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A new punk-rock music, camping, and craft beer festival called Camp Anarchy will launch in 2019, and the inaugural lineup is stacked with a bevy of legendary punk bands. The Offspring, Rancid, and NOFX will headline the three-day extravaganza, which takes place May 31st through June 2nd at Thornville, Ohio’s Legend Valley concert space and campground, just outside of Columbus. Joining the headliners on the bill are Bad Religion, Pennywise, X, Suicidal Tendencies, Less Than Jake, Fear, Sick of It All, The Damned, TSOL, The Bronx and more. The festival will mark NOFX’s first U.S. performance in over a year, after they were forced to drop off their own Punk in Drublic festival following insensitive comments a couple band members made onstage about the Las Vegas concert massacre of 2017 during a performance at the Punk Rock Bowling & Music Festival . The daily lineup can be seen in the poster below, with more bands to be announced. Pennywise guitarist Fletcher Dragge stated, “Super stoked to be taking part in the first ever Camp Anarchy music and camping fest next year!!! Looks like Legend Valley will become ground zero for some serious punk rock debauchery and musical mayhem.” In addition to the music, there’ll be craft beer tastings, a dodgeball arena, fair games, and more. Tickets, VIP passes, and camping packages for Camp Anarchy go on sale this Friday, December 14th, at CampAnarchyFest.com. Source

Zack Snyder certainly added some darkness to the Superman lore — to mixed results at best — but even his bleak reimagining never came close to the horror portrayed in James Gunn‘s latest production, BrightBurn. The forthcoming horror movie essentially asks, “What if Superman wasn’t actually Kal-El but Bizarro?” Judging from the film’s new trailer, the answer’s a definitive, “Bad news, baby.” As you’ll see below, the movie doesn’t shy away from its source material in the slightest, even using the font from the original Man of Steel trailer, and while some may file this under “parody,” the tone is anything but hilarious. No, this is horror in the strictest sense. Speaking of horror, looks like Gunn’s spooky days with Disney are long behind him as BrightBurn finds Gunn’s pal David Yarovesky directing from a screenplay by Gunn’s brothers Mark and Brian with an eclectic cast led by Gunn go-to Elizabeth Banks, who presides over a who’s who of TV favorites in David Denman, Matt Jones, and Meredith Hagner. Who needs the Mouse House when you got friends? We’ll find out on May 24, 2019. Source

The Lowdown: Ice Cube’s greatest strength has always been his sociopolitical lyricism. His artistic drive to reveal the harsh realities of America has brought about some of the most significant music of our time. On his tenth studio LP, Everythang’s Corrupt, Cube still embarks with this same purpose, and the effort proves to be one of the best albums in the latter half of his career. The Good: Kicking things off with “Arrest the President” and leading into “Chase Down the Bully”, Cube dives right into a lyrical assault against Trump and fascists, respectively. Using remarkable wordplay, he weaves together explosive commentary with brutality; lines such as, “Now, if he’s a fascist/ I’ma bash his head in,” get the blood pumping, fueling the political tone of the album. Other songs such as the title track and “Good Cop Bad Cop” continue in this fashion, displaying Cube’s range and ability in creating rich, consciously driven material. Cube also spends time reflecting on his legacy; rather than provide bland, ego-pumping tracks, cuts like “Streets Shed Tears” and “Can You Dig It?” offer a look into the evolution of his life. For example, “Can You Dig It?” shares the personal changes and growth Cube has gone through over the years, all while referencing pop culture of each respective period. It’s a neat concept that allows for the song to be a fun and intimate connection to Cube’s life. In general, Everythang’s Corrupt packs an explosive array of instrumentation that beckons back to the old-school energy of classic west coast rap. Tracks like “That New Funkadelic” bring about playful horns alongside a clapping beat, the rhythm maintaining an energetic high. From pumping adrenaline to summery tones, the album provides a variety of catchy instrumentals. The Bad: The record also comes with a few filler tracks that aren’t as insightful or unique. “Fire Water” and “One for the Money” are examples that, at best, are enjoyable to listen to, but lack the strong political elements and introspection found in the better songs. While these moments don’t hurt the overall record, it’s odd to have them in there among much stronger, more significant moments. The Verdict: Ice Cube’s social consciousness make Everythang’s Corrupt a refreshing release. From beginning to end, Cube’s maturity as an artist shines; the songs in which he acknowledges his achievements feel well earned because the primary focus stays on social injustice. He continues to keep an ear to the streets, which allows him to capture and depict real-life struggle and be much more than just a superb craftsman — a veteran artist who still has something to say three decades on. Essential Tracks: “Arrest the President”, “Everythang’s Corrupt”, and “Can You Dig It?” Source

“Wanna go to a concert?” Doctors say you should, at least if you want to live a happy life, and right now, happiness tends to be in short supply. Even taking politics out of the equation, there isn’t a day that goes by where we don’t hear about either a natural disaster or an act of terror. What’s worse, in between these stories are headlines about idiot celebrities doing equally idiotic things. And if that weren’t enough, you have millions of people on social media telling you this or that is awful, making you feel so much better every time you log on. So, yeah, live music remains a great outlet to let your shit out. Speaking personally, some of my favorite moments this year have been in the throes of a climactic set, surrounded by thousands of people who want nothing more than to sing their favorite songs. It really is a liberating experience. That’s why this year-end accolade is a crucial facet of our Annual Report. These acts ahead aren’t just entertainers, but genuine heroes, who have turned the page for countless souls who have felt estranged from reality. Hyperbole? Sure. Untrue? Nope. –Michael Roffman Editor-in-Chief __________________________________________________________ Nine Inch Nails Nine Inch Nails, photo by Lior Phillips Trent Reznor was on a tear this year. It helps that Nine Inch Nails put out their best collection of songs in nearly a decade (see: Bad Witch), but it also helps that the political climate is so fucked. Because really, an angry Trent makes for a greater Trent, and you can tell that was the case all year long. His setlists were fueled by some of his gnarliest material, leaning heavily on 1992’s Broken EP, 1994’s The Downward Spiral, and 1999’s The Fragile, and his crowd work all stemmed from the fact that we’re currently living in a Western democracy run by the very brand of evil these albums have long reflected. But that kind of vitriol could also get old real fast, which is why Reznor was hip to shake things up. Granted, he’s never been one to confine himself to the same ol’ setlists, but this year felt as if he was finally enjoying his entire back catalog. All summer long, he surprised fans with deep cuts and old covers, particularly his latter-era material, most of which was not only exciting to hear again, but incredibly prescient. Singing the chorus to “I’m Afraid of Americans” at Mad Cool Fest with thousands of Europeans was invigorating, to say the least. Nine Inch Nails, photo by Lior Phillips Tapping The Jesus and Mary Chain for much of their jaunt was also key. Not that anyone enjoys having their ears bleed or anything, but having the two titans of noise back to back simply boiled down to great planning. It also added some weight to the occasion, making The Cold and Black and Infinite Tour one of the must-sees of the season, especially for the rock genre, which saw some major blockbuster tours. Reznor was right there in the front, waving flags for the past, the present, and the future — a totally relevant rock event. What a concept. –Michael Roffman __________________________________________________________ Beyoncé Beyonce reunites with Destiny’s Child at Coachella The American festival landscape has been reeling since we entered the latter half of the 2010’s. Lineups so often lack identity that fans no longer bat an eye when they’re offered a steaming pile of blandness for the lump sum of $400 (not including parking). It’s gotten so bad that I sense it’s seen as the norm by a new generation of festivalgoers, usually young adults, who are eager to participate in this once thrilling musical rite of passage. Adding insult to injury, festival’s have exhibited a noticeable absence of female, LGBTQ+, and people of color atop their yearly billings. If you know about the history of music festivals in the US, this isn’t anything new, but it’s especially infuriating when modern festivals are both lacking in diversity and inclusion and are — excuse my language — boring as shit. Enter: Beyoncé. Beyoncé’s two-hour pop epic at Coachella 2018 was, by most accounts, the greatest festival performance of the year and likely the decade. Few sets come to mind that have grasped our attention with such immediacy. (Snoop Dogg and Dr. Dre’s 2012 Coachella set, during which a Tupac hologram sent the internet into a frenzy, might be the only recent performance to strike such a chord within festival and internet culture.) It is hard to overstate the amount of tact Beyoncé showed through her gripping performance. A multi-layered showing, the set began with her descending from a set of bleachers as an HBCU marching band roared the sounds of “Do Whatcha Wanna” by New Orleans’ Rebirth Brass Band on either side of her. Incorporating songs by Master P, Crucial Conflict, Juvenile, C-Murder, and Fast Life Yungstaz into her set, not to mention paying homage to Fela Kuti and Nina Simone, Beyoncé blazed through a performance that was, at its core, an homage to black culture and, on the surface, the most invigorating pop spectacle we’ve seen since Michael Jackson did the moonwalk. Seamless outfit changes, over 100 expertly choreographed dancers, and pyrotechnics that left the sky ablaze were all incorporated into the two-hour epic, which left nearly everyone in the crowd either in awe or in tears. Hell, she even reunited with Destiny’s Child on several songs. During a year that was marked by a noticeable lack of flare when it came to music festivals, Beyoncé was a beacon of promise. We can only hope that festivals take note. As the kids say, we stan a Pop-Queen. –John Flynn __________________________________________________________ Elton John Elton John, Chicago, photo by Lior Phillips “I would like to thank you, and say to you, that I will miss you a great deal…” Goodbyes are never easy, but they can be fun, and Elton John is never one to shy away from the enjoyable. For decades, the true piano man has made a career out of turning rock ‘n’ roll into something even bigger than a spectacle. And while “spectacle” has certainly followed his name since the early ’70s, it really doesn’t account for the emotional component of his music of which the value is very, very high. In fact, it’s right up there at the top, and that’s something everyone deserves to celebrate. That’s why the Farewell Yellow Brick Road Tour is such a crucial experience. It’s one of the many “final” tours for graying legends such as John, and without sounding too precious, it’s a grand display of why legends like John are truly one of a kind. Look, there’s still great music being made today — and there always will be — but very few artists will ever make music this timeless and this transformative. Looking around during John’s two-hour cinematic experience proved this point as thousands of concertgoers of all ages, races, and places sang together like they were in that “We Are the World” music video. Elton John, Chicago, photo by Lior Phillips To some, that may sound a little cheesy — and, sure, maybe it is — but at least it didn’t feel like that. No, the show instead felt like an emotional consolidation of everything John has been pouring into his music from day one. That’s why he put his weight into all his most memorable hits and sing-alongs. Now, some diehards might scoff at this and wonder why he’s not playing “Candy by the Pound” or “(Gotta Get a) Meal Ticket”, especially given that this is his final go-around, but they’d be missing the point. This isn’t a show that celebrates his work; this is a show that celebrates what his work has meant to people. By taking the populist approach, John gets the goodbye he deserves. He gets to watch these emotions come to life night after night, something he explicitly admits and confesses he’ll be missing in the years to come between songs. Fortunately for him, he plans on stretching the Farewell Yellow Brick Road Tour across a couple of years, giving himself plenty of time to wave and wave and wave until he gets carpal tunnel. Odds are he won’t. If there’s one other thing to glean from this show, it’s that John lives for the stage. It’s where he belongs, it’s where he’s always been his truest self, and like any great performer, it’s his first love. Saying goodbye to that will be anything but easy for him. –Michael Roffman __________________________________________________________ Christine and the Queens Christine and the Queens at The Biggest Weekend There are certain hallmarks of a modern pop show that, while broadly fun, are generally predictable. Bright light displays, energetic dancers in loud costumes, giant LED screens, and probably a healthy application of artificial smoke — all of these things are welcome, yet ordinary. The shows Christine and the Queens designed for her Chris tour utilized many of these elements, but with such barefaced subversion that it creates something larger even while being ostensibly more subdued. Doing more with less is an essential trick of the theater, something in which Héloïse Letissier is fairly well versed. All the comparisons you’ll read of the Chris show to West Side Story are completely valid; it feels like a muted, loose ballet, in the best possible ways. Her diverse group of dancers, many embracing the gender-neutrality of Letissier’s current “Chris” persona, wear plain, earthy tones instead of flamboyant, revealing outfits. Their movements, cocky and sharp, are more modern dance than hip-hop, an intensity mirrored in their facial expressions. Each song is a vignette of motion, sometimes a fight, sometimes a romance, always telling a story of strength and agency. Though these bodies move around a largely barren stage, there are a few understated bits of set design. Leaving the lasers beams and clouds of fog to the typical pop provocateurs, Christine and the Queens prefers a simple strobe carefully timed to the rhythms or concealed smoke bombs billowing from a lone dancer. Yes, there’s a moment during “Goya Soda”, a song performed as a push-pull between Letissier and a dancer, where the latter literally disappears in puffs of smoke. It’s the most uniquely captivating use of the effect you’ll likely see on a stage, as beautiful as the streams of sand that fall in pillars of light from the rafters during one of the latter numbers. Like her choreography, Letissier takes an extremely considered approach to set design, giving audiences a rare sense of enchantment. And at the center of it all stands Letissier. Between the major emotional moments of the performance (a purely apt descriptor), she lets her playful personality shine brightly. She could well be a stand-up comic with her self-deprecation and mockery of the crowd for their attempt at singing along to her French lyrics. The shift in mood doesn’t feel at variance with the show in general, though, as the whole thing builds towards an idea of embracing the fluidity of identity. At times, we can see literal interpretations of Letissier’s self-acceptance and individuality. There’s a grappling with her own gender and sexual identity that, in turn, gives the crowd a freedom to be themselves in the space she has created. Chris is an album about pushing through the pains of the world to find the strength to be yourself, and the shows diffuse that theme into a stunning visual story. No other musician out there is presenting their intention so completely, so idiosyncratically, and so beautifully. –Ben Kaye __________________________________________________________ boygenius boygenius on Late Night with Seth Meyers If boygenius, the indie supergroup made up of Julien Baker, Phoebe Bridgers, and Lucy Dacus, never existed, and the three musicians went on a regular three-act tour together, it would still be a phenomenal concert. Onstage, Dacus alternates between a soft acoustic verse and a sharp, blaring rock chorus at what feels like the flip of a switch. Bridgers uses her live sets to find humor in the solemnity of her songs and covers her “favorite song ever written about music streaming,” Gillian Welch’s “Everything Is Free”. Even when Baker’s emo-tinged tracks emotionally drain her audience until they’re left raw and vulnerable, her live presence offers hopefulness, particularly as she introduces her song “Everybody Does” as a song that she wrote about loneliness — a feeling she no longer experiences so strongly when she sings it to voices singing along and reflecting it all back to her. But the main event of the boygenius show is these three musicians’ strengths combined and magnified. The trio play through their EP with pride and matching embroidered blazers, looking like three magicians prepared to perform six foolproof spells with confidence of their mastery written on their faces. That confidence is what stands out on the stage the most. When Dacus sings the first words of the EP and the set on “Bite the Hand”, she’s instantly met with cheers of delight, and each member of boygenius smiles to herself, because she knows. The live set even feels more confident than the acclaimed EP itself. Bridgers very softly sings the last lines of “Me & My Dog” on its recorded version; now, live, she belts them with the urgency and intensity those words demand. Boygenius performs a Tiny Desk Concert on Nov. 9, 2018 (Cameron Pollack/NPR). Unlike the members’ solo songs, the track “Salt in the Wound” could fill an arena, and the trio treats it as such as Baker enters an uncharacteristically heavy, but extremely welcome guitar solo. Bridgers and Dacus, on either side of her, then fall to their hands and knees, bowing down to the newly appointed rock goddess and whipping out lighters. It is clearly meant to make Baker laugh, but the interaction is more poignant than that. After three excellent solo sets, these musicians join together to avoid taking one another’s spotlights, and instead prop their friends up. Three acts that honor personal touches, individualism, and intimacy are tied together by a presentation of collaboration, camaraderie, and love — three women who often sing about feeling sad and alone show to an audience, confidently, that they each have at least two shoulders to cry on. –Natalia Barr Source

Though The Pogues’ “Fairytale of New York” dates back over three decades, the song has drawn renewed scrutiny over its use of a homophobic slur. Several prominent radio DJs in Ireland have called for the slur to be censored, while defenders of the song point to the character and speech of its particularly volatile character. Now, The Pogues’ own Shane MacGowan has weighed in. “The word was used by the character because it fitted with the way she would speak and with her character,” MacGown explained in a statement provided to Virgin Media’s The Tonight Show. “She is not supposed to be a nice person, or even a wholesome person. She is a woman of a certain generation at a certain time in history and she is down on her luck and desperate.” “Her dialogue is as accurate as I could make it but she is not intended to offend! She is just supposed to be an authentic character and not all characters in songs and stories are angels or even decent and respectable, sometimes characters in songs and stories have to be evil or nasty in order to tell the story effectively,” the statement continued. “If people don’t understand that I was trying to accurately portray the character as authentically as possible then I am absolutely fine with them bleeping the word but I don’t want to get into an argument.” Shane McGowan gives us a statement with his reaction to the #FairytaleofNewYork censorship calls @VirginMedia_One #TonightVMT pic.twitter.com/LudzWjZK9l — The Tonight Show (@TonightVMT) December 6, 2018 As Stereogum points out, the BBC previously censored the lyrics to “The Fairytale of New York” in 2007. However, after many listeners complained, the BBC reversed the decision and has aired the unedited version ever since. Listen to that unedited version below. Source

It’s a big day for Insomniac, as the company has announced Insomniac Music Group. Moving forward, the in-house record label services group will oversee music operations including management and distribution for established and upcoming artists alike. Insomniac currently provides services to Chris Lake’s Black Book Records, Fisher’s Catch & Release, NGHTMRE & SLANDER’s Gud Vibrations and more. Insomniac has countless prominent releases under its belt including Fisher’s smash “Losing It,” Chris Lake’s “Turn Off The Lights,” “Lose My Mind,” and “Deceiver” with Green Velvet. “The team at Insomniac Music Group has years of experience, and has been a solid foundation for my label,” Chris Lake comments in a press release. Insomniac Records will operate under Insomniac Music Group, as well as all its extensions including Bassrush Records, HARD Recs, IN / ROTATION, Dreamstate Records, and Discovery Project. The ever-evolving imprint is more than just a label — it’s about music discovery and culture. This power move only further cements Insomniac as a huge contributor to the electronic music scene. Stay tuned for more huge releases pumping out of Insomniac Music Group. This article was first published on Your EDM. Source: Insomniac Unveils ‘Insomniac Music Group’ Label Services For Artists Source

This time last year, fans of Stranger Things had already binged their way through the show’s excellent second season. While the follow-up season to Netflix’s widely successful Sci-Fi series is still a ways away, a new teaser trailer has just been revealed. Beyond confirming a 2019 premiere date, the teaser reveals the eight episode titles for the third season. They include: “Suzie, Do You Copy?”, “The Mall Rats”, “The Case of the Missing Lifeguard”, “The Sauna Test”, “The Source”, “The Birthday”, “The Bite”, and “The Battle of Starcourt”. It was previously reported that Stranger Things season three is targeting a Summer 2019 premiere, though an exact release date remains unconfirmed. Beyond that we know Chevy Chase movie Fletch has a big influence on the forthcoming season, and that Hawkins’ Starcourt Mall will be among its prominent settings. Also last week we learned that a Stranger Things video game is on the way. Source

There were three reported overdoses at a Sydney music festival over the weekend, resulting in one death and two others in critical but stable conditions. The occurrences happened at Knockout Games of Destiny at Sydney Olympic Park on Saturday night. Despite extensive searches and bans on 69 individuals, festival goers inevitably partook in drug activity. One 19-year-old man at Concord Hospital pronounced dead, and two women ages women, ages 19 and 25, suffered from treatable overdoses. Earlier this year, two other people died of overdoes at Sydney music festival Defqon.1. Assistant Commissioner Peter Thurtell has called the death that resulted from Knockout “senseless” and has pled with young people to think twice about drugs. In addition, Premier Gladys Berejiklian said she was “beside herself” that users still weren’t getting the message after Defqon.1. While many have called for pill testing, Berejiklian has placed her stance firmly against it. She said it could give users a “green light” to take such substances. Source: SBS News This article was first published on Your EDM. Source: Sydney Festival: Overdoses Result In 1 Death, 2 More In Critical But Stable Conditions Source

Tragedy has struck again with a suspected overdose of a 19-year old at a dance music event over the weekend. It follows a similar event earlier this year when two festival goers died of again, a suspected drug overdose at DEFQON. There is obviously a problem… but what is the solution? For the government it’s the same rhetoric “DON’T DO DRUGS” and while admirable to keep it up, the reality is people continue to take drugs and consistently have over the past 15 years in Australia according to the National Drug Strategy Household Survey 2016. More recent statistics actually point to an increased consumption of legal and illegal drugs even with record seizures according to the National Wastewater Drug Monitoring Program (hint: a lot of people are using meth/ICE). Every time one of these events happens, you will often see the same comments online across most media with very oversimplified and overreaching reactions that while may have some weight, ultimately don’t actually offer much in the way of being constructive. In an effort to summerise these all in the same place, we’ve dropped them below with a response that’ll hopefully show the pro’s and con’s to introduce pill testing in Australia. Just don’t do drugs, it’s that simple really. Of course you don’t have to take drugs, that’s an individuals choice but the fact humans have been consuming all manners of things for thousands, if not hundreds of thousands of years all the way back to prehistoric times so there’s a good chance it’s happening (and is). Wondering how many Australians have used illegal drugs? Some 40% admit to using them sometime in their life – some 10,000,000 people if you were to put them all together. Further still the Australian Institute of Health and Welfare sheds some more light on drug use in Australia reporting that; 3.1 million people, aged 14 and older used illegal drugs in the last 12 months Use was highest among 20-29 year olds (28%) Illicit drug use of people in their 40s increased from 12% to 16% between 2001 and 2016 Illicit drug use of people in their 50s increased from 6.7% to 12% between 2001 and 2016 Who needs drugs? You’re right, no one necessarily needs them but we all use them and often. Consider your day to day could involve caffeine, cigarettes, alcohol or prescription medicine and yeah, if you abuse any of them they will have serious health implications. The thread that connects them though is education, support and labelling so you know the dangers… the same idea exists around pill testing. Speaking of the illegal kind, below are people who have admitted to taking them, pictured with them or arrested with them; Johnny Cash Christopher Columbus John Lennon Michael Phelps Amy Winehouse Matthew McConaughey Elon Musk George Washington Tim Allen Queen Victoria Samuel L Jackson Sigmund Freud Carl Sagan John F Kennedy Aldous Huxley This list isn’t to glorify illegal drugs, it just shows that some funny, interesting, clever and important people over time used drugs and it’s not just junkies or poor people who get around them and again, that people today, lots of them have or continue to take drugs. Does pill testing work? If by definition it works? Yes,. The aim is to figure out what is in the drugs tested and tell the user to the best of their abilities what it is and when possible, the dangers. None of the drugs tested are given a ‘green light’ either, it just says what is and what isn’t in there. It’s strictly an information resource for the user – sort of like labelling on alcohol and cigarettes. Has it worked recently? Earlier this year at the Groovin The Moo festival a testing site was set up at the Canberra leg and identified two instances of dangerous chemicals within the pills, the users were told of that and they were given up to be destroyed. Did that mean two lives were saved? Theoretically yes. Adding to that, some 82% of young people want pill testing so why not give them it? Pill testing has been happening in Europe for years now with a coalition of 30 Public Health and Harm Reduction organisations known as NEW-NET that work together that develop standards and best practices for drug testing and to promote health and safety in nightlife settings. The UK has become the most recent backer of pill testing as a form of harm reduction with it taking place at much bigger events and festivals. The Loop, a non-profit organisation that runs pill testing were told they helped reduce drug related medical incidents by 25% at a recent festival. That roughly translates to less hospital visits and ‘burden’ on the tax payer. A win right? Another similar example is the safe injecting room in Sydney (and now Melbourne) so people, if they choose to can use illegal drugs within a clean space that looks to reduce the spread of disease and has done so successfully. If they want, there are also options for support and education to kick the habit. Personally, if pill testing results told me something poisonous or dangerous was in there, I would not be taking it. What if the machines says a pill is safe and someone dies? As far as we are aware from research, the testing machines are the same the government and pharmaceutical companies uses, so a damn close analysis of what is in there is identified. If you choose to take a drug after you’ve found out there is some nasty stuff in there, then that is entirely your own fault BUT for the most part people want at least that information to make clearer decisions and when possible, bin the stuff! But it’ll promote drug use! Like ebay or gumtree or any marketplace online you really don’t know what you’re getting but, if you get something dodgy, chances are you’re not going to buy anything from that same seller right? Theoretically the same idea applies to the black market but without regulation regulation or any information you’re more in danger than not. This is no way condoning drug use (don’t do it), but at the very least if offers one step forward in knowing what dangers are out there and making informed decisions. Who pays for pill testing? This is still up in the air but like most things, event and festival organisers are willing to pay for it as they do most everything else to keep you safe. The ideal situation is a slush fund from all events and festivals and averages out the costs to keep people safe. One the data starts to be kept and organised there is a serious argument to put forward to governments to say it keeps people out of hospitals and that is a worthy investment vs people dying. Lets not start on the cost of drug detection dogs that get it wrong and often… maybe that could pay for pill testing? Aren’t drug dogs stopping people taking drugs? Time and time again the stats show drug detections dogs often get it wrong, some 60-70% of the time. How else to put it? Two thirds of strip searches found nothing in NSW last year. Still not getting your head around it, what about if we told you that 1124 people were strip searched because of a dog indication and drugs were found just 406 times. Imagine buying a car that only worked 30% of the time? Summary We’re at a point now where the government refuses to even consider pill testing once again as a viable way to reduce harm like it does with other dangerous substances (alcohol and cigarettes), refuses to acknowledge it’s success overseas and locally while championing the success of safe injecting rooms that is saving lives here yet continues it’s hardline approach to drugs while people continue to die. What does the government have to lose from at least trialling pill testing for a whole year? If it’s a failure then they can put it to bed for good but you get the feeling that it might not just work out that way. Source

Over the weekend, Cardi B took the stage for the first time since splitting from her longtime boyfriend, Offset, and the “Bodak Yellow” rapper didn’t shy away from addressing the elephant in the room. Not only did she make a point to flaunt her naked ring finger, Cardi also changed the lyrics to her Migos collaboration, “Motorsport”, to throw some shade towards her baby’s father. “I get up set off. I turn Offset on. I told him the other day, yeah, we gon’ get a divorce!” Cardi rapped. I told him the other day yeah we should get Divorced Cardi Message To OffCheat #Offset #cardi pic.twitter.com/C0DH6IuW49 — BardiXNavy (@CartixC) December 9, 2018 Offset doesn’t seem to be taking the breakup as well. On Sunday, he tweeted, “FUCK YALL I MISS CARDI.” FUCK YALL I MISS CARDI — OFFSET (@OffsetYRN) December 9, 2018 If Offset intends to win back Cardi, he has some competition. According to Hollywood Life, R&B singer Chris Brown has made it known he intends to pursue Offset’s ex. Source

Shaun Weiss — the actor known as Goldberg from The Mighty Ducks franchise — once again finds himself in trouble with the law. According to TMZ, Weiss was arrested last month on a petty theft charge and a probation violation. Reportedly, the 38-year-old actor was found shoplifting more than $200 worth of merchandise from a Rite Aid in Los Angeles. In 2017, Weiss was sentenced to 150 days in a local jail after he pled no contest to stealing $151 in merchandise at a Fry’s Electronics store. Shortly before he reported to jail, he was arrested for possession of meth. Weiss ended up serving only 12 days of his sentence due to overcrowding. In August of this year, after being arrested for public intoxication, Weiss announced his intention to enter rehab. Upon entering rehab in August, Weiss wrote in a Facebook note: “At this time, in an effort to break free from the self destructive patterns of behavior and drug abuse that have landed me at rock bottom, (to be real… BELOW rock bottom. Even rock bottom is like ‘holy sh!t, how’d you get all the way down there?’) I have checked in to a well regarded, long term rehabilitation center.” “I have surrendered to the reality that without immediate treatment my life is in eminant danger,” he added. “My spirit was until recently depleted, weak and shrouded by darkness has been renewedby the overwhelming out-pouring of love and support from fans of my early work as an actor.” Source

A pair of nuns have found themselves in some unholy hot water after it was found they had been embezzling funds from the catholic school they worked at in California. Sisters Mary Margaret Kreuper and Lana Chang, two long-serving nuns from St. James Catholic School, have been sneakily hiding money away from the school in a personal account in order to get absolutely fuck-eyed in Vegas and gamble it all away, apparently. After it was announced that the finances would be facing a fairly standard audit, Kreuper became extremely anxious and unsettled as she realised her decade old con could be coming to an end. A retired FBI agent was brought in to investigate, and honestly is this not starting to sound like the hottest crime-comedy to come out this year? The FBI agent described a system in which “Kreuper handled all checks made out to the school for tuition and fees before handing them over to bookkeeping staff for processing. “The principal allegedly withheld some of the checks and deposited them into the other account, endorsing the back with a stamp that read, ‘St. James Convent’ instead of ‘St. James School.'” However, most surprisingly of all it appears that the nuns won’t face any charges whatsoever, partly because their order has agreed to cover restitution. This has obviously pissed a lot of people off, after they were repeatedly told that the school was on a tight budget and couldn’t afford the most basic of upgrades or necessities. Source

Finally some good news for Sydney’s nightlife with Kings Cross institution The World Bar not entirely calling final drinks. In fact there’s a twist in the tale with the long standing institution being re-opened as ‘Cali Club’ this Wednesday the 12th of December. Hospitality duo Dane Gorrel and Matt Weir who recently took over and run Club 77 will spend the coming months getting a feel for the venue and area, before refreshing the space and putting their stamp on it. The two passionate publicans take a stand by quoting; “We need to preserve our nightclub institutions. They have a tremendous impact on Sydney’s culture, and once they go, it’s incredibly hard for them to return”, says Gorrel. “We really want to help keep the candle burning for our city’s night life and continue the venue’s legacy”. The first night of re-opening as Cali Club will re-introduce longstanding successful club night ‘The Wall’ back into the fray. It felt like we were on our final legs with an endless list of clubs closing but it’s nice to see some hope re-appear in Sydney’s most well known nightlife district! Source

Mixcloud is testing the waters of its own subscription service known Select, which just launched today. The popular go-to site for radio shows, podcasts, and DJ mixes offers a shiny, new feature with its fan-to-creator subscription. This allows users to download music and mixes to listen to offline, view tracklists, and more. All whilst contributing to royalties and licensing fees. The interesting part about Mixcloud Select is that it allows artists to set their own price, starting at $2.99 a month. The profits made from the subscription service will allow artists, labels, publishers, etc. to get paid for their content. The first wave of artists featured on MixCloud Select include Afrojack, Oliver Heldens, Axtone, Eats Everything, Nicole Moudaber and among others. Plus, other key curators including Brooklyn Radio, Defected Records, Stamp the Wax and more. Co-founder of the platform, Nico Perez is proud to say, “These fans can now take the next step by directly supporting creators’ livelihoods” Stay tuned for more features, including direct messaging and other exclusive content. Subscribe to your favorites here. Mixcloud Select H/T: MixMag This article was first published on Your EDM. Source: Mixcloud Rolls Out Fan-To-Creator Subscription Service ‘Select’ Source

Introducing the newest fusion of vintage & grunge nic violets and lil cxxp team up on this high-end, part rock grunge track that is sure to bump at all of the parties. The two are Boston-based hip hop musicians who are constructing a world of their own in the city. Their music can be described by the similarities to Nirvana-esque grunge and Post-Malone-like lyrics. They tie in this sad-boy aura with melodies that keeps you intrigued for what’s to come next. A little more on the guys: lil cxxp hails from the North Shore of Massachusetts, born as Cooper McVay. The 20 year-old grew up playing the drums and guitar which then turned into a fascination with songwriting and audio engineering. His inspirations span across artists such as Kid Cudi, Mac Miller, and Lil Wayne. nic violets is a hip-hop artist having already released his first EP Sweet Chaos back in September of 2017. Similar to blackbear, his music could be defined as lush chaos. With a mellow vibe and an atmospheric instrumental, the rapper sings and raps over to create smooth compositions with each track. Now together, the two bring you “diamonds are for friends,” which epitomizes the hype track for any turn-up occasion. They both add their edge to the track making it all come together in one cohesive form that makes you nod your head to the beat and rhythm. In addition, aside from the music, the two are extremely stylish in terms of clothing, so you can see how they tie fashion into their music. They carry that genre of vintage grunge with them as a symbolic theme throughout their work. Listen to the track above, and be sure to check out more of their work on Spotify and follow them on social media: nic violets Instagram | Spotify lil cxxp Instagram | Spotify The post nic violets and lil cxxp Team Up for “diamonds are for friends” appeared first on Verge Campus. Source

Whatever your idea is of the most tweeted 2018 artist is, you’re probably wrong. Unless, that is, if you’re a member of the BTS army and already know what’s up. The South Korean boy band isn’t just big in South Korea. They’re the hottest music act on the planet, at least when it comes to their social media imprint. BTS (@BTS_twt) is the most tweeted about celebrity account of the entire year. Guess that’s what happens when you have 17.2 million followers. They’re followed by athlete LeBron James and hip hop icon Kanye West, who made his epic return to the platform. Next up, Drake, EXO, Ariana Grande, Cardi B, and Beyoncé. Hold up, BTS gets tweeted at more than Beyoncé does? That is crazy. They also had the most liked tweet of 2018, which basically sums up the entire year in a nutshell: #InMyFeelingsChallenge #HopeOnTheStreet pic.twitter.com/Bm8bxtKsFq — 방탄소년단 (@BTS_twt) July 23, 2018 According to Vogue, these are the celebs that were chirped at the most. And, a lot of them happen to be musicians. Look at both lists detailing top tweets about both celebs and musicians below. Most Tweeted About Celebrities 1. BTS (@BTS_twt) 2. LeBron James (@KingJames) 3. Kanye West (@KanyeWest) 4. Drake (@Drake) 5. EXO (@WeareoneEXO) 6. Ariana Grande (@ArianaGrande) 7. Cardi B (@IamCardiB) 8. Beyoncé (@Beyonce) 9. Jimin Park (@Jiminpark07) 10. Nicki Minaj (@NickiMinaj) Most Tweeted About Musicians 1. @BTS_twt 2. @KanyeWest 3. @Drake 4. @WeareoneEXO 5. @ArianaGrande 6. @IamCardiB 7. @Beyonce 8. @Jiminpark07 9. @NickiMinaj 10. @Rihanna Source: Vogue This article was first published on Your EDM. Source: The Most Tweeted About Celebrity For 2018 Shouldn’t Be Surprising… But It Still Is Source

WHIPPED CREAM is an artist that grows exponentially with every single release. Not superficially, like with streaming numbers for example, but internally. As an artist, Caroline Cecil aka WHIPPED CREAM is constantly evolving and we can’t keep our ears off her work. The producer’s latest, “LUV” is a prime example of her growth as a creator and her untamed path as she hacks her own way through the scene with a machete. The fierce mix of dark hip hop and bass music will keep you guessing for an abrupt 1:48, but that’s all the time WHIPPED CREAM needs to get her point across. “I combined sounds and grooves from stuff I listened to when I first got into electronic music and put it all together into one piece of work,” she explains. “You think you know my sound? Think again. This piece is to leave my listener with questions and wanting more.” Mission accomplished. With piercing visuals to match the harsh tone of “LUV,” WHIPPED CREAM unveils her own vision for the track. It’s surreal and moody, with the “strangeness of Bjork and the playfulness of Alice in Wonderland.” The official music video is insane, but “LUV” will do that to you. Watch here! WHIPPED CREAM – LUV Get it: https://BigBeat.lnk.to/LUVPR Follow WHIPPED CREAM SoundCloud | Spotify | Instagram | Twitter | Facebook This article was first published on Your EDM. Source: WHIPPED CREAM Plays With Our Emotions In “LUV” Music Video [MUST WATCH] Source

Kingdom Hearts III is on the horizon and not only does it look amazing — it sounds amazing. Thanks to Skrillex and Hikaru Utada. The video game’s latest trailer is set to the first listen of their theme song together, “Face My Fears” and it’s simply beautiful. The new short movie is packed with 1:30 of game play and serves as a sneak peek as to how the epic adventure begins. As heard in the video below, Grammy Award winner Skrillex and one of Japan’s top selling artists, Hikaru Utada are a perfect match for the theme song. Both artists set the mood with their one-of-a-kind collab, which is a clean, uplifting future bass production. “Long-time #KingdomHearts fan @Skrillex originally asked to remix @utadahikaru‘s track, ‘Don’t Think Twice.’ However, owing to the pair’s friendship, this has now developed into a new & original collaboration…” Kingdom Heart’s official Twitter account shares. “We’ve wrapped up development of #KingdomHearts III!” video game artist, Tetsuya Nomura also reveals. “If you haven’t had the chance yet, now would be a good time to prep by playing 1.5+2.5 & 2.8. See you next month!” We’ve included both English and Japanese versions below. Watch here and get ready for Kingdom Hearts III! Kingdom Hearts III – Opening Trailer This article was first published on Your EDM. Source: Hear Skrillex & Hikaru Utada’s Kingdom Hearts III Theme Song [FIRST LISTEN] Source

Tech house is all the rage right now — and a fresh new talent out of Detroit is rising to the occasion. Meet IOTA and remember the name, as the producer is dedicated to bringing quality ghetto, retro, house and techno to the scene. Feeding today’s tech house frenzy, IOTA presents “So Much Noise.” An otherwise traditional house production is amped up by deep horns, bellowing vocals, and an extraordinarily hype second release that will have you out of your seat in an instant. IOTA gives it to us straight and doesn’t complicate things too much, which leaves more room to focus on the music and just dance. “So Much Noise” is out now via UK’s exciting new label BrashBeasts. Listen to IOTA’s latest and hear the rest of the inaugural compilation album here. Don’t forget to link up below. IOTA – So Much Noise Follow IOTA SoundCloud | Facebook | Twitter | Instagram This article was first published on Your EDM. Source: IOTA Goes Off With New Tech House Banger “So Much Noise” [LISTEN] Source

As a musician with nearly two decades of time spent immersed within the Austin music scene, Mike Fonseca has applied his talents in a variety of musical endeavors. With a foundational knowledge of jazz performance, he’s played in bands spanning across multiple genres. From one-off jazz gigs to indie rock bands and Brazilian music groups, the Austin-based musician has depth in his musical repertoire. While his catalogue is rich in diversity, one band of his stands out amongst the rest – Huelga. Mike Fonseca’s deep admiration of the metal genre and its many subgenres are encapsulated in Huelga, a solo project he’s pursued for roughly 13 years. Taking inspiration from the early thrash metal pioneers as well as more experimental and progressive metal acts, Huelga’s music follows complex polyrhythms, crushing drum fills, and distorted staccato guitar riffs. In the same vein as contemporary bands such as Revocation, Polyphia, Meshuggah, and Chon, Huelga offers a unique blend of the heaviness and speed found within the realm of technical death metal, as well as the progressive and experimental characteristics of instrumental math rock. The subtle complexity of his music can largely be attributed to his formal study of jazz performance at the University of North Texas and The University of Texas at Austin, where intricate experimental techniques are commonplace. “When I was studying music at North Texas back in the 90’s I was exposed to 20th century composers and always loved concepts they came up with,” Fonseca said. “That music is hard to listen to, and I’ve always wondered if those concepts could be fused with a more pop sensibility. My love for metal is what got me to study music in the first place, so for me it is a perfect combination.” The name of his solo project can be traced back to one of Fonseca’s early heroes, Dolores Huerta, a Mexican-American civil rights activist. An iconic image of Dolores Huerta holding a sign that read “Huelga” resonated with Fonseca and served as the direct inspiration for his band’s name. Translating to “strike” in English, the local musician took the meaning of the word literally. Wanting to distance himself from playing in the conventional 4-or 5-piece metal band, essentially going on “strike” as he described it, Fonseca’s decision was based on preserving the artistic value of his music by taking his band in a very specific direction, which often didn’t line up with having multiple individuals joining Huelga. “One reason is that all my friends are starting to mellow out,” Fonseca said. “They want to play slower and quieter. I want to go faster and louder. Another reason is that I know most guitarists and bassist don’t like to play music that they didn’t write. My music is really challenging to play and would require lots on rehearsal, all of which is a hard sell for musicians.” One would be led to believe that running a one-man band based off of complex musicianship would be prove to be a daunting task. For Fonseca, however, it’s the opposite. “To tell you the truth, right now, I only see benefits. Getting multiple people on the same page for rehearsals, artistic direction and social media outreach has been extremely difficult in every other band that I’ve been in.” While fully enjoying his time operating Huelga as a solo project, Fonseca has not dismissed playing in other bands in the future. Expressing your vision without inhibition certainly has its benefits, but the experience of creating music with others is something nearly every musician can get behind. “I love playing with other musicians,” Fonseca added. “I just really needed to get this project off the ground. Different things have kept me from letting the project take off. Things like joining other bands, getting my Masters and fried hard drives.” Currently, Fonseca is planning on releasing a 4-song EP through the Huelga page – depending on its reception, a local performance from the metal one-piece could be on the horizon. The post Centerstage: Mike Fonseca’s Huelga appeared first on Verge Campus. Source

Crooked Colours‘ amazing production “Do It Like You” comes alive in five new ways thanks to remixes from Mickey Kojak, Airwolf, Babert, OFFAIAH and The Deepshakerz. Anyone looking to vibe out will appreciate the assortment of house and melodic techno put forth with this captivating release. “Do It Like You” serves as the perfect follow up to the band’s first album single “I’ll Be There.” There’s plenty more where that came from, as Crooked Colours gear up for an album release. Be on the lookout in early 2019. Crooked Colours recently wrapped up their second major US headlining tour. Next up, the dynamic trio will hit up UK and Ireland, with tour stops in Manchester, Glasgow, Dublin, London, Bristol and more. Perfect Sunday listening right here! So turn this on! Crooked Colours – Do It Like You (Remixes)  This article was first published on Your EDM. Source: Crooked Colours’ “Do It Like You” Gets 5 Stunning Remixes [LISTEN] Source

Mac Miller‘s mom has responded to her son’s Grammy nomination — and she’s as proud as can be. As it turns out, his mother Karen Meyers is super active on Instagram and has been sharing some moving photos of her family. A lot of times, like in this case, she allows only emojis to guide her captions. But as they say, a photo is worth a thousand words anyways. In her latest post, she shares a screenshot of a tweet directly from the Recording Academy: “Congratulations 61st #GRAMMYs Best Rap Album Nominees: [Cardi B, Mac Miller, Nipsey Hussle, Pusha T and Travis Scott].” Her response: baby angels, hearts, a bullseye and prayer hands. So will Mac Miller take home the award? His 2018 album Swimming is certainly one of the top contenders. If you ask his fans — and his mother — he’s more than deserving. See the full list of nominations here. RIP, Mac. Mac Miller Up For Grammy Award This article was first published on Your EDM. Source: Mac Miller’s Mom Shares Response To Grammy Award Nomination Source

Keeping up with music in November was a rat race. Around every corner, new releases awaited and to our pleasure, their sheer quantity was non-reflective of their quality. Even though the year is wrapping up, it’s without a doubt that some of the best was saved for last. Here’s what was on heavy rotation last month: Veins by Earl Sweatshirt photo courtesy of immortal reviews“It’s been a minute since you seen or heard from me I’ve been swerving cars,” raps Earl Sweatshirt on the 12th track from his third studio album, Some Rap Songs. It’s Earl’s dark optimism and his wizarding wordplay that first drew me in as a listener, and it’s all still brewing with potency on SRS. Amidst a very public struggle with depression and sadness, the rapper tucked away for almost 4 years for the sake of his mental health. “Veins” in particular, makes known that his return is a chin-up moment for the artist and listeners alike. Speaking from his own experiences, when Earl tells you to pace yourself, the sentiment takes on an honest new meaning. When he tells you to keep faith, you listen, and when he offers you peace, you take it. Mutombo by Dwn2earth Photo courtesy of YoutubeAmong the slew of singles that followed up his self-titled EP released in February, Mutombo continues to showcase the vocal capacity of Private Club Records’ designated soul-trap crooner, Dwn2Earth. On the track, Dwn2earth fills minimally bouncy production with melodic verses, likening his curving skills to that of legendary big man Dikembe Mutombo. According to Spotify, the artist was streamed for over 84,000 hours this year by over 486,000 fans from 65 different countries, making 2019 that much more exciting for Dwn2earth. Soho By Jaden Smith photo courtesy of GeniusAppearing on Smith’s only project release of the year, The Sunset Tapes: A Cool Tape Story, “SOHO” serves as its enticing introduction. The track sees Jaden getting playful with autotune and colorful harmonics while singing of an ex-supermodel bae, their frequent trips to Manhattan’s SoHo neighborhood and the clothes, paparazzi and turmoil that come along with the outings. “Said that I’d give you the world and you turned it to a snow globe,” he sings on the songs closing verse. Communion by PNTHN Photo courtesy of GeniusThe stars align when Texas-based rap collective PNTHN links up. This year, the group blessed us with two releases; the first in their Potluck EP and the second in their follow up EP, Rico. “Communion,” not an afterthought, but an eminent addition to their catalog, touts members of the group Kenny Casanova, dc4prez and twohorizonra jousting bar for bar over knock-driven production from Por Vida. In typical PNTHN fashion, the track doesn’t let up on energy at all, and if you aren’t moshing when “Communion” drops, you’d be better served to just get out of the way (Seriously, I warned you). Concentrate by Lucky Daye Photo courtesy of ComplexOn his debut EP, singer-songwriter Lucky Daye channels funky-floaty R&B sensibilities, while flexing his range. Previously appearing on HBO’s Insecure as well as writing credits for artists like Mary J. Blige, Ella Mai and Trey Songz, I is a passionate start to his journey manning the mic that doesn’t disappoint. “Concentrate,” is a small window into Daye’s deep grab-bag of vocal tricks and standout lyricism. Check out the rest of November’s rotation in the playlist below: The post Monthly Mixtape 2018: November Noise appeared first on Verge Campus. Source

On Saturday night, the Chicago Film Critics Association announced their winners for its year-end awards. Alfonso Cuaron’s autobiographical Roma, which received the most nominations from the group with nine, won a whopping total of five awards, including Best Picture, Best Foreign Film, Best Director, Best Cinematography, and Best Editing. The Favourite, First Reformed, Hereditary, and If Beale Street Could Talk all took home two awards each. The Favourite won Best Supporting Actress for Olivia Colman and Art Direction/Set Direction, while First Reformed nabbed Best Original Screenplay for Paul Schrader and Best Actor for Ethan Hawke. Hereditary walked away with Best Actress for Toni Collette and Most Promising Filmmaker for Ari Aster, while If Beale Street Could Talk won Best Adapted Screenplay for Barry Jenkins as well as Best Original Score prize for Nicholas Britell. Other notable wins include Minding the Gap for Best Documentary, Eighth Grade‘s Elsie Fisher for Most Promising Performer, and Spider-Man: Into the Spider-verse winning Best Animated Film. Sadly, Paddington 2 went home empty-handed. It should be noted that Editor-in-Chief Michael Roffman, Film Editor Dominick Suzanne-Mayer, Associate Editor Allison Shoemaker, and senior writers Blake Goble and Clint Worthington are all voting members of the CFCA. Consult the full list of winners below. Best Picture: The Favourite First Reformed Hereditary Roma A Star is Born Best Director: Bradley Cooper, A Star is Born Alfonso Cuaron, Roma Yorgos Lanthimos, The Favourite Lynne Ramsay, You Were Never Really Here Paul Schrader, First Reformed Best Actor: Christian Bale, Vice Bradley Cooper, A Star is Born Ethan Hawke, First Reformed Rami Malek, Bohemian Rhapsody Joaquin Phoenix, You Were Never Really Here Best Actress: Yalitza Aparicio, Roma Toni Collette, Hereditary Lady Gaga, A Star is Born Regina Hall, Support the Girls Melissa McCarthy, Can You Ever Forgive Me? Best Supporting Actor: Mahershala Ali, Green Book Timothee Chalamet, Beautiful Boy Richard E. Grant, Can You Ever Forgive Me? Michael B. Jordan, Black Panther Steven Yeun, Burning Best Supporting Actress: Olivia Colman, The Favourite Elizabeth Debicki, Widows Zoe Kazan, The Ballad of Buster Scruggs Regina King, If Beale Street Could Talk Rachel Weisz, The Favourite Best Original Screenplay: Eighth Grade The Favourite First Reformed Roma Vice Best Adapted Screenplay: BlacKkKlansman Can You Ever Forgive Me? The Death of Stalin If Beale Street Could Talk A Star is Born Best Foreign Language Film: Burning Capernaum Cold War Roma Shoplifters Best Documentary: Free Solo Minding the Gap RBG Three Identical Strangers Won’t You Be My Neighbor? Best Animated Feature: The Incredibles 2 Isle of Dogs Ralph Breaks the Internet Ruben Brandt: Collector Spider-Man: Into the Spider-verse Best Art Direction and Production Design: Annihilation Black Panther The Favourite Paddington 2 Roma Best Cinematography: Cold War – Lukasz Zal The Favourite – Robbie Ryan First Man – Linus Sandgren If Beale Street Could Talk – James Laxton Roma – Alfonso Cuaron Best Editing: First Man The Other Side of the Wind Roma Widows You Were Never Really Here Best Original Score: Justin Hurwitz – First Man Nicholas Britell – If Beale Street Could Talk Jóhann Jóhannsson – Mandy Thom Yorke – Suspiria Jonny Greenwood – You Were Never Really Here Best Use of Visual Effects: Annihilation Black Panther First Man Mission: Impossible – Fallout Paddington 2 Most Promising Filmmaker: Ari Aster, Hereditary Bo Burnham, Eighth Grade Bradley Cooper, A Star is Born Bing Liu, Minding the Gap Boots Riley, Sorry to Bother You Most Promising Performer: Yalitza Aparicio, Roma Elsie Fisher, Eighth Grade Lady Gaga, A Star is Born Thomasin Harcourt McKenzie, Leave No Trace John David Washington, BlacKkKlansman & Monsters and Men Source

Last week, Kevin Hart stepped down as host of the 2019 Academy Awards after the resurfacing of past homophobic tweets and remarks. Initially, Hart resisted calls to apologize for the remarks, which date back nearly a decade, arguing that he’s evolved as a person in the years since. Now, in his defense, fellow comedian Nick Cannon has dug up similarly problematic tweets from three prominent female comedians. Cannon first pointed to a June 2010 tweet from Chelsea Handler in which she said, “This is what a f*g bird [lools] like when he flexes.” Interesting I wonder if there was any backlash here… https://t.co/0TlNvgYeIj — Nick Cannon (@NickCannon) December 8, 2018 Another tweet from 2000 saw Sarah Silverman comment on an episode of the Bachelorette by writing, “I dont mean this in a hateful way but the new bachelorette’s a f*ggot.” And I fucking love Wreck it Ralph!!! https://t.co/6cHA1EQEkg — Nick Cannon (@NickCannon) December 8, 2018 Lastly, Cannon shared a 2012 tweet from Amy Schumer which seemingly came in response to the James Bond film, Skyfall. “Enjoy skyfall f*gs. I’m bout to get knee deep in Helen Hunt #thesessions,” Schumer remarked. I’m just saying… should we keep going??? https://t.co/1kESA82WqR — Nick Cannon (@NickCannon) December 8, 2018 As of publication, only Silverman has addressed Cannon’s discovery, and she simply retweeted a news article about the tweets. Source