October 2019

Tuesday

JoJo's 'Sabotage' Is For Anyone Who Knows They've Screwed Up Relationships


JoJo's new era is rolling right along! The singer returned earlier this month with "Joanna," a brutally honest number that acted less as a single and more of a mission statement for her next chapter. Now, we've gotten the first official taste of her upcoming fourth album with the equally raw "Sabotage."
The soulful confessional finds JoJo holding herself accountable for her behavior in past relationships and second-guessing if she did her ex wrong. "Every time I hear them talking 'bout you / I wonder, did I play myself / And sabotage love?"
she wonders over a mellow, groovy beat. Buzzing rapper Chika lays down some introspective bars of her own, admitting, "I'm not a saint, but damn it if I don't come with confessions / It's easy to block our blessings, mistakes are for learning lessons."
There's something beautifully old-school about "Sabotage," and it's refreshing to hear a pop artist really dive into honest self-awareness. Take a listen to JoJo's latest release below.
After the single's arrival on Friday (October 25), JoJo took to her Instagram Story to reveal that she's shooting a music video for "Sabotage," teasing that it's going to be "really emo."
The singer also reflected on her new track in a statement, explaining, "A lot of people self-sabotage... I tend to do it in romantic relationships. And I think most of it roots to fear â€" fear of being inadequate, fear of getting hurt, fear of rejection, fear of not measuring up. This song is about asking a lot of questions, dealing with shame and embarrassment, and really just owning up to certain patterns."
JoJo is currently readying her new album, the follow-up to 2016's Mad Love, for a 2020 release. It marks her first project since signing a new record deal, and also signifies a long-awaited new chapter of artistic reinvention for the veteran vocal queen.

Chance The Rapper Brought Out Megan Thee Stallion For A Collar-Popping SNL Performance


Chance The Rapper was all over Saturday Night Live as both the host and musical guest last night (October 26). He appeared in nearly every skit of the night and gave two performances of "Zanies And Fools" and "Handsome," the latter featuring a surprise appearance from Megan The Stallion. It was his second time hosting and the show and we definitely hope that it won't be his last.
Chance's opening monologue started with him offering full support for the Chicago Teachers Union during their ongoing strike. Afterward, he did a song that paid homage to Chicago, his hometown. Somehow, Burger King, Luigi from the Super Mario franchise, and Percy Jackson & The Olympians series end up in the awesomely funny tune.
From there, Chance was central in a ton of skits. He was a psychotic host with a bloody toaster in "Tasty Toaster Tarts." While going through his pantry of snacks, his friends start to realize that something's seriously wrong. But once the toasted pastries come out, they don't seem to notice Chance's taped-up fridge.
In "Space Mistakes," Chance is a dad who gets getting called back to space where he works and is deathly afraid to "make a mistake."
Of course, a "whoopsie" happens when one of his crew members forgets to put on a seatbelt and then another drops something while working outside of the ship. The short makes fun of movies like Ad Astra and Interstellar and the serious tone that comes with your workplace being outside of the atmosphere. Half of the hilarity comes from how over the top it is. If you watch these kinds of movies, you'll get a good laugh.
Chance introduced himself for his first performance of "Zanies And Fools," using an adorable cartoon short to give him time to sprint to the stage where an entire band was waiting on him. The drummers were front and center with gold glitter that misted into the air whenever they thwacked their instruments. Backup dancers also hopped on stage on both sides of him, bringing alien movements that made the already mystical performance even more ethereal.
For "Handsome," Jason Momoa gave Chance a shirtless introduction. The rapper was already on stage surrounded by mist and scrolling words on screens around him with people standing off on both sides in the distance. Megan Thee Stallion came out after the first verse was over, surprising the crowd. She spatA her words in the demanding tone that she always does and frolicked around the stage for the duration of the song, bowing with Chance after it was finished.
Check out clips from Chance's epic SNL show up above.

DC Universe's Stargirl Series Reportedly Moving to The CW


Stargirl, the Geoff Johns-helmed series developed for the DC Universe app, will reportedly head to The CW, where it will be modified somewhat to fit the standards and format of broadcast television. The rumor comes from Collider's Jeff Sneider, who tweeted it, noting that uncut episodes (likely for length rather than language or violence, since it is Stargirl after all) may make their way to HBO Max down the line. Such a claim will, depending on your perspective, probably either seem like yet another unsubstantiated claim to make the DC Universe service seem doomed -- or reinforce your feeling that the service is doomed.
Sneider discusses the issue on his The Sneider Cut podcast, which you can hear linked in the tweet below. The discussion of Stargirl happens around 40 minutes in.
Such rumors have been around since DC Universe launched, and have gone into high gear as the HBO Max launch gets ever closer.
While DC and Warner Bros. have regularly rejected the narrative that DC Universe is in trouble, the abrupt cancellation of Swamp Thing after a single episode went live was enough to convince a percentage of the audience that the rumors were all true. Doom Patrol, meanwhile, got a second season, but the announcement came with the asterisk that new episodes will run on both DC Universe and HBO Max simultaneously.
Stargirl follows high school sophomore Courtney Whitmore as she inspires an unlikely group of young heroes to stop the villains of the past. This new drama reimagines Stargirl and the very first superhero team, the Justice Society of America, in an unpredictable series. The project focuses on the character that started executive producer Geoff Johns' career as a comic book writer when he created her in 1999, lovingly inspired by his late sister, who was killed in a 1996 plane explosion.
"There is no other character in comic books more special to me than Stargirl, and after searching far and wide I can say there is no other actor on the planet that embodies her more than Brec Bassinger," said Johns back when the series was announced. "Brec's warmth, strength, humor and positive energy are core to who Courtney Whitmore is. I'm so grateful she's signed on for the role."
Stargirl is being written and executive produced by Johns, and Greg Berlanti and Sarah Schechter will also serve as executive producers. The series is being produced by Berlanti Productions and Johns' Mad Ghost Productions in association with Warner Bros. Television. The series stars Bassinger, Joel McHale, Lou Ferrigno Jr., Brian Stapf, Anjelika Washington, Yvette Monreal, and Christopher James Baker, and you can check out the official description for the series below.
"STARGIRL follows High School sophomore Courtney Whitmore who inspires an unlikely group of young heroes to stop the villains of the past. This new DC Universe series reimagines Stargirl and the very first superhero team, the Justice Society of America, in a fun, exciting and unpredictable series premiering in 2019, produced by Warner Bros. Television, Mad Ghost Productions and Berlanti Productions."
Stargirl is currently expected to hit DC Universe sometime early next year. We'll see how that works out. ComicBook.com has reached out to Warner Bros. TV for comment and not yet received a response.

Power Rangers Zeo Blue Ranger Figure Kicks Off Hasbro's Lightning Collection Wave 4


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At MCM Comic Con in London over the weekend, Hasbro added one more Power Rangers announcement to their massive Wave 3 Lightning Collection reveal last week. The Power Rangers Zeo Lightning Collection Blue Ranger 6-Inch figure has been unveiled as the first Wave 4 release and it's available to pre-order here with shipping slated for March (note that this is also the first figure to be hit with the $20 to $22 tariff price increase). The official description is available below - pay special attention to the detail regarding the rest of the figures in the wave...
"The Zeo Blue Ranger Figure features premium paint and decorative details inspired by the show. It includes over 20 points of articulation for high poseability, swappable heads of the Ranger with and without his helmet, 5 character-inspired accessories including the Blue Ranger's Zeo Power Axes, and an extra pair of hands for more ways to play or display. Look for other collectible figures in this series, including the S.P.D. RED RANGER Figure and BEAST MORPHERS CYBERVILLAIN BLAZE Figure. Each sold separately. "
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On a related note, if you've been hunting down Wave 2 of the Power Rangers Lightning Collection, we've got you covered with the links below. Most of the figures are in stock and shipping now.
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Finally, this full-scale, wearable White Ranger helmet prop replica inspired by Tommy Oliver's helmet from the original Mighty Morphin Power Rangers series is also in stock and shipping now. You can grab it right here for $79.99 with free shipping. Features include adjustable straps (fits most) and a show-inspired design and paint job.
Note: This is not a sponsored post, but if you purchase one of the awesome products featured above, we may earn a small commission from the retailer. Thank you for your support.

Common Weighs In On The ‘Top 50 Rappers’ Debate And The Current State Of Hip-Hop


The fiery deliberation around the list sent hip-hop heads butting everywhere. Amended Top 50 Rappers rankings cropped up afterward and fueled more disputes among fans, including one from T.I. and Hot 97's Ebro Darden and Paul Rosenberg.  Aside from the names on the list themselves, many hip-hop fans also objected to the qualifiedness of the creators behind these lists. 


In 2019, Common is unarguably one of the most qualifiable rap veterans to speak on the current state of the genre.
 Preceded by his esteemed legacy of three Grammy wins and 16 Recording Academy nods, applauded hip-hop activism, widespread music industry reverence and his own record label imprint, the treasured hip-hop Chicagoan released his twelfth studio album, Let Love, in August 2019. Simultaneously, this month marked the onset of the internet's viral Top 50 Rappers Of All Time debate, triggered by an indiscriminate tweet from "The Brew Podcast".
After chopping up hip-hop lyricism with Common for BET Digital's Rate The Bars, we felt it was only right that he share a word on the debate, too. We spoke with the iconic Chicago lyricist on the existence, importance and impact of bars in the modern age of hip-hip music and what it takes to land a spot on anyone's Top 50 Rappers list.
Recently, Tyler the Creator explained that bars are less important than beats and melody. But, not in a sense that they don't matter. They just come last in his creative process. Do you agree with this formula?

Common: Well first, I think Tyler is dope, so whatever he's doing, I like it. His last project—that Igor joint—was creative. I can understand where he's coming from as a writer because he's probably really approaching it beyond being an MC. He's like, 'Yo, I'm a musician, so I'm going to write this song with this melody because I'm making songs.'
The essence of emceeing, and lyricism and rapping is about bars. It's about having lyrics that impact the people and make people go, 'Oh, sh**!' or, 'That was incredible!' or, 'That touched me!' That's one of the pillars when it comes to rap that I still think is valid. It's the reason why Kendrick Lamar translates to any generation, any nationality and any country. He's appreciated for his lyricism and what he brings. I think Noname is dope to me because she's poetic with her lyrics. It's artists that approach music in a different way, and they may not be trying to be the dopest MC...but they might write songs more than verses and lyrics. I'm a believer that lyrics in hip-hop will always be something that—for as long as people rap—so long as you say dope lyrics wherever you go, that will impact people.
With that said, do you believe bars are as important in this current era of rap as they were in the earlier hip-hop generations?
Common: I do believe that bars are just as important, at least in my eyes and what I listen for. Hip-hop has evolved. I think that the new generation of hip-hop has put less emphasis on bars—not everyone—because there's so much access to other ways of doing it. So, bars have become less important overall with what people receive in the music and what they rock to. But, when the artists with bars do stand out, they get celebrated as the top of the crop. I think it's still ultimately valued because the new generation loves and turns up this music, but these are some of the people who [stand out] as the most talented...so, I do think bars are important in this era, but maybe not as important as they were in the late '80s and early '90s.
Everybody in that era, however, didn't all have bars. Some people were just stylin', and that's what we have now, too. Some people just can style, and it's dope. That's one thing we don't get into the discussion of when it comes to hip-hop, or artists and lyricists. Yo, some people's style makes them even doper, and that's a skill in and of itself. Consonant MCs have style, lyrics, voice.
Like, a Young Thug?
Yeah. He's got styles to it. But, I can cite MCs from the '90s who had style, like Buckshot. He had lyrics too, but it was style to him. Same with Grand Puba. He was one of my favorite MCs. He had a voice and a style to him. I think that's something we overlook when we talk about lyrics and bars.
There's been several "Top 50 Rappers" list popping up around the internet and sparking intense debates among hip-hop heads. In your opinion, should lyrical quality be one of the key factors when considering rappers that belong on those lists?
Oh, yeah. For sure. Lyrical quality is one of the attributes that should land you there. I mean, everybody has their own list. Quality says it all. If you ain't got lyrics, how could you be in the top of anything? That's in any facet of anything in life. If you have no lyrical quality, you can't be in the top. There has to be something you offer that's unique and has substantial weight to it. That means I should be able to hear one of your songs 20 years from now and be like, 'Man, that was dope.' It should stand the test of time.
I can listen to [Eric B. & Rakim] 'In the Ghetto,' and be like, this is one of the greatest. I'm not putting this on the same level, but it's how I can also listen to Dr. [Martin Luther] King's 'I Have A Dream' speech and it still resonates. I can read some James Baldwin and it still resonates. I listen to Nas's "New York State of Mind" and it's one of the greatest things. You can hear anything off of Kendrick's Section.80 and it resonates.
My point is, that lyrical quality is what takes you to the next generation. Look at how many MCs we've heard who we love for that moment, but then, the next year you're on to the next "hot" person. So, what do you do that becomes timeless? There has to be quality in the lyrics.
*This article has been condensed for clarity.

RUMOR: ‘Stargirl’ TV Series Moving From DC Universe To The CW


According to a new rumor, the upcoming Stargirl series is set to move from the DC Universe streaming service to The CW.
This rumor comes courtesy of Collider's Jeff Sneider, who claimed on his podcast The Sneider Cut that Stargirl may be making the move from DC Universe to The CW, signifying that episodes will need to be recut to fit into The CW's network broadcast standards. Sneider also claims that uncut episodes for Stargirl may be made available to stream exclusively on Warner Bros. Entertainment's upcoming streaming service, HBO Max.
DC Universe gave Stargirl a series order back in 2018 for 13 episodes. DC Comics' Geoff Johns wrote the pilot for the upcoming series and served as an executive producer alongside The CW's Arrowverse producers Greg Berlanti and Sarah Schechter. Production for the series began back in March in Dallas, Georgia.
What do you make of this rumor? Do you think Stargirl making the jump from DC Universe to The CW would be a good move? If so, is there a possibility for it to be tied into The CW's Arrowverse? Also, what does this mean for DC Universe and the upcoming HBO Max? Sound off in the comments below, and be sure to continue following Heroic Hollywood for all the latest news regarding Stargirl, DC Universe and The CW's numerous DC Comics television series.
Here is the synopsis for Stargirl down below:
High school sophomore Courtney Whitmore who inspires an unlikely group of young heroes to stop the villains of the past. This new DC Universe series reimagines Stargirl and the very first superhero team, the Justice Society of America, in a fun, exciting and unpredictable series premiering in 2019, produced by Warner Bros. Television, Mad Ghost Productions and Berlanti Productions.
The series stars Brec Bassinger as Courtney Whitemore, Joel McHale as Starman, Luke Wilson as Pat Dugan, Meg DeLacy as Cindy Burman, with Anjelika Washington, Yvette Monreal, Christopher James, and Jake Austin Walker in undisclosed roles.
Stargirl is expected to debut on DC Universe later this year.
Source: Collider
New 'Titans' Photos Show Off Aqualad And The Original Team
Titans Aqualad 01DC Universe has released eight brand new images from the upcoming fourth episode of the second season of Titans entitled, "Aqualad".
"Aqualad" will explore the dynamic among Dick Grayson/Robin (Brenton Thwaites), Donna Troy/Wonder Girl (Conor Leslie), Hank Hall/Hawk (Alan Ritchson), Dawn Granger/Dove (Minka Kelly) and Garth/Aqualad (Drew Van Acker) and how four years prior, their tight-knit family dynamic developed only to have their personal feelings bleed more into their work only to be exacerbated by the arrival of a new villain.
These new images give fans a new look at Drew Van Acker as Aqualad as well as a couple of new looks at the original team united together for action. In particular, we get our best look at how the Aqualad suit translates onscreen in live-action form.
You can check out the rest of the gallery for "Aqualad" by clicking "Next".
Here is the official synopsis for season two:
In Season 2, following the aftermath of their encounter with Trigon, Dick reforms the Titans. Under his supervision in their new home at Titans Tower, Rachel, Gar and Jason Todd train together to hone their hero abilities and work together as a team. They are joined by Hank Hall and Dawn Granger aka Hawk and Dove and Donna Troy aka Wonder Girl. Although these original Titans attempt to transition into a regular life, when old enemies resurface everyone must come together to take care of unfinished business. And as this family of old and new Titans – including Conner Kent and Rose Wilson – learn to co-exist, the arrival of Deathstroke brings to light the sins of the old Titans which threaten to tear this new Titans family apart once more.
The series stars Brenton Thwaites as Robin/Nightwing, Anna Diop as Starfire, Teagan Croft as Raven, and Ryan Potter as Beast Boy. Newcomers for its sophomore outing include Joshua Orpin and Esai Morales playing Superboy and Deathstroke, respectively, while Chella Man and Chelsea Zhang have also joined the cast as Deathstroke's children Jericho and Ravager. Natalie Gumede has signed on to play Mercy Graves and Game of Thrones star Iain Glen is on board as Bruce Wayne.
Titans season two is now airing on DC Universe.
Source: DC Universe
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Noah Villaverde
Cinema lover. Saxophone player. Coffee consumer. Chronic complainer. Oh, I also write. #TeamHeroic

Sunday

Indulging the Pop Stylings of Evelyn Landow



Indulging the Pop Stylings of Evelyn Landow

With a new LP just released, indie-pop artist Evelyn Landow strives to set a bit of a new standard. Bearing all, the artist delves into her songs and the outcome is a strong effort in the arena of today's indie and dream pop music. Notable are her indelible arrangements and vocal hooks over ambient and catchy synths, keys and guitars. A staple feel for the record as a whole. The LP dubbed "The Mirror Within" showcases not just a knack for blending instrumentation but also production. Songs come through crisp and catchy and the album never gets dull. It is something to give a listen to as a full piece. Maybe on a good long drive or hanging out with yourself for a night. Evelyn has released a great catalog of material already and this album seems to fit as a culmination of her work at the moment. An outstanding indie pop album through and through. 

Wednesday

Flower Church Shows A Darker Side Of Alt-Indie Rock




Flower Church Shows A Darker Side Of Alt-Indie Rock

The new LP from Flower Church feels like a personal journey through chapters in one songwriters life. Giving off an edgy alternative vibe, songs still get mellow and dark at times while remaining catchy. "Reality's Reverie" is the first single  from the upcoming album and it flows smoothly into it's catchy chorus that sticks with you. Dark as the album is, the songs are mostly pop songs in a slightly grungy way. 

Fueled by honesty and emotion, the Pretend LP is an ever changing record going through fuzzy rock songs like "Does She Even Care Anymore" and clean toned garage pop tracks like "Born and Burden". Either way the record has a lot to soak in and we suggest you do. 

The Pretend LP is  set to be released on Halloween everywhere but right now you can listen here: https://flowerchurch.bandcamp.com/album/pretend

'The Batman' star Robert Pattinson on his 'cool' Batsuit, not facing Joaquin Phoenix's Joker and the horror of 'Lighthouse' flatulence




With Zoë Kravitz and Paul Dano in place as Catwoman and the Riddler, respectively, Batman is going to have quite the rogues gallery when he rejoins the DC Extended Universe in 2021 in the form of Robert Pattinson. The one villain the new Dark Knight definitely won't be meeting, though, is Joaquin Phoenix's Clown Prince of Crime, who is currently making a killing at the box office in his controversial solo movie. Joker director Todd Phillips has already said that Phoenix won't appear in Matt Reeves's The Batman, and Pattinson confirms as much to Yahoo Entertainment while talking about his new movie, The Lighthouse. "It's kind of a different world," the actor says of Phillips's film, adding that he still hasn't seen Joker. "I might watch it tonight! Joaquin is the best — he's awesome in everything."
For the record, Pattinson also claims he hasn't seen the final version of his new Batsuit, which is still hidden from public view in Warner's Batcave. "Matt has got a really awesome idea about it, " he allows. "I think this thing is going to be very, very cool." He's fortunate to have received some costume advice from none other than Dark Knight trilogy architect, Christopher Nolan; Pattinson was shooting his role in the director's next movie, Tenet, when he officially became the latest Batman this past summer. "Chris told me a little bit about how to get the camo off my face — that amongst other things," he teases.
 Seagulls, rather than cats or riddles, are Pattinson's main antagonist in The Lighthouse, the sophomore film from Robert Eggers. Like the director's previous feature, 2015's The Witch, The Lighthouse is a horror-laced period piece that unfolds in a largely isolated location, in this case on barren spit of land seemingly at the edge of the world. It's here that veteran lighthouse keeper Thomas (Willem Dafoe) arrives with his new assistant, Ephraim (Pattinson), who has difficulty adjusting to the solitary nature of their existence, to say nothing of the harshness of the conditions. As the rough days give way to cold nights and the noise of the gulls — not to mention Thomas's frequent farts — echoes in his ears, the young man allows his grasp on sanity to steadily loosen. Pattinson talked to us about how Ephraim's costume helped him get into character, and why he'd love to make a horror movie like The Cell.
Related: Robert Pattinson, Willem Dafoe Discuss Horror Film
Yahoo Entertainment: Going in, I didn't know quite what to expect from The Lighthouse, but I certainly didn't expect it to be as funny as it is. At what point did you realise it's essentially an odd couple comedy?
Robert Pattinson: I mean, the script was hilarious, but then I've learned many times over the years that my sense of humour may not necessarily be everyone else's sense of humour. Or may not even be humour at all! I always get a little bit worried if I think something's funny. [Laughs] When I first watched The Lighthouse, I could hear the audience laughing and it was such a relief. At the same time, I was genuinely shocked how easily they were able to laugh at it!
As soon as we were rehearsing it was really funny. The first time I saw Willem in full costume with his fake teeth was hilarious. [For our first scene] we were sitting across from each other eating, and there's just bits of stuff flying out of his mouth! So the humour was quite natural. But Robert's a really funny guy as well, and he takes a perverse glee in the crazy parts of the script, which made everything easier.
I'm a sucker for a good fart joke going back to Blazing Saddles, and excessive flatulence is a big part of Dafoe's character. Was he farting on set or were those added in post?
We did a Q&A recently and somebody him that. He said, "Half and half." I never heard him, so if he was doing them on set, they were definitely silent. [Laughs]
You've worked with director like Eggers and David Cronenberg who have made legitimately terrifying movies, but the films you've been in aren't traditional horror stories. Is that something you're curious to do: make a full-on horror movie?
I think so. The thing is, I get r eally frightened at horror movies. I'm incredibly squeamish, so maybe I've been avoiding it because of that. I like using certain elements of horror. Especially now, it seems like horror seems to be the only genre where you can be pretty experimental and they'll get into theatres. In that way, it's really the most innovative genre at the moment. And there's something subversive about the genre itself: you're making entertainment out of killing people, so you can stretch that premise into a lot of different areas. I'm sure at some point I'll want to do one. I've always loved The Cell. I'd absolutely love to play a part like that.
Story continues
Are there other horror films that have really scared you?
The Exorcist is probably my favourite movie. I'm not particularly interested in doing a horror movie that knows its a horror movie, and I feel like The Exorcist is the reason for that. I find it so scary because it invests so much time trying to make you believe it's real at the beginning, and that always stuck with me. All the stuff in Iraq was so brilliant, and it's stayed with me forever. I've always thought The Strangers was very scary as well for a similar reason. It starts out as a well-acted relationship drama, and stayed in the world for a really long time before becoming a horror movie. I love a genre switch, and I always think that's a great niche.
Another common thread I've seen running through your recent films like The Lost City of Z, High Life and The Lighthouse is that you're playing characters who are exploring remote locations on Earth or in space. Do you share that restless spirit?
I was reading something the other day about exploration, and I definitely thought that if I was around in those times that's what I would be doing. But in reality, I'd probably have ended up doing whatever the equivalent was of sitting around and looking at Instagram. [Laughs] There's a part of me that loves that sort of fantasy, and I think it's also part of the p erformance that appeals to me. You're putting yourself in an environment that you can't be forced to pull yourself away from.
You mentioned Dafoe's costume — how did your own help you get into character?
I remember when we first tried them on that I found them very beautiful. That world is romanticised in a lot of ways, and even when we were shooting, it looked like an idyllic paradise. It was only when they were shot through these filters that they appeared grimy and grainy and dirty, and suddenly they took on a completely different life. But everything was pretty much what those two guys would have been wearing at that time. And when I was walking into the ocean with the uniform on, it was kind of incredible. I was wearing something made out of wool and was literally underwater! As soon as you get out, you're not that cold considering that it was Arctic temperatures. Even if you got one those fancy cold weather gear coats that they have now, it wouldn't compare to the kind of protection from the elements that a wool suit would give.
You gave an interview where you talked about almost wanting to punch the director after you got sprayed with water multiple times from a fire house. The Lighthouse sounds like a difficult shoot in general — did that help your performance?
I think that Robert got upset with me saying that, even though I was obviously joking. [Laughs] The thing with the fire hose happened because the rain wouldn't show up [on film], and we needed a lot of water coming across the lens. I didn't even realise it was a fire hose at the time — I thought it was a rain machine. I couldn't even open my eyes! But it's more fun when someone's pushing you. The only times I struggle on a movie set is if someone doesn't really know what they want and they're wishy-washy about their decisions. That can be incredibly frustrating. Also, just waiting around and the enormous amounts of repetition. Whereas if you're doing like The Lighthouse, it's so visceral and extreme and you're bein g pushed all the time so there are a million things to react to. Outside of the camera being there, we're essentially living that story. You appreciate it afterwards, because you feel like you've done a Tough Mudder run. I felt incredibly relaxed at the end of the day from totally exhaustion. I slept very well every night of The Lighthouse!
The Lighthouse is playing in theatres now; visit Fandango or Atom Tickets for showtime and ticket information. Watch the trailer:

Miley Cyrus's New Album May Feature Cardi B And Shawn Mendes





Miley Cyrus is coming... again. After kicking off her new era in May with She Is Coming, Cyrus said she would follow up with two more EPs that would ultimately comprise a full-length project titled She Is Miley Cyrus. But it appears the 26-year-old may be jumping straight to album mode, if her recent Instagram Live is any indication.
On Sunday (October 20), Cyrus took to IG to give fans a tour of her animal-filled L.A. abode, which included her home office. There, viewers got a look at a whiteboard with what appears to be a tracklist and a November 23 release date (which also happens to be MC's birthday). The 13-song list includes a smattering of tracks from She Is Coming â€" "Mother's Daughter," "Party Up The Street," and the RuPaul-assisted "Cattitude" â€" as well as the recent single "Slide Away." Interestingly, there may be a couple more collaborations on the docket â€" eagle-eyed fans noted that "Naked" appears to feature Cardi B, while Shawn Mendes may make an appearance on "Playing With Fire." Other notable titles, if this tracklist is legit, include "Golden G-String" and "Mary Jane."
In July, Cyrus spoke about the upcoming album in an interview with Elle, saying, "My record is called She Is Miley Cyrus. 'She' does not represent a gender. She is not just a woman. 'She' doesn't refer to a vagina. She is a force of nature. She is power. She can be anything you want to be, therefore, she is everything. She is the super she. She is the she-ro. She is the She-E-O."
Other highlights from Cyrus's livestream included a throwback rendition of her Bolt theme song "I Thought I Lost You" (which came at the request of Justin Bieber, who hopped onto the stream at one point), and the debut of a song called "Bad Karma." Singing a cappella, Cyrus belted, "They say it's bad karma being such a heartbreaker / I've always picked a giver 'cause I've always been a taker."
That wasn't the only unreleased tune Cyrus sang for fans. At another point in the nearly one-hour stream, she sat down at the piano and played a song she said she'd been working on that week. "Just think about me before filling up the cup / Feels like nowadays everybody's breaking up / But I wanna last, I wanna last / Baby just keep me from my past," she sang, noting that the song probably won't be on her album. She added that the melancholy tune was inspired by her sobriety; she revealed she's four months sober and added, "It's the best I've ever felt. ... It's my number one priority right now."
Peep the rumored MC7 tracklist below, and mark those calendars for November 23, in case Cyrus does decide to release this thing.
1. "Sagitarius"
2. "Mother’s Daughter"
3. "Slide Away"
4. "Party Up The Street"
5. "American Dream"
6. "Naked" feat. Cardi B
7. "Golden G String"
8. "Mary Jane"
9. "Victoria"
10. "Cattitude"
11. "Bad Karma"
12. "Play With Fire" feat. Shawn Mendes

  1. 13. "Coldblood"

Marvel Creating ‘Substantial’ Number of Exclusive Podcasts for SiriusXM




Marvel's Wolverine, Hawkeye, Black Widow and Star-Lord — and potentially more characters down the road — are getting their own podcasts on SiriusXM and Pandora.
SiriusXM and Marvel Entertainment announced a multiyear pact under which Marvel will create a "substantial amount" of exclusive podcasts for SiriusXM and Pandora, including both scripted and unscripted series and themed live events. The podcasts are set to debut in 2020. In addition, SiriusXM and Pandora will also debut many of Marvel's most popular podcasts before they can be heard anywhere else.
Included in Marvel's slate of upcoming programming are four new scripted series, each 10 episodes, based around Wolverine, Hawkeye, Black Widow and Star-Lord, as well as a fifth series in which all four team up. Unscripted podcasts will look at Marvel's history through a modern-day lens of pop culture, along with podcasts dedicated to popular Marvel franchises and regular talk shows.
"Powerful stories are read, seen, and heard – and we believe audio is the next natural step to bring the Marvel Universe to fans around the world," said Dan Buckley, president of Marvel Entertainment, in announcing the deal.
Starting next year, SiriusXM subscribers with streaming access can listen to all Marvel podcasts on the go with the SiriusXM mobile app and at home on connected devices including smart TVs, Amazon Alexa devices, Apple TV, Sony PlayStation, Roku players, and Sonos speakers. Users of Pandora — which SiriusXM acquired in a $3.5 billion deal — on both free ad-supported and premium subscription tiers will also be able to hear all Marvel podcasts on the Pandora mobile app for iOS and Android.
SiriusXM and Marvel launched their first joint initiative in August 2019 with an exclusive music station and channel called "Marvel's 80th: The Road to Marvel Comics #1000," which was available on SiriusXM for a limited run, as well as through its streaming platform and on the Pandora mobile app.

Juice WRLD's 'Lucid Dreams' Is The Subject Of A $15 Million Lawsuit






Juice WRLD's been hit with a huge lawsuit by pop-punk band Yellowcard, outlets are reporting, who claim that "Lucid Dreams," Juice WRLD's breakout 2018 single, copies melodic elements of their 2006 song "Holly Wood Died." The case is set to the tune of a whopping $15 million. Along with financial compensation, the band is looking for co-ownership of the song and royalties as well.
The Yellowcard members aren't just suing Juice WRLD; they're including nearly everyone connected with the record: producer Nicholas Mira, co-writer Taz Taylor, Interscope Records, and more. Since the song was instrumental in breaking Juice WRLD to mainstream America, they're also looking for revenue from his concert tours and public appearances. To establish the song's similarities, they point to a "melodic idiosyncrasy" called a melisma, which, according to the band, appears in a "parallel position" in both songs.
There's also the fact that Juice WRLD is quoted in an interview saying that he "listened to and educated himself in emo pop-rock music" to impress a girl that he had a crush on in fifth grade in 2006. It's the same year that "Holly Wood Dies" came out on Yellowcard's Lights and Sounds album.
According to Yellowcard's attorney, the lawsuit isn't new. "They put all of the parties on notice a long while ago and gave them every opportunity to try and resolve it," he said in a statement to Billboard. "That notice was pretty much ignored leaving them with no real choice."

Thursday

Fire The Bellboy delivers a fury of catchy alt rock







Fire The Bellboy delivers a fury of catchy alt rock

Alternative rock has many names, sub-genres, and variations. So it's great when we hear something that leaves us an a slight awe. Now, Fire The Bellboy I'm sure must have gone through their own songwriting process by the time they got to the sound acquired on their new Ep "The One Who Started It". But that sound, the one the landed on, is a sonic expansion of pop and alternative rock all around. The Ep does keep to a less conformed sort of pop rock feel a lot, but also takes that influence and contorts it into something very cool. The featured song and single from the Ep made up of 3 titles, is called "Polyglot". This is a perfect example of the sonic expansion we speak of.  Rock out with them on your favorite place to listen to new music!

Wednesday

Rappers Yo-Yo & Da Brat Explain Hip Hop's Gendered Double Standard: "You Always Want to Be F--kable"




Since the Grammys first introduced an award for Best Rap Performance in 1989, just two of its recipients have been women.
Rap icons and industry pioneers Yo-Yo and Da Brat look back at challenges faced by hip hop's women artists in this clip from Sunday's new True Hollywood Story, which will explore some aspects of sexism and sidelining amid a historically male-fronted music scene. "Hip hop female artists continuously reinvent themselves," Yo-Yo, a 1996 Grammy nominee and longtime female empowerment advocate, tells the camera. "You have to constantly stay hot or they move on to someone else."
Da Brat agrees that "you're expected to look a certain way" and "they want you to be beautiful," something she notes isn't true for men in similar positions. "Look at Biggie and Heavy D," she bites, going on to say that as a woman trying to hold her own in the hip hop space, "You always want to be f--kable."
In addition to recounting their experiences with sexist beauty standards, Yo-Yo and Da Brat share their thoughts on the early 2000s, a critical time for women in hip hop.
After decades spent making bangers that never seemed to earn them recognition the way it did their male counterparts, women rappers finally saw an opportunity for more equal ground in 2003, when a new accolade for Best Female Rap Solo Performance debuted at the Grammys.
"It was amazing when they finally gave women a solo category because we stand alone," recalls Da Brat, a two-time nominee. But the distinction only existed for two years (Missy Elliott, whose anthem "Get Ur Freak On" first won her the non-gendered title in 2002, took home the award for Best Female Rap Solo in 2003 and again in 2004) before the Academy did away with it due to "lack of releases" by artists who qualify.
Commenting on the reversal, Yo-Yo, who "sat on the board for the Grammys," says, "You know, no disrespect to them at that time, but they knew little about women in hip hop. And so I don't think they valued it that much."
Hear more from both women in the clip above.

New DC Universe Timeline Revealed


There are big changes coming to the DC Universe. That shouldn't come as a surprise, as DC continuity is always in flux, something recently illustrated in the pages of Doomsday Clock, which introduced the concept of a "metaverse" that allows for events of the past to shift as new stories are told. But still, superhero history can be tricky to navigate, and DC Comics is looking to clarify it all with a new timeline.  
Comic book time is a historically fluid affair, operating on a "sliding scale" that allows characters to age only at the pace necessary for the story (if at all), and very few characters are tied to specific dates in history. DC Comics continuity has generally avoided "fixing" its characters to particular points of the past, with notable exceptions for those who were necessarily of their era, like various Western heroes (Jonah Hex, Bat Lash) or the Justice Society of America, whose early adventures take place between approximately 1939 and 1950. It was generally considered that the "modern age" of DC superheroes was roughly a decade old, and everything else moved around the timeline accordingly. But with the post-Flashpoint reboot of the entire DC Universe in 2011, the traditional Justice Society were removed from the "main" DC Earth in favor of a new timeline in which superheroes had only existed for the last five years. 
Since 2016's Rebirth relaunch of the entire DC line and in the pages of The Flash, Doomsday Clock, and Justice League, the original JSA have started to reappear in the DCU, once again establishing that superheroes have been around since at least the 1940s. To further solidify this reclaimed continuity, DC is creating a comprehensive timeline of major events in DCU history, the first of its kind in roughly a decade, and apparently the most significant continuity-shaping effort since 1994's continuity altering Zero Hour event.
"When we launched the New 52 there was a lot of great excitement that came along with that," Dan Didio told the DC Nation panel at NYCC. "For us, it helped validate a lot of things we knew. There's a large fanbase that loves our characters and they were looking to come in at a place where they were interesting, exciting, and new and fresh. But what might have slipped up was that while we started everything brand new, when we started getting deeper in, we didn't spend the same amount of time as we did at the start to figure out what worked into continuity and what didn't." 
Two key complaints about the New 52 era were the loss of legacy characters like Wally West, and the question of what "happened" in the newly compressed timeline and what didn't. Issues of legacy (and hints about the timeline) were addressed in 2016's DC Universe: Rebirth special, and Didio told the NYCC crowd they're ready to solve the rest.
"We know that what's important about comics is that immersive sense of what the world is, what's going on, and how it all works together," Didio said. "When we see things happening in film and television where they're building universes, and if we're not doing it in comics, the place that inspired them, then we seem like we're failing. So we're starting to figure out how the DC line works a little bit better now."
This doesn't mean that yet another reboot of DC Comics continuity is in the cards. Instead, it sounds like DC will continue their tradition of simply revealing new elements of history or slightly reshuffling chronology as needed, without the need for a New 52-style hard reset. In the wake of Rebirth, DC revealed that Wally West had a career with Barry Allen, a past with Dick Grayson, and a history with the Titans, all of which (including the main era of the Titans itself) had merely been forgotten. Recent events in the pages of Doomsday Clock and Justice League have reintroduced the Justice Society both to continuity and in their original era, while in the pages of Superman, the Legion of Super-Heroes (albeit a rebooted version, to be fair) made their return.
"The whole idea here right now is from our standpoint we are trying to organize our stories in a way that makes cohesive sense from beginning to end, from the start of DC Comics to today," Didio said. "This timeline will build a continuity that makes sense across all our characters, showing when they were first introduced, how they interact with each other in one big story that will be the basis for all DC Comics for the future...What you see right now is a story that will be consistent, because ultimately, when you guys get all upset or concerned about reboots and restarts, those things occur because the stories stop making sense and the continuity basically slows down our storytelling and nothing's being done at the same style or pace."
To keep things on track, DC continuity has been split into "generations." An intricate spreadsheet was flashed on the NYCC screens that identified four generations of DC storytelling, and hinted at what's to come.
Perhaps the biggest reveal was that Generation 1 begins not with Superman, but with Wonder Woman. "When Wonder Woman arrives in the United States, that starts our storytelling," Didio said, before joking, "Oh wait, I don't remember reading that." 
It's true. Diana has never been considered the starting point for DC superheroes, with that honor traditionally going to either Superman or the JSA. But making Wonder Woman DC's first major costumed hero makes sense, especially given the success of the first Wonder Woman movie, which placed her first appearance during World War I. From the spreadsheet shown on the screen, the Justice Society would form shortly after (and recent events in Justice League place their formation in 1940, roughly around the time of their first publication). Generation 1 appears to end with the disbanding of the Justice Society, but it was tough to get a good look.
"The start of the second generation is the advent of the modern age of heroes, when Superman first appears," Didio said, before joking "wait a minute, I don't remember reading that either!" Whatever DC has planned, it seems like key moments in DC history will be explored once this full timeline is revealed.
Generation 2 also looks like it includes the formation of the Justice League, the discovery of the multiverse, the rise of Robin, Batgirl, and the Teen Titans, and all the way through Crisis on Infinite Earths.
Generation 3 appears to include the post-Crisis years, including massive, status quo changing events of the '90s and early 2000s like the death of Jason Todd in Death in the Family, the Death of Superman, Grant Morrison's JLA run, and others, before ending with Flashpoint. 
Generation 4 encompasses the current era of DC storytelling, roughly Rebirth to now, including recent events like Dark Nights: Metal, Doomsday Clock, and Year of the Villain.
This isn't comprehensive and is only what I could spot at a distance on the screens. And it should be made clear that these "generations" aren't tied to the eras in which their stories were published. In other words, even though Generation 3 includes stories published between 1986 and 2011, the events themselves almost certainly all took place within the last 5-10 years of DC Comics time. The "sliding scale" of comics time will apply to everything other than the characters and events (such as the formation of the JSA) that they feel are essential to their era.
During other interviews at New York Comic Con, I tried to get notable DC creators to spill some details about the timeline. They were understandably and diplomatically vague.
Joshua Williamson, the architect of the Flash's past and future since 2016, had this to say when asked if he had considered the new timeline when crafting The Flash: Year One, "I think next year you'll see where things start to line up, and there's things that will tie back into The Flash: Year One that you'll see were left behind on purpose," Williamson says. "There were little clues in there, these little clues I've been planting in the book for a long time, so you'll see it will all add up eventually."
Recently, Justice League even reintroduced the Will Payton version of Starman, not as a contemporary hero, but one who was first active in the late 1980s and early 1990s. In other words, roughly the period when he was first published in a comic series by Roger Stern and Tom Lyle. Justice League, written by Scott Snyder and James Tynion IV, has been re-establishing the very rules and core concepts of the DC Universe from the outset, and hints of DC's new timeline can be found there.
"The biggest thing that we can say is we're right in the midst of the biggest story that we've told, and all of the threads that we've been playing with the start of Dark Nights: Metal are starting to converge and hit in this really, really big way," Tynion says. "We have lots more answers to a lot of these questions that we really can't get into. We want people speculating, we want people wondering what we're building and all of that, because we're building something that I think long-term fans of the DC Universe and new fans of the DC Universe are going to be thrilled by. The stories that we're telling are some of the most exciting work that I've done since joining DC Comics eight years ago. It's freaking amazing working with Scott and bringing it all to life."
We'll have more from Scott Snyder, James Tynion IV, and Joshua Williamson about their corners of the DC Universe in the coming days.
(Thanks to Jim Dandy for helping me keep all this straight!)
Mike Cecchini is the Editor in Chief of Den of Geek. You can read more of his work here. Follow him on Twitter @wayoutstuff.
Read and download the Den of Geek NYCC 2019 Special Edition Magazine right here!

77 Skeletons by Morsifire is DEEP #Flyahreview



Far and few artist can make good music that can cross genres. Morsifire can, and when you hear him say “I seen the devil two times,” on 77 Skeletons, you get the feeling, he knows it.

Born Andrew Seely and raised by his drug addicted single mother, Morsifire’s experiences are packed not only in the visually effective video for 77 Skeletons, but also apparent in the rock inspired hook.

Morsifire transcends even higher; on the track “Contact”,  when he pulls you in and stops mid verse and raps, “ She’s actually gone.”
Moments like when he reflects on going through the pain of loosing his sister, “Every September,” sheds light of the fact that Morsifire has been through enough heartfelt experiences to fill any rhyme book. This coupled with his genre jumping style, informs us we are in for a journey. 

In a time when it may be a bit harder to find great music, tune into Morisfire’s debut LP, Metanoia you’ll be glad you did. 

Nigel illbadaa Greer


Tuesday

Rocket produces very energetic pop #Flyah Review




Performing with high energy, Indie pop rock band Rocket has boosted their morale to be acclaimed like groups such as Paramore & Social Distortion. They have been committed to their craft since their formation in 2013; being the voice against naysayers claiming that they don't fit in, Rocket continue to break down the stereotype with their single "Giants". When i first played this magical song I was instantly drawn in by the lyrics and energy of the vibe; I was immediately brought into the perspective by the lead singer of Rocket, Janelle Barreto, pushing the envelope forward by expressing and depicting the ruling of the stars above while fighting against the doubters.  

The song speaks about holding on to hope giving revelation that it's time to shine in the sense of love.  This concept is feeding us motivation and strength to over come any battle.  Giants is a record that can be played on an everyday basis to uplift your spirits and make you think you can conquer the world with love. The sound behind the lyrics puts the song next to various soundtracks of movies from the 80's such as Wayne's World and High Times at Ridgemont High. It's definitely something that appeals to the youth and the lyrics are very pleasant to hear over and over again. Rocket has a bright future ahead of them and their fan base is going to grow even larger as long as they continue on the course on what they have presented here. If i had to rate Rocket on a scale of 1 to 10, it will be a 8 for energy, the message comprised in beautiful lyrics, togetherness and awesome instrumentation.

Saturday

Humdrum Sun Drops their Indie rock Single "More Armor"






Humdrum Sun Drops their Indie rock Single "More Armor"

"More Armor" is a very poppy, fun, indie rock track with hints of pop punk and more. It's extremely easy to get sucked into the energy of the song and it does become quite addicting fast. The end of the track brings to mind bands like Weezer with garage toned guitars and a damn strong spirit. 

For Humdrum Sun, the single is a taste of what's to come on their upcoming release set to be a full length album. Either way these guys have a great sound and once you get "More Armor" into your blood stream you'll certainly want some more. 

Check out the single at: https://humdrumsun.com/

Friday

The Dream-Pop of Anson Jones





The Dream-Pop of Anson Jones 

Anson Jones definitely utilizes his experience in production and songwriting in his Wait & Wait EP. Flowing synths, and passionate vocals, songs swell with emotion the deeper you dig in. The thing about this EP is that even though it's certainly powerful dream pop, there is more emphasis on the pop side of things. 

"Let You Go" seeps in and doesn't let go. There's plenty going on in the atmosphere of the track that keeps it growing. Building instruments and melodies swirl around into a solid piece of work. 

A very strong effort from  Anson Jones you can listen to everywhere!