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The Pitch: Earl Stone is the mule. A transporter for the cartels, on the lam from that thing called life. But this isn’t some punk kid with gym bags and stuffed condoms at the international section of the airport, no. Clint Eastwood is the titular coke wheeler, and he’s a 90-year old horticulturist, and for all intents and purposes, a lifelong sonuvabitch. On the surface, he loves growing flowers in his native Peoria, Illinois. Won awards for them, too. But that never seems to pay the bills, and has taken a lot of time and effort away from his family. He’s left a wife, daughter, and granddaughter on their own with nothing. Unexpectedly, he falls into working for a Mexican cartel for gobs of cash. Can he redeem himself, and make a little moolah along the way? No one suspects the 90-year man behind the wheel of a Lincoln truck, driving the speed limit. (It’s not the worst front for a drug organization, if you think about it.) Raw, Weathered, Aged Hide: He’s 88. His back hunches. The pants are navel-high, and the belt hangs a few inches below the waistline. His hands shake reaching for the dash. His skin looks, well, wilted. And his voice, once the paradigm for stern terseness, is soft and cragged. Blondie, by all stretches of the definition, is old. This isn’t The Expendables. This isn’t Robert Redford’s dyed hair in The Old Man & the Gun. Clint Eastwood is truly old now, and there’s not a damn thing he can do about it. You’ve never seen a star vehicle quite like this. Based on a true story in The New York Times, Clint Eastwood’s take on Earl Stone (real name: Leo Sharp) is docile and mostly harmless. A proverbial sweet old man with bowties and seersucker suits, he just likes to sell flowers. Earl’s slower than he used to be, ignored, written off, too flaky to be taken seriously by his family. He takes his time. He never picks up a gun, he sings along with Dean-O in his car, he likes fast food and detours through the white sands. He’s more than a shade racist, slurs popping out of his mouth with unnerving ease. Yet in the same breath, Earl isn’t spiteful in the same way as Eastwood’s Walt in Gran Torino. This balance ends up being weirdly appropriate in pitching Earl as an old man getting away with a lot. For both better and worse, Earl is one of the most well-rounded, least ageist depictions of an old man witnessed onscreen in some time. As director, Eastwood allows himself to act with esteem, slowly burning out this Earl figure. Yeah, he’s an elderly man getting away with all manner of trouble, but at least there’s no grandstanding about the esteem of elders, or why Earl is in the right. He’s a man alone with his thoughts and sins, covering a lot of miles. It’s the jazz Eastwood loves so much, feeling out ideas with just enough meat to parse out the time. The movie likewise takes the slow road, occasionally lapsing into familial drama or crime storytelling. A well-placed police dog scare here. A wedding party fight in public there. A nice VFW dance for some fun. The more sensationalist embellishments, the battles between the DEA and the cartels, keep actors like Bradley Cooper and Andy Garcia on the sidelines. Save for a little gang violence, the most R-rated thing on display here is that Earl stumbles into two, count ‘em two, threesomes with significantly younger women. They’re mostly played for benign comedy. These are ultimately all side attractions throughout an Eastwood solo road movie. He can still sell. He’s still glaring, thinking, and smirking. Maybe he’s atoned, maybe he can’t. Maybe he knows he’ll never patch things up, but that’s the appeal of the persona in this particular role. The deep thought. Now weathered, and visibly cracking before our very eyes. Eastwood is still an attractive lead, and he wields something he’s always been good at: thoughtful stoicism. The Mule is a ruminative effort. Eastwood, 60 years on, can still carry a star vehicle. Sins of the Father: Earl Stone is just a man along for the ride. But how does a hard-charger like Eastwood fit into that role? He’s every bit as macho as the rest of them. This is the guy who once boasted to magazines about his workout regimen. A guy who ate burgers with Warren Zevon and ducked rumors of punching horses and kicking co-stars. It should be noted that, at the time of this writing, details regarding bad past relationships and behaviors have returned again to light about the actor/director’s personal life. They’re hard to ignore, especially in a movie about a lifelong lout trying to make good. It’s hard to separate. A guy who destroyed marriages and was abusive to women, now playing a man who destroyed his marriage and is searching for forgiveness? That’s the biggest challenge The Mule faces. To what point can we still seek absolution? The themes of guilt and unearned forgiveness might read tin-eared or untrue to many, especially for those in the know about Eastwood’s life. Unforgiven and The Bridges of Madison County were apology tours, something must still be bothering him. And that’s difficult to mediate here. The sins of the past usually are. The Verdict: The Mule is a functional take on capitalism, work-life balance, and the creeping, overlong process that is aging. The tense moments click. You’ll learn how to dodge the police with Ben-gay. The comedy will make some groan, but Clint grumbling that the “goddamn internet” ruined everything? It’s the kind of self aware ribbing that he’s been able to work for years. Perhaps most accessibly, this is a film about the Clint Eastwood toughness of old being all but gone. It’s victory lap stuff for Eastwood, getting what few remaining miles he has left out of his brand of acting. The Mule is a reasonably captivating star vehicle. It’s quite internal and reflective, which is a pleasant surprise. Sometimes, you live long enough to earn forgiveness. But people never truly forget the sins of the past, and Eastwood seems to know that. Where’s It Playing?: It’s wide now, on a small scale. It would appear WB is saving money for their splashy release of Aquaman this coming week. Trailer: Source

Colin Kroll, the co-founder of the widely successful mobile app and trivia game show HQ Trivia, has died at the age of 34, according to The Hollywood Reporter. Early Sunday morning, NYPD officers were called to Kroll’s Manhattan residence to perform a well-fare check. Upon arrival, they found Kroll dead of an apparent drug overdose. Kroll was also the co-founder of the social media video app Vine, which was later acquired by Twitter. Kroll was fired from Twitter for “poor management” following allegations of inappropriate workplace behavior toward women. In 2015, he helped launch HQ Trivia and served as the company’s CEO. Source

Setting the Stage: Capping off another magical year, Sweden’s Ghost rolled into Brooklyn, New York, on Saturday (December 15th) to perform the last show of their 2018 trek, dubbed “A Pale Tour Named Death”. And while most of the fall North American tour was staged in theaters, the Brooklyn stop was one of three shows that would take place in a large arena, signifying the remarkable rise to fame by the purveyors of blasphemous yet infectious metal and progressive rock. As it is, Brooklyn’s Barclays Center has a stark interior, with black seats and a black ceiling, providing the perfect setting for Ghost to bring their impressive cathedral-like set, complete with a step-filled altar and a backdrop depicting stained glass panels honoring Papa Emeriti of generations past. With rapper Jay-Z playing a major role in the development of the Barclays Center, it’s been nicknamed as “The House That Hova Built”, but on this night, it would be Ghost frontman Cardinal Copia’s chance to turn the arena into his own house of worship. Taking the Stage: With no opening act, Ghost’s nameless ghouls took the stage precisely at 8 p.m., playing the track “Ashes”, followed a couple minutes later by Cardinal Copia himself, as they followed with their recently Grammy-nominated No. 1 rock single “Rats”. Including the Cardinal, the live band is made up of eight musicians, giving Ghost a mighty sound that easily filled the cavernous arena. The opening numbers were two of eight songs the band would play from their 2018 disc, Prequelle, which itself received a Grammy nomination for Best Rock Album. The Cardinal, or Tobias Forge, as his friends and family know him, would change his look throughout the night with a rotating wardrobe of all-black, all-white and all-red outfits, some more pious than others. Ghost’s previous album, Meliora, would also be well represented with eight songs, including their first U.S. radio hit, “Cirice”, which led into “Miasma”, featuring a saxophone-solo cameo by the physically weak yet determined Papa Nihil. Following “Life Eternal”, the audience, which had been on its feet from the first note, was informed that there would be a 15-minute intermission, offering a chance to sit down or grab a beer before the second act. Sporting his red Cardinal outfit, Copia and company launched Act 2 with the Meliora songs “Spirit”, “From the Pinnacle to the Pit” and “Majesty”. A few songs later, “Year Zero”, off the 2013 album, Infestissumam, would get a big rise out of the crowd. For most of Act 1, the Cardinal was relatively light on banter, once in a while screaming shout-outs to Brooklyn, but that would change during Act 2. Before launching into “Mummy Dust”, the frontman told the crowd that the band was about to “wobble your asses” and “tickle your taints”, and then politely surveyed the crowd after the song to see if we indeed had our asses wobbled and our taints tickled. The response was resoundingly affirmative. The comedy didn’t end there. During the band’s cover of Roky Erickson’s “If You Have Ghosts”, Cardinal Copia introduced the band, building up each member with accolades and praise, before exclaiming, “Ladies and Gentleman, Ghoul!!!” Yes, they were all introduced as “Ghoul”. He saved his best remarks for the two female keyboardists, describing them as lionesses who would have leaped into the audience and “torn your assholes open” had they not been contained by a small chain that surrounded them onstage. Ghost closed out Act 2 playing their stellar new single, “Dance Macabre”, giving the catchy number a heavier vibe in concert, followed by their most arena-ready song, “Square Hammer”, which got the biggest reaction of any performance of the night. The band would then take its final bows, walking off the stage to thunderous applause. A few minutes later, Cardinal Copia would return, giving a somewhat longwinded monologue about it being the last show of the tour, and how they wanted to do something special for us. He told the audience that the band originally wanted to take us outside and do the nasty with each and every one of us, but that idea was shut down by the magistrates of Brooklyn. Instead, he implored us to make love with each other and ourselves when we got home, and offered up an alternate treat, a performance of “Monstrance Clock” to close out the three-hour evening of entertainment. And with that, Ghost proved they can command an arena, albeit a modified setup that didn’t include the upper bowl. Still, there were a good 7,500 or so people there who were truly captivated by Cardinal Copia and company — pretty remarkable for a band who celebrates Satan as much as it does infectiously heavy music. With the addition of a few a more “Square Hammers” in their toolbox on future albums, the band has a chance to graduate to full arenas in the years to come. Until then, we wait to see what the next incarnation of Ghost and their always charismatic frontman (whoever it may be) have up their sleeves. Photo Gallery: Ghost at the Barclays Center in Brooklyn, New York (12/15) All photos by Johnny Perilla (@johnnyperilla) Setlist: Act 1: Ashes Rats Absolution Idolatrine Ritual Con Clavi Con Dio Per Aspera ad Inferi Devil Church Cirice Miasma (with Papa Nihil saxophone solo) Jigolo Har Megiddo (acoustic) Pro Memoria Witch Image Life Eternal Act 2: Spirit From the Pinnacle to the Pit Majesty Satan Prayer Faith Year Zero Spöksonat He Is Mummy Dust If You Have Ghosts (Roky Erickson cover) Dance Macabre Square Hammer Encore: Monstrance Clock Source

The cold opening of Saturday Night Live’s annual Christmas episode was a Trump-themed riff on It’s a Wonderful Life. The sketch imagined a world in which Trump lost the presidency and how much better his staff’s lives were because of it. Mike Pence was able to pursue his career as a DJ, Eric Trump had time to attend adult education classes, and Melania got a divorce. Not surprisingly, the moral of the story was lost on Alec Baldwin’s Trump, who ultimately pleaded to become president again. Though the sketch was one of SNL’s better moments of 2018, it didn’t seem to sit well with the actual Donald Trump. Early Sunday morning, he questioned the legality of the comedy series and suggested it “should be tested in courts.” “A REAL scandal is the one sided coverage, hour by hour, of networks like NBC & Democrat spin machines like Saturday Night Live,” Trump tweeted. “It is all nothing less than unfair news coverage and Dem commercials. Should be tested in courts, can’t be legal? Only defame & belittle! Collusion?” A REAL scandal is the one sided coverage, hour by hour, of networks like NBC & Democrat spin machines like Saturday Night Live. It is all nothing less than unfair news coverage and Dem commercials. Should be tested in courts, can’t be legal? Only defame & belittle! Collusion? — Donald J. Trump (@realDonaldTrump) December 16, 2018 It’s worth noting that Trump himself previously hosted Saturday Night Live in 2004 and 2015. The latter appearance came during his run for presidency and some critics argue that it assisted Trump in humanizing his image. On a related note, Trump is besieged in scandal and a bevy of investigations, so it wouldn’t seem like a court case against SNL is the best use of his time. Though, as we learned from the cold opening, he isn’t one to pursue the most sensical route. Source

Page to Screen is a monthly free-form column in which Matt Melis explores how either a classic or contemporary work of literature made the sometimes triumphant, often disastrous leap from prose to film. This time, he soars alongside the Ghost of Christmas Past to revisit the very best adaptations of A Christmas Carol. Check your humbugs with the girl at the door. “In everybody, there is a thing that loves children, fears death, and likes sunlight, and this thing enjoys Charles Dickens.” — Gilbert K. Chesterton “Okay, kids. That’s enough Dickens for one day.” — Mr. Garrison, South Park “I’m up to my chestnuts in Dickens.” — Me Most people know the gist of Alice’s tumble down the rabbit hole and are familiar with the basic itinerary of Wendy’s red-eye to Neverland. Thanks to Judy Garland, even more can probably recount Dorothy thumbing her way across Oz with three strangers. However, I’d be surprised if any tale in the Western literary canon has been embedded in our cultural DNA more thoroughly than Charles Dickens’ A Christmas Carol. The phrases “Bah, humbug!” and “God bless us, every one” jokingly pass our lips as shared allusions, and the name Scrooge itself (whose etymology traces back to an obscure verb meaning “to squeeze” or “to press” but could just as well be an amalgam of the unpleasant verbs “screw” and “gouge”) has become synonymous with obstinate callousness and avarice. It’s a simple moral tale first given to us as children, one that we weave into our own holiday traditions as we grow older, and, as we’ll see, a story whose framework gets leaned on time and time again by those charged with entertaining us on screens of all sizes. Looking back on Dickens’ novella for the first time in several years, I’m struck by a couple things. First, that A Christmas Carol almost never gets discussed as a time-travel story, even though it’s one of the earlier examples of such in Western literature. (A couple items on this list remedy that void.) Second, that while Dickens wrote his novella in direct response to the harsh conditions he saw women and children enduring as factory workers, we read the tale today as more of a redemption story than a moral imperative to correct the wrongs of our own time. Maybe that type of call to action would be asking too much of any tale, let alone one that’s pushing two centuries old. It’s enough that the X-mas spirits Past, Present, and Yet To Come — which we could very well rename Nostalgia-Regret, Pity, and Fear — can squeeze compassion out of a stone as hardened as Ebenezer Scrooge. Still, Stave Three, featuring the Ghost of Christmas Present, has always touched me most: to hear Scrooge’s own words driven into his back like daggers, to see “Ignorance” and “Want” trembling as they cling to the spirit’s robes, and, of course, to understand Tiny Tim Cratchit’s impending death if Scrooge doesn’t intervene at once. Yes, it’s reward enough to witness Scrooge’s own redemption, but I still can’t read these passages without considering if anyone out there breathes slightly easier due to my efforts. Actors may aspire to play Hamlet, but it’s far more likely they’ll land the role of Dickens’ miserable miser. Everyone from the Fonze to Frasier and from Captain Picard to Beavis has portrayed Scrooge in name or type. And on this list you’ll find classic retellings, musical productions, Saturday morning cartoons, and even some veddy, veddy British silliness. In other words, something for everyone because, as we all know, it’s god bless us … EVERY ONE. Now, touch my robe. Don’t ask questions. Time is short, and we have a lot to see. _________________________________________________________ Source

On Saturday, the curtains closed on Springsteen on Broadway, Bruce Springsteen’s year-plus, Tony Award-winning Broadway residency at the Walter Kerr Theatre. For those who weren’t able to attend the run — which totaled an impressive 236 sold out shows — the intimate, acoustic, and autobiographical production has been captured in a new concert film. You can watch it now on Netflix. Also titled Springsteen on Broadway, the film comes courtesy of Emmy Award-winning director and producer Thom Zimny. He and Springsteen previously worked together on the New Jersey rocker’s 2001 Live in New York City concert film. “I wanted to capture Bruce’s eyes in a way that you don’t get from being in the theater,” Zimny told The Associated Press. “It’s another sense of intimacy, another sense of the performance.” “It’s hard to put into words,” continued Zimby. “But experiencing the Broadway show is such a beautiful and intense presentation. I wanted the film to both represent that and also be slightly different — so if you saw the show on Broadway, you had a different understanding of the power of performance by seeing his eyes.” Over two hours long, the Springsteen on Broadway concert film also features a guest appearance from wife and E Street Band member, Patti Scialfa. To coincide with the film’s release, a corresponding live album also dropped on Friday, and can be streamed in full here. Revisit a trailer for the film below. Source

Despite his best efforts, Offset has been unsuccessful in saving his marriage with Cardi B. Ever since the hip-hop power couple broke up last month, the Migos rapper has been trying to win her back. This evening, Offset crashed Cardi B’s set at Rolling Loud Festival in Los Angeles, surprising his ex with a bouquet of roses that spelled “TAKE ME BACK CARDI.” “I just wanted to say I’m sorry, in person and in front of the world. I love you,” he remarked into a microphone. Unfortunately for Offset, Cardi B appeared none too pleased with the surprise gesture and proceeded to dress him down for the whole audience to see. Offset eventually left the stage without saying another word, amounting to one incredibly embarrassing public rejection. You can see fan-shot footage of the moment below. CARDI B MADE OFFSET LOOK LIKE A FOOL LMAO pic.twitter.com/v4JPYLHVKU — emily nunez (@nunezemilyy) December 16, 2018 Cardi B later addressed the incident on her Instagram: Cardi B took to Instagram Live to share her thoughts on Offset’s pop up at @RollingLoud. pic.twitter.com/jvTw9cFLrj — HipHopDX (@HipHopDX) December 16, 2018 Source

You could color me optimistic going into last night’s year-ending installment of Saturday Night Live. The previous two episodes had found a rhythm of sorts, balancing standout music with hosts willing to jump headfirst into the mayhem and a winning silliness in sketches that had been missing for most of Season 44. If ever there was a chance to end a bumpy 2018 on a funny note, Matt Damon as host would be a good bet. Not only has Damon proved to be one of his generation’s great dramatic actors, but he’s able to shift to comedy at the drop of a premise or punchline and has made a second career out of making comical cameos on late night. Who can forget “F*@#ing Matt Damon”? Add the chance to see Miley Cyrus return on vocals for Mark Ronson, and it makes for an episode with a unique musical pairing and a host whose apples we almost always like. So, how’d it all turn out? Read on below to check out the definitive can’t-miss moments. Have a wonderful Christmas, everyone, and here’s hoping you get better than Theresa May under your Brexit tree. Oh, and to Tobin, Squee, and Needle-Dick Ned, be sure to use a designated driver. We’d hate you to black out behind the wheel and end up tilting the Court even more. __________________________________________________________ Home for the Holidays Wins Some of the very best skits of the season have been holiday sketches and videos from the last few weeks. Last night, the show scored the most laughs when tapping into our collective holiday experiences. The episode’s very best moment came when Damon and Cecily Strong shared a romantic cuddle over wine and reflected on the “Best Christmas Ever,” a revisionist history that left out the ungodly hours, flatulent in-laws, binge drinking for sanity, and the one cousin who insists on wearing a MAGA hat to the dinner table. Other premises that hit home were the branches of misfit ornaments that have fallen out of favor and, to a lesser extent, Damon and Strong once again showing off their chemistry as the main act at a Christmas sing-along show that’ll make you wish you had stayed home. __________________________________________________________ Miley and Mark Break Hearts Miley Cyrus needs no introduction. Mark Ronson shouldn’t, given that he’s the producer responsible for every pop hit of the past two decades (barely an exaggeration). So, it’s been a change to see Ronson recently thrust into the spotlight and guesting on late-night television. Cyrus made for the perfect partner — not to mention, setting show records for amount of side-boob — bringing presence and flavor to their joint hit, “Nothing Breaks Like a Heart”, as Ronson coolly played acoustic guitar alongside her. Their version of “Happy Xmas (War Is Over)”, which featured special guest Sean Ono Lennon, dragged a bit due to Cyrus’ drawl, but she more than made up for it by reaching for something extra during the song’s emphatic final stretch. __________________________________________________________ Hark the Herald Angel Takes the Kids to Her Sister’s Dear, Lorne Michaels. Please give us all a huge present in the new year by letting Heidi Gardner on the air more, especially during Weekend Update. Whether it be as Goop girl Baskin Johns, teen YouTube movie critic Bailey Gismert, or Angel, “Every Boxer’s Girlfriend from Every Movie About Boxing Ever,” Gardner nails the performance. Finally getting to meet her boxer husband, Tommy Ray Donovan (a Southie-talking Damon), and father to her children — Mikey, Nicky, Peppers, Keno, and the gestating Gronk — only makes us more curious about Gardner’s hilarious stable of one-note characters. If we don’t see more of Gardner in 2019, you’ll know where to find us on Saturday nights: taking our kids to our sister’s. __________________________________________________________ Pinkerton Rules! We avoid certain topics around the family dinner table during the holidays for good reason. And as a useful warm-up for the real thing in little over a week, SNL reminded us precisely why we don’t bring up politics, religion, or any Weezer album after Pinkerton. While it’s been a debate in online forums and around the CoS water cooler for decades, to see Matt “Beverly Hills” Damon and Leslie “I Understand Rivers Better Than He Understand Himself” Jones go 12 rounds while their friends can’t bring themselves to give two shits, well, it just felt like a special holiday nod to anyone who is likely reading this review. Hip hip. Hip hip. __________________________________________________________ Balls Are Meant to Be Broken Wherever you fall on the issue of the Kevin Hart Oscars debacle, you have to admit that it’s strange to see something you said or wrote in an off-the-cuff moment — no matter how unacceptable it may have been — come back to haunt you a decade later. There’s definitely a harmony to be struck between social progress and telling jokes in the social media era, and last night’s episode addressed that issue. Whether it was the humorous string of celebrities hoping their pasts were clean enough to audition for Oscars host, Colin Jost and Michael Che intentionally writing inappropriate jokes for the other to read, or the boys breaking balls down at Frankie’s Ale House, we’re reminded that there are absolutely times when we need to speak up when we see something wrong, and other times we just need to turn off the damn Twitter and have a laugh. Other Highlights Source

In the hours leading up to tonight’s Saturday Night Live, Pete Davidson prompted concern over his well-being following a series of posts made to Instagram. Responding to Kanye West’s own social media comments about mental health, Davidson wrote, “Bravo Kanye West for standing up for yourself and speaking out against mental health. I can’t explain to you enough how difficult and scary it is to be honest about stuff like this. We need people like Kanye. No one should ever point fingers at you for your bravery in speaking about mental health. I’m seriously disgusted.” “I’m doing my best to stay here for you but I actually don’t know how much longer I can last,” Davidson added. “All I’ve ever tried to do was help people. Just remember I told you so.” He then wrote, “I really don’t want to be on this earth anymore,” before deleting his Instagram account. The posts prompted the NYPD to perform a welfare check on Davidson. Several other celebrities — including Davidson’s ex-fiancée, Ariana Grande — also offered their support on social media. Though Davidson was largely absent from tonight’s episode of SNL, he did introduce Miley Cyrus and Mark Ronson’s second performance of the evening. He also appeared in a pre-taped sketch in which he impersonated Bohemian Rhapsody star Rami Malek auditioning to be next year’s Oscars host. Source

Miley Cyrus and Mark Ronson had the honors of serving as the musical guests for Saturday Night Live’s annual Christmas episode. The duo performed their stellar new collaborative single, “Nothing Breaks Like a Heart”, as well as their cover of John Lennon and Yoko Ono’s “Happy Xmas (War is Over)” with assistance from Sean Ono Lennon. But perhaps the appearance will be most remembered for how Cyrus defied physics with her cleavage-baring track suit. Gorilla tape? Super glue? Whatever means Cyrus used to prevent a massive wardrobe malfunction ultimately proved successful, but undoubtedly gave Lorne Michaels a heart attack in the process. Replay both performances below. The latter performance was introduced by Pete Davidson, who made headlines earlier in the day after posting a worrisome Instagram message. Source

An entire SNL sketch dedicated to Weezer? It actually happened. Tonight’s Christmas episode featured a completely bizarre, downright incredible skit in which host Matt Damon plays a Weezer super fan passionately arguing in defense of his favorite band. Leslie Jones serves as Damon’s foil, a former fan of Rivers Cuomo’s outfit who lost interest after Pinkerton. The two begin debating after Weezer’s “Toto” cover begins playing during a Christmas dinner. “They just set a release date for the freakin’ Black Album,” Damon excitedly remarks, to which Jones responds, “I’m just a little confused because Weezer fans know they haven’t released a good album since Pinkerton in ’96.” “Why don’t you grow the hell up and listen to Ratitude and Pacific Daydream… You just don’t understand what Rivers is going through right now,” Damon comments. “Rivers doesn’t understand what Rivers is going through,” Jones responds. “Weezer died when Matt Sharp left,” Jones argues. Damon hits back, proclaiming, “Weezer didn’t start until Scott Shriner got there.” Watch the sketch below. It really is something else. Source

Crush AZ is more ready than ever to celebrate their 10th anniversary as Arizona’s longest standing EDM festival. They have decided to expand to two days at the Rawhide Event Center on Friday, Februay 15 and Saturday, February 16. These incredible two days will feature a lineup that perfectly reflects this milestone. The first round of artists includes Alesso, Spag Heddy, Wuki, Blossom, and more. Over the years, the highly anticipated event has grown to include cities across the country under Insomniac but has always made it’s way back to it’s original home in Arizona. CRUSH has seen fantastic lineups including wonderful artists such as Kaskade, Dada Life, Porter Robinson, Getter, Grandtheft, Bro Safari, DVBBS, Keys n Krates, and many more. “Relentless Beats has produced a myriad of events of all shapes and sizes, but there has always been CRUSH,” says Relentless Beats founder Thomas Turner. “It’s exciting to see it enter its 10th year and still be so well received by our fans. I can’t wait to reveal everything we have in store for the RB faithful” Tickets are on sale now. Get yours by clicking here now! The post 10th Anniversary CRUSH AZ Expands to Two Days appeared first on EDM Maniac. Source

Denver, Colorado is holding its own for this New Years celebration thanks to Global Dance, AEG and Live Nation pulling through with an outstanding Decadence lineup. On December 30th and 31st, come gaze over the sparkling city and bask in sounds by Bassnectar, Mikey Lion, Nora En Pure, Lee Reynolds, Alison Wonderland, Claude VonStroke, Illenium, Eric Prydz and so much more. photo credit Decadence 2018 To explore the Decadence lineup, sink into some select tracks from our custom playlist full of free downloads. Decadence Lineup 2018 Decadence lineup playlist: For two nights, in the expansive Colorado Convention Center, every nook and cranny will be filled with amazing music across multiple beautifully designed stages with their own particularly alluring energy. As you review this lineup, you’ll find healthy portions for all electronic music enthusiasts. photo credit Decadence 2018 Find the tech-house and techno party with the loving touch from the Desert Hearts Crew, prime representatives of the Dirtybird family (don’t miss Walker & Royce) and more. Deep house will fill the room as Nora and Camelphat throw down. There will be true house music by Spencer Brown and melodic house or future bass from the likes of Illenium and Big Wild himself. Dubstep will be done right with Zeds Dead and Skrillex (although who knows what fresh sounds he will bring…) Bassnectar alone fills any person’s cravings within every set. We all should be super excited for tracey moments with Ilan Bluestone and Above & Beyond and to see the spectacle that Eric Prydz presents for the big room. Plus, there will be plenty of trap sets to fall into. Take a peek behind the curtain of the beauty that awaits by watching the Decadence 2018 trailer.  Pick up your pass to Decadence 2018 Playlist’s free downloads: Mikey Lion Set Lee Reynolds Set Follow Decadence: Official Website | facebook | Instagram | Twitter The post The Beauty Which Awaits at Decadence Denver 2018 appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Benicio Del Toro excels at just about any role he plays, but he’s found particular success of late alternating between terrifying heavies (Sicario) and fanciful ne’er-do-wells (The Last Jedi, Guardians Of The Galaxy). Now, the Oscar-winning actor is ready to mix it up, as Deadline reports he’ll lend his voice to Paramount’s live-action Dora the Explorer film. (Read: Ranking: Every Marvel Cinematic Universe Hero and Villain) Del Toro will play Swiper, the sneaky orange fox with a penchant for nicking Dora’s most treasured items. Director James Bobin’s film is said to follow Dora on a “Goonies-type adventure to save her parents and solve the mystery behind a lost Inca civilization.” Filming of the movie’s live-action elements wrapped recently in Australia, and Del Toro will record his contributions soon. He’ll spar opposite Isabela Moner’s Dora, as well as supporting cast members Michael Peña, Eva Longoria, and Q’orianka Kilcher. The film is currently slated to hit theaters on August 2nd, 2019. Source

Following last month’s announcement that Swedish House Mafia will return to Creamfields for an exclusive UK performance on Sunday, August 25, the festival has just revealed that Deadmau5 will be headlining Friday night, another UK exclusive. First appearing at Creamfields in 2008, deadmau5 has been a regular at the UK festival ever since. This year, he’ll be performing at the ARC Stage (pictured above). With two world-class headliners already revealed and hundreds more yet to be announced, Creamfields is already shaping up to be another great year of music. Creamfields returns to Daresbury, Cheshire, UK on August 22-25, Bank Holiday Weekend 2019. For info go to creamfields.com. This article was first published on Your EDM. Source: Deadmau5 Joins Swedish House Mafia For Creamfields 2019 Source

Slushii has been keeping his head down, working hard to bring us his sophomore album DREAM — and it’s finally here. Instead of the usual bubbly future bass and dubstep, the producer takes a drastic shift with his artistry, with glimmering reflections of his familiar sound over mostly somber tones and atmospheres. Last month, Slushii braced fans for this new release and prefaced the album with his real, unfiltered thoughts. The concept of this album is to not hide behind his feelings, but show them. And, that’s pretty awesome. ok it’s time to be very real with you guys. as some of you may know i’ve had on and off depression since i was little due to bullying in school and having Aspergers. my outlet has always been to write about happier things to make me feel better. but this time around i wondered what it would be like if i was 100% honest about my feelings in my music, and actually let my emotions and true self show. what you’re getting is the darkest, and most nostalgic music i’ve ever released. i made this album with the hopes to touch people that are like me, and help them escape from their sadness, if even for a brief moment. this album is me, imperfections and all. We have to say, we love this side of Slushii. If we all celebrated ourselves, including our imperfections, a little more — the world might be a better place. Get lost in the 16-track self-discovery that is DREAM right here. Slushii – DREAM  Photo via Rukes.com This article was first published on Your EDM. Source: Slushii Drastically Shifts His Sound For Sophomore Album ‘DREAM’ [LISTEN] Source

Since the release of “Thief” back in 2016, Ookay has had trap take a backseat to his more pop-oriented productions. With the release of his debut album Wow! Cool Album! this year, and the live tour that followed, he must have felt some tug from the past because he just put out a full trap/moombahton/house EP today. Earlier this week he wrote: Well, after a long amazing year of putting out my debut album, going live, and fans letting me experiment with new sounds, I decided to put together an early Christmas gift of some TRAP/MOOMBAHTON/HOUSE records just for everyone who has believed me. Over the course of five tracks, Ookay takes us back in time and gives us that good stuff we’ve been craving. Between tracks like “IDGAF” and “STRUT,” we’re reminded of a past Ookay and how he’s changed over time and incorporated new sounds into his brand. Check out Ookay’s new EP below!  Photo via Rukes.com This article was first published on Your EDM. Source: Ookay Makes Long-Awaited Return To Trap In New “Nice!” EP Source

What So Not might have some larger than life productions, but he seems really down to earth. For his next show, he plans on making it entirely free and he’s willing to hit up anyone’s party if it looks legit enough to play. “AUSTRALIA, i have a proposition for you…” he starts up in his message on social media. “Lockouts sent our night culture broke, so, I would like to do a free show for somebody this weekend. Pref in Sydney, but TBH these issues have affected the whole country so I’m open to driving/flying where ever looks exciting.” Getting What So Not to come to you is as simple as this, “Simply comment the resume for your party below and have your mates like the post so I know you’re legit. Tag anyone you know who’s having Christmas party/birthday/BBQ/kickon/hens night/whatever.” For the rare booking fee of free, anyone could have What So Not play they’re event or party. Entries close Friday 6 pm and a distinct winner will be chosen by the man himself. The Instagram post below is the one to tag up! We’re over here just hoping for an invite. Free What So Not Party Photo via Rukes.com This article was first published on Your EDM. Source: What So Not Calls On Fans To Help Him Throw An Entirely Free Show Source

Alan Walker has experienced a come up like no other — and now he’s finally breaking new ground with his debut album Different World. Since his breakout hit “Faded” took the EDM world by storm three years ago, fans have been dying to hear a full body of work from the buzz-worthy global superstar. There’s a plethora of collaborators on his formal collection, which includes Steve Aoki, Noah Cyrus, and Digital Farm Animals, to name a few. Instead of shying away from the help of others, Walker has also enlisted in a number of talented producers on the album, so check out the credits on Spotify to hear what’s what. “Faded” finds a spot on the album, as well as other recognizable releases including “All Falls Down” and “Alone.” There’s plenty more new material to be heard as Walker takes a huge next step in discovering his sound. In an exclusive interview with Billboard, he opened up about his inclusion of “Faded” and his journey thus far as an artist: This is undoubtedly the track that most people associate me with, and it’s kind of crazy to think that it was released three years ago. I’m always asked what this track means to me, and the best way to describe is probably that it literally changed my life forever. These past three years have been absolutely incredible for me, and I never imagined the impact this single would have when I first released it when I was 18 years old. The best way to end the album, in my opinion. Listen to Alan Walker’s Different World here. Alan Walker – Different World  Source: Billboard | Photo credit: Rikkard Häggbom This article was first published on Your EDM. Source: Alan Walker Releases Debut Album ‘Different World’ Including His Most Iconic Tracks [LISTEN] Source

Rolling Stone just declared the 10 Best Live Music Venues in America. If you’re a fan of all types of music, then make sure to put these down on your bucket list. From small clubs, to big rooms, up to epic amps and arenas, all of the amazing nightlife in which we thrive in is narrowed down to just 10. As with any venue, it’s all about the overall experience and the memorable performances engrained in our minds after the lights go down. Nasvhille’s iconic Ryman Auditorium, the glamorous Hollywood Bowl in Los Angeles, down to the gritty El Club in Detroit, there’s something here every music fan can enjoy. See Rolling Stone’s top 10 list and excerpts from the article below and read the full write up here. First Ave, Minneapolis First Ave is the premiere venue for national touring acts small and large. With great sightlines, attentive crowds, and bands that are consistently thrilled to be performing on the Mainroom stage, there’s no better venue for hundreds of miles to catch bands at the top of their game. 9:30 Club, Washington, D.C. For generations, the D.C. music scene has revolved around the venue, which played a central role in the city’s 1980s and 1990s hardcore scene, hosting shows from influential local bands alike. Today, 1,200-capacity venue plays host to a constant stream of prominent touring acts, and over the years has also been host to a series of secret shows from bands like Green Day, Radiohead and Red Hot Chili Peppers. Tower Theater, Philadelphia With an ornate ceiling dotted with glow-in-the-dark stars, a concert at the theater becomes a full-sensory experience. And some of its most celebrated acts live on forever: both David Bowie and Thin Lizzy recorded concert albums on the Tower’s stage. Hollywood Bowl, Los Angeles The country’s most famous band shell, the Hollywood Bowl has hosted concerts by everyone from Judy Garland and Louis Armstrong to Elton John and Black Sabbath. Since the 17,500-person capacity venue opened in 1922, artists have been making history there year after year, from The Beatles to Kanye West. El Club, Detroit Detroit’s vibrant music scene welcomed El Club to their streets in 2016, and since then it has become a go-to spot for music lovers of all ages to congregate safely to enjoy a wide range of music. The city was sometimes skipped over during U.S. tours in the past — when artists would frequently go from Chicago to Toronto — so El Club has bridged the gap, making Detroit a rising city for touring artists to be welcomed into. Red Rocks, Morrison, Colorado Red Rocks is the ultimate concert venue. The stage is situated between two ginormous sandstone boulders, making for top-notch acoustics, and it creates a jaw-droppingly beautiful backdrop. Artists want to give their all at the Denver-area venue, which seats close to 10,000, and fans give the energy right back. Brooklyn Steel, New York City Brooklyn Steel’s massive exterior seems intimidating at first glance, staying true to its first life as a steel fabrication shop. Located in the Bushwick neighborhood of Brooklyn, the venue is becoming one of New York’s best sites for live music. The venue’s designers took cues from the failures of the city’s similarly-sized mainstay Terminal 5, bringing this space great sight lines and an impressive speaker system that allows for a wide range of genres to shine. Ryman Auditorium, Nashville Known as the Mother Church of Country Music, the former home of the Grand Ole Opry (and a onetime actual place of worship) is Nashville’s most hallowed stage. Hank Williams raised a ruckus there, Johnny Cash hosted his TV variety show behind its footlights and Emmylou Harris recorded the stunning Live at the Ryman album on its stage, highlight the importance and history of the once endangered venue. Stubbs, Austin There are tons of great venues in Austin, whose tourism-board designation as “Music Capital of the World” only sounds like an exaggeration until you spend an evening on Sixth Street. Some memorable SXSW performances here have made national headlines, like Metallica’s secret gig in 2009 — but you’re just as likely to see a great show at Stubb’s on any random night. Ottobar, Baltimore Ottobar opened in 1997, making it one of Baltimore’s longest-operating venues. Ottobar offers much more than consistent live music — It’s become an important community pillar, a home base and an undeniable hidden gem of the I-95 tour circuit. Read more via Rolling Stone This article was first published on Your EDM. Source: Rolling Stone Declares 10 Best Live Music Venues in America Source

Some might argue that politics and sports should be as separate as church and state, but that’s hardly a reality for the NFL. The league’s controversial stance against a player’s right to protest during the National Anthem has been a thorn at their side, and one that’s starting to draw blood as the Super Bowl nears. According to sources at Page Six, Maroon 5 is having a hard time finding acts to join them during their forthcoming Halftime show for Super Bowl LIII, which is set to take place on Sunday, February 3rd at Atlanta’s Mercedes-Benz Stadium. The band has reportedly reached out to over a half-dozen acts to join them for their mid-game performance, only thus far, nobody’s actually game to hit the field, pun absolutely intended. As one insider tells the publication, “Nobody wants to be associated with it.” After all, it can’t be for a lack of talent, particularly local talent, seeing how Atlanta is a mecca for music right now. One such outlet is label and management company Quality Control, who admitted they’ve been speaking with representatives, but declined to discuss further. It should be noted their top clientele, specifically Migos, Lil Yachty, and Lil Baby, are already going to be in town for the Bud Light Super Bowl Music Fest on January 31st, which will also feature local heroes Ludacris and Lil Jon. Also in town for shows leading up to the Big Game include other blockbuster talent such as Cardi B, Post Malone, and former Super Bowl Halftime show veteran Bruno Mars. Much of the radio silence simply boils down to bad timing. Reportedly, Mary J. Blige had been approached, but had to turn it down due to prior commitments. And then there’s the aforementioned Cardi B, who even featured on Maroon 5’s big hit “Girls Like You”. She’s scheduled to appear at the Grammy Awards a week later on February 10th, though sources indicate she remains a hopeful addition . André 3000 has also reportedly been approached, as have luminaries such as Usher, Lauryn Hill, and Nicki Minaj, who’s no stranger to the game (see: Madonna’s 2012 Halftime show). All of this likely explains why Maroon 5 has yet to be formally announced. Here’s hoping, at least for the band’s sake, that someone answers their call and stops wasting their nights and turning out the lights. Okay, we’ll stop. Source

It’s hard to believe that The Chainsmokers that put out Sick Boy in 2018 are the same duo that put out Memories… Do Not Open in 2017. (For reference, my review of that album here.) From the production, to Drew’s vocals, to the lyricism and songwriting, everything feels more refined and sincere. MDNO felt ridiculously rushed and amateurish, playing into The Chainsmokers’ frat boy persona and putting out stereotypical songs about love and relationships without any real personality or insight. In contrast, many of the songs on Sick Boy are deep (relative to their past songs) and introspective, “Sick Boy,” “Everybody Hates Me,” and “You Owe Me” in particular. Then on the other hand, Sick Boy actually has some bangers. “Siren” with Aazar and “Save Yourself” with NGHTMRE are massive collaborations with huge drops made for The Chainsmokers’ explosive live shows; however, as the two token bangers on the album, they also sound out of place. You can’t have your cake and eat it, too. All of this isn’t to say that Sick Boy doesn’t have its issues, either. The drop on “You Owe Me” is still hard to listen to, and “Beach House” still isn’t a strong song. In addition, the rollout of the album, while it may have been effective in sharing the concept and racking up streaming numbers, resulted in an expected track order. When the full album was completed with the release of “Hope” today, the order was rearranged and it now sounds like a much different album than what fans have been listening to for nearly all of 2018. No matter if you end up thinking the order works better or not, it’s going to take some time to get used to. And ending on such a huge banger like “Save Yourself” doesn’t really give listeners a chance to decompress from the listening experience, either. Overall, Sick Boy is as much an improvement over MDNO as you could hope for. I actually know the words and sing along to the majority of the songs on this album, as opposed to those on MDNO, which I prayed would end sooner than later. And the more introspective songs on the album are actually rock solid on their own merit. While this album is a massive step in the right direction, it still seems that The Chainsmokers are a little lost on their own sound. Drew is definitely exhibiting his own identity with his singing, but with so wide a variety of tracks and influences on Sick Boy, I hope they hone in a bit more on a central sound in 2019. That doesn’t mean that bangers like “Siren” and “Save Yourself” wouldn’t be welcome, but maybe they wouldn’t belong on their next album. Listen to Sick Boy, the new album from The Chainsmokers, below.  This article was first published on Your EDM. Source: The Chainsmokers Wrap Up Their Sophomore Album ‘Sick Boy’ Source

On his latest album, ye, Kanye West embraced his bipolar diagnosis as his “super power.” In a series of tweets posted early Saturday morning, Kanye spoke even more candidly about his mental health. “No one would ever choose to end up in a mental hospital and diagnosed with a mental disorder but god chose me to publicly go through this journey and it is beautiful,” he remarked. He went on to reveal that he has ceased taking medication to manage his bipolar. “I cannot be on meds and make Watch the Throne level or Dark Fantasy level music,” he explained. “You don’t make ‘Runaway’ on medication. Even alcohol is and addictive substance called spirits that actually block our earthly connection to our spirit when we drown ourselves in it.” “I’m loving the new music I’ve been working on,” Kanye added. “6 months off meds I can feel me again. Remember when Dark Fantasy came out I used to tweet a storm also.” Kanye said he looks at his tweeting as a form of therapy: “Perhaps we stop looking at my tweets as rants and start looking at them as therapy testimonials and some even ministry.” He also took issue with Ariana Grande using his ongoing beef with Drake as a way to promote her latest single, “Imagine”. “I know Ariana said this to be cool and didn’t mean no harm but I don’t like even slightest level of slight commentary from someone I know loves and respects me,” he wrote. “People will no longer take mental health for a joke. All of this foolishness weighed on my mental health so @ArianaGrande you know I got love for you but until you’re ready to really make sure everyone’s ok don’t use me or this moment to promote a song.” You can read Kanye’s latest batch of tweets below. No one would ever choose to end up in a mental hospital and diagnosed with a mental disorder but god chose me to publicly go through this journey and it is beautiful — ye (@kanyewest) December 15, 2018 I am able to experience first hand how people who have mental health issues get written off by society. Don’t listen to him cause he’s crazy. He’s washed cause he’s crazy etc… — ye (@kanyewest) December 15, 2018 I cannot be on meds and make watch the throne level or dark fantasy level music — ye (@kanyewest) December 15, 2018 You don’t make runaway on medication Even alcohol is and addictive substance called spirits that actually block our earthly connection to our spirit when we drown ourselves in it — ye (@kanyewest) December 15, 2018 I give up drinking every week — ye (@kanyewest) December 15, 2018 I’m loving the new music I’ve been working on. 6 months off meds I can feel me again. Remember when dark fantasy came out I used to tweet a storm also. — ye (@kanyewest) December 15, 2018 I know Ariana said this to be cool and didn’t mean no harm but I don’t like even slightest level of slight commentary from someone I know loves and respects me pic.twitter.com/T9VXaIj9MX — ye (@kanyewest) December 15, 2018 People will no longer take mental health for a joke — ye (@kanyewest) December 15, 2018 All of this foolishness weighed on my mental health so @ArianaGrande you know I got love for you but until you’re ready to really make sure everyone’s ok don’t use me or this moment to promote a song — ye (@kanyewest) December 15, 2018 Source

Remember in Minority Report how we thought it was cool when all these stores and hallways recognized Tom Cruise as he passed by? But then also felt kind of creeped out about it, knowing how dangerous that might be if said technology got into the wrong hands? Say, a fascist government? Well, that hasn’t happened yet, but similar tech is currently being employed by the one and only Taylor Swift. According to a report by Rolling Stone, the blockbuster pop star’s security team installed a kiosk at her May 18th Rose Bowl show, where fans would come up and watch rehearsal clips. Of course, they were also being studied by new, state-of-the-art facial-recognition software that snapped away all of their mugs to be sent to a Nashville “command post” for cross referencing with images of her stalkers. Did you just get chills? Well, she’s not alone, as the publication goes on to report that earlier this year Ticketmaster invested in similar software with startup company Blink Identity, whose sensors will help venues identify people and undoubtedly assist in traffic issues. “It holds a lot of promise,” says Justin Burleigh, Ticketmaster’s chief product officer. “We’re just being very careful about where and how we implement it.” Even so, the technology has certainly raised eyebrows. As American Civil Liberties Union’s (ACLU) senior policy analyst Jay Stanley tells The Guardian, “this does have larger implications. It is not about this one deployment, it is about where this is technology is headed.” He adds, ““It is generally the wild west when it comes to the use of this technology,” and basically digresses on Uncle Ben’s old adage of “with great power, comes great responsibility.” But also great litigation, argues Jennifer Lynch, the surveillance litigation director at the advocacy organization Electronic Frontier Foundation, who tells The Guardian that Swift “would be subject to any of the number of breach notification laws across the country and potentially subject to class action litigation” depending on how they’re storing personably identifiable data that can be breached. It’s the secrecy that has critics worried, even Mary Haskett, co-founder of the aforementioned Blink Identity software. She argues that this is software that users should opt into, particularly out of convenience, which is why it’s likely going to be a VIP option. “We wanted to do something with a lot of respect to privacy and turn this into something people can use to make life easier,” she insists. Of course, anyone who’s ever seen Will Smith and Gene Hackman crack heads in 1998’S Enemy of the State has been well aware of this technology, fearing that somewhere, and somehow, there’s a little Jack Black and Seth Green waiting around the corner to get us. What? Too paranoid? What have I got to hide? Nothing. It’s been a bad day. Please don’t take my picture. All joking a salad, keep your eyes open. Or don’t. Source

1964 was a monumental year for The Beach Boys. They’ve had plenty of them over the course of their 50-year history, but it was during that 12-month stretch that, behind the scenes, everything changed for the band. It began with the firing of their manager, Murray Wilson, the father of the group’s leader and principal songwriter, Brian Wilson, and ended with the latter having a nervous breakdown. Along the way, vocalist Mike Love divorced his first wife, and his first daughter was born. In the public eye, things were humming at a frightening clip. The group hit commercial peaks with their first No. 1 single (“I Get Around”) and No. 1 album (the live recording Beach Boys Concert) and made their first appearance on The Ed Sullivan Show. They released two full-length albums with Shut Down Volume 2 and All Summer Long. There were more tours, more writing, and more production work for Brian outside The Beach Boys fold, and appearances in the Annette Funicello film The Monkey’s Uncle and The T.A.M.I. Show to be filmed. Somehow, in the midst of all of this, they found time to record The Beach Boys’ Christmas Album, the only holiday record that the group would release during their time together. All of this seems important to properly assess their fourth full-length release of 1964. Because as beloved as it has become in the 54 years since it came out, the album is a strange one, a mix of awkwardly written originals and versions of holiday standards on which the group’s vocalists sound absolutely exhausted. It doesn’t start off that way. Opening track “Little Saint Nick” is the perfect jaunty Christmas tune written in the midst of The Beach Boys’ attempt to pivot from beach culture to car culture. Hence, the “Saint Nick” of the title is a candy apple red bobsled “with a ski for a wheel/ And when Santa hits the gas, man, just watch her peel.” An instant classic, done and dusted in under two minutes. The success of that song can be attributed to the fact that it was recorded and released as a single a year earlier. Everything else on Christmas Album was done in and around the sessions for the group’s next album, The Beach Boys Today!. The tunes that came out in the summer of ‘64, even with the symphonic arrangements provided by Dick Reynolds, the man behind many of the Four Freshman’s hits, felt comparatively flat. Brian’s lead vocals on “White Christmas” and “I’ll Be Home for Christmas” sound melancholic, as if they were recorded with him lying supine underneath a piano. The tenderness required for those songs only comes alive on a gorgeous rendition of “We Three Kings of Orient Are” and a closing “Auld Lang Syne”, both of which make great use of the group’s airtight vocal harmonies. But even a swingin’ “Frosty the Snowman” couldn’t dredge the holiday cheer from the head Beach Boy. As for the other originals Brian wrote, or co-wrote with Mike Love, for Christmas Album, they feel downright tossed off when compared to the gems that they were creating around them. The production is minimalist, a byproduct of the decision to use their own instrumental skills rather than leaning on the hot-shot session musicians that populated the rest of their studio discography. Their abilities are passable, enough to get through live performances where they were surrounded by screaming young women, but not enough to dazzle anyone. There seemed to be such little thought put into it that they couldn’t even be bothered to tune the guitar properly for “Christmas Day”. The songs themselves are a motley bunch, too. “Santa’s Beard” imagines Love taking his little brother to see a department store Claus and causing chaos when he tears the fake facial hair off the poor schlub. “The Man with All the Toys” is almost like a Beach Boys parody, with its fractured falsetto and groovy shuffle beat. Beyond “Little Saint Nick”, only “Merry Christmas Baby” has any punch. It feels like a quaint demo for a future Beach Boys hit as Love opines the girl that got away this Christmas season. What feels startling to consider is that within a year of these sessions, Brian Wilson would start working his way down the twisty rabbit hole that would result in the Beach Boys’ uncontested masterwork, Pet Sounds. Sooner than that, the band would hit the heights of their pop powers with “California Girls” and “When I Grow Up (To Be a Man)”. At the time of its release, The Beach Boys’ Christmas Album must have felt like an unexpected gift. Viewed through the often warped lens of hindsight, it seems more like The Beach Boys’ version of a light practice before the big game. Essential tracks: “Little Saint Nick”, “Merry Christmas Baby”, and “We Three Kings of Orients Are” Source