbers, and artists will likely continue to submit desperate, long-winded bids as a means of gaming the system. Elsewhere, more succinct and palatable releases, most notably those comprising Kanye West’s G.O.O.D. Music rollout of summer 2018, have garnered equal attention if for different reasons. All of this is to say that both ends of the spectrum are finding success in the pursuit of replayability, further bolstering the eternal struggle between quality and quantity.


An Appetite For Conceptually-Conceived Music

The Trump-born melange of crisis and confusion has opened the door for artists to explore ideas of identity and rich, politically-tinged narratives. It’s an environment ripe for socially-literate creatives looking to voice their anger and frustrations with the state of the world. Ambitious vessels such as Janelle Monae’s Dirty Computer and Kendrick Lamar’s To Pimp a Butterfly are the audio equivalent of an escape from modernity’s fractured state, and their success in blurring the lines of fiction and reality underlines a demand for forging deeper connections with artists and the environments they weave.

What do you predict for 2020? Let us know in the comments.

If you liked this, check out:

The Singles Era Is Upon Us (And What It Means For Music Consumption)

Collision Course: How Musical Independence Has Ignited A Streaming War

How Leaked Music Has Evolved In The Streaming Age

 

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"Orange Is The New Black" Creator Jenji Kohan Mourns The Loss Of Son After Ski Accident


Charlie Noxon was only 20-years-old.

Prayers go out to Jenji Kohan and her family as the creator of Orange Is The New Black and Weeds is mourning the loss of her 20-year-old son, Charlie Noxon. Charlie was in Park City, Utah on New Year’s Eve with his father, Christopher Noxon, and two siblings when he had an accident on a slope and fell, TMZ reports. 

"Orange Is The New Black" Creator Jenji Kohan Mourns The Loss Of Son After Ski Accident
Jason Merritt/Getty Images

It was apparent that Charlie needed help and a helicopter took him to a nearby hospital. “After further emergency care and evaluation” Charlie was pronounced dead. Aside from Charlie’s fall on the slopes there’s been no more information regarding the reason for his death. 

“Charlie was brilliant, kind, funny, sensitive and loving,” his father, Christopher, told CNN. “He was keenly interested in and deeply curious about the world around him from the time he was a small child. People describe people as brilliant — but Charlie was truly brilliant.”

“We will miss his sweet smile, piercing questions, and big heart. We already do.”

Charlie once starred in an episode of Weeds in 2008. Recent Instagram shares by Jenji show that she moved her son into his dorm at University just this past September.