#AND DANIEL!!!! 2014 LINEUP DEBUT

[gokartkid]

oh my god red bull seb returning at nurburgring…. i dreamed of this day!!!!

[chaerincore]

𝐓𝐇𝐄 𝐑𝐎𝐌𝐀𝐍𝐓𝐈𝐂𝐒 — 𝑪𝑨𝑹𝑬𝑬𝑹 𝑴𝑨𝑷

— A/N: i’ve been inactive for days and this is exactly why, including the holiday weekend 😭

— tw: jealousy, mistreatment/bullying, violence, cheating, mentions of disbandment.

@skzfairies @m00niesk7 (reply with "let’s fall in love!" to join!)

PRE-DEBUT ( 𝟐𝟎𝟎𝟗 — 𝟐𝟎𝟏𝟓 )

in 2009, aera joins JYPE at the age of 14. she would be the only member of the romantics within the company until 2012. when that time finally came, rue passed an audition in japan before moving to korea later on. months before MNET announced their new survival show, produce 101, moon joined the company in 2014, a few months short before her little brother, changbin, did. aera competed on sixteen & both moon and rue were featured on produce 101. aera and rue made it to the end of their individual survival shows but did not rank high enough to make it to the final lineup; moon ended up passing and joining IOI.

DEBUT ( 𝟐𝟎𝟏𝟓 )

in july of 2015, JYPE confirmed that a new girl group would debut in september 2015. the public was shocked to hear that the lineup would only consist of three members, which was very different in comparison to the number of members that twice would have. after being revealed from youngest to oldest, the romantics’ group name and logo was announced in late july.

on august 1, 2015, the single album WHISTLE was announced, including the promotional single WHISTLE along with the b-sides WHAT IS LOVE? and FANCY. on september 1, their debut release climbed to number one and later would be promoted by all three songs, including music videos and live stages.

IOI + LOVE LETTER, PT. I ( 𝟐𝟎𝟏𝟔 — 𝟐𝟎𝟏𝟕 )

after making it to the final lineup of IOI, moon debuted with the group in may 2016. because of this, moon’s activities from the romantics were put on hold until the 2016 promotional single, PLAYING WITH FIRE was released in november with the first mini album, LOVE LETTER, PT. I. later on, IOI disbanded at the end of january 2017, this would give the romantics an opportunity to be more active as a trio — the next release was revealed on december 1, and a week later the announcement for their first tour, A LOVE LETTER TO YOU, went public.

LOVE LETTER, PT. II + FINALE & THE FEELS ( 𝟐𝟎𝟏𝟕 )

on january 1, the sequel to the first part of LOVE LETTER mini album was released with the title track, CALL ME. though CALL ME did not earn any music show wins, the trio redeemed themselves with an all-kill thanks to the single STEREOTYPE, which was promoted as the title track for the finale (released on may 5) of the LOVE LETTER mini album series. the girls promoted their very first english track, THE FEELS, as a b-side for LOVE LETTER, FINALE, which became an overseas success and attracted more international fans.

despite the trio seemingly getting along from the public view, aera became envious of moon and rue’s growing popularity as visuals and a gradual pattern of poor mistreatment towards them had begun as a result. this same year, despite never going public, aera was found cheating on MANIA!’s mae with kang daniel, the group’s activities was halted for several months as a result. an apology was released by aera not long after word got out, but many fans felt it wasn’t genuine.

AS IF IT'S YOUR LAST + GOLDEN LOVE! ( 𝟐𝟎𝟏𝟖 )

in march 2018, the romantics released their first single, AS IF IT'S YOUR LAST. the track was the introductory song to the first full-length album, GOLDEN LOVE!, with the lead singles FEEL SPECIAL, BLACK MAGIC and FOREVER YOUNG. the album would later become one of their best selling releases since 2015 after making their billboard top 100 debut with BLACK MAGIC (may 2018).

later in march, moon’s step-brother, changbin, officially debuted with stray kids. the seo siblings would soon become best known for their rapping. on june 12, moon and rue became MCs for music bank (rue) and music countdown (moon) and remained one for an entire year. they became a crowd favorite when seen interacting with their fellow labelmates, which was done in hopes to divert the public eye from aera’s scandal in the previous year.

KILL THIS LOVE ( 𝟐𝟎𝟏𝟗 )

in march 2019, the romantics released their first japanese album, KILL THIS LOVE. after once again having charting success, the group was accused of lip-synching on multiple occasions. in response to the accusations, the group debunked this during all throughout their first world tour, PLATINUM LOVE! by showing the difference when they do and don’t sing. they made stops in korea, japan, and most of the states, being on the road for several months while preparing their next full-length album.

CRY FOR ME + SCIENTIST ( 𝟐𝟎𝟐𝟎 )

though the trio was scheduled to release a third album (intended to be an english record) after their second tour had concluded, it was postponed due to several sources catching evidence of aera being disrespectful towards staff and degrading her members. aera was put on a year-long hiatus, but rue and moon decided it would be beneficial to carry on for the sake of their fanbase.

so, they used two potential title tracks from the scrapped album, CRY FOR ME (may) and SCIENTIST (august) to promote as the second and third singles. by the end of july, fans were worried that the group would be disbanding if the scandals continued, but JYPE released a statement assuring them otherwise. others felt that the overall image of the romantics looked better without their leader, who seemed to be creating a poor reputation for not just herself but also the group as a whole. a week after the statement was released, aera finally returned to the group with a final warning.

during this time, in mid november, moon released 1, 3, 2 with bang chan (stray kids) and their relationship was announced in january of 2021, two months prior to stray kids’ dating ban being lifted.

THE LOVESICK GIRLS! + I CAN'T STOP ME ( 𝟐𝟎𝟐𝟏 )

on december 25 of 2020, a teaser for the official third album titled THE LOVESICK GIRLS! was released at midnight. the album included the lead singles LOVESICK GIRLS and SHOUT OUT TO MY EX. when the album was dropped on january 20, many believed that this would be aera’s last era with the group, but this was proven wrong when she appeared in the august promotions for the fourth single, I CAN'T STOP ME. 2021 was considered the beginning of the romantics’ golden years, which is still ongoing as of 2022.

ROMANCE III ( 𝟐𝟎𝟐𝟐 )

on march 14, the group released their fourth album, ROMANCE III, with an expanded edition on april 14 to mark their seventh year. they promoted their first collaborative single, WOMAN LIKE ME and the third english single, NO MORE SAD SONGS. the group’s intention for this era was to embark on a more mature sound as the girls were fully grown up. a month prior to the release, JYPE released a statement announcing rue’s relationship with johnny (nct). promotions for the standard edition of ROMANCE III continued on until april, whereas promotions for the expanded edition with the single SWEET MELODY would carry on until the beginning of may.

in july, the trio was slated to promote the b-side, HOLIDAY, for three weeks. many fans noticed that the girls were not showcasing their usual chemistry onstage, further making rumors of disbandment arise. but when JYPE suddenly dropped a statement in august that announced aera’s contract termination exactly one month prior to their seventh anniversary, questions were finally answered. to ease anxiety and concern, the company later confirmed that rue and moon extended their contracts with JYPE, reassuring that the romantics would be active for (at least) the next seven years. the statement was only the beginning of proving that the girls weren’t done yet because after aera’s departure, fans let rue and moon know they were going to stay by getting NO MORE SAD SONGS and HAPPINESS to chart & go viral both domestic and internationally. this created mass success, leading to the girls promoting in different countries for nearly a month prior to awards season.

after a star-studded performance of the hit b-side, TOUCH, at the golden disc awards, the romantics released a performance and music video for what would become their biggest hit song in history — the track would make 2022 their best year to date.

during the heat of awards season, JYPE would release tour dates of the very first tour as a two-member lineup in december 2022 called ROMANCE: THE WORLD TOUR. this would be the romantics’ first stadium and arena tour worldwide.

[theeverlastingshade]

Pitchfork Music Festival 2021 Recap

This year I finally attended the full 3 day Pitchfork Music Festival after years of deliberation. There's no way my enjoyment of the experience wasn't compounded due to live music having been on hiatus in the United States since March 2020, but I suspect that I would have enjoyed it all the same if that hiatus hadn't transpired. Pitchfork put on an impressive festival defined by  a superbly paced, and varied roster of some of the most exciting up and coming artists, legacy artists, and plenty in between. While not a perfect festival by any means, Pitchfork nonetheless showcased what was close to a small to mid-size festival ideal.

Each day was paced well, alternating between sets from acts on either the green or red stage juxtaposed with electronic or folk acts on the blue stage across the park. Friday alternated between the weirder, artier folk/pop acts and various electronic producers running the gamut from the headier, house strain of The Soft Pink Truth, to the skull rattling rush of techno from Yaeji. The pacing between sets worked pretty well, and the only substantial runoff was Yaeji's relentless low-end creeping into Big Thief's set (and again on Sunday with FlyLo's music bleeding into Cat Power's set). For the most part, nothing felt particularly overwrought or ill-considered from a booking or performance perspective, and the day consisted of the sort of purposeful curation that just isn't common at most music festivals at this point in time.

The heavier acts were generally relegated to earlier slots, (with the exception of Ty Segall Freedom Band on Saturday) while the bulk of legacy acts and zeitgeisty up and coming artists performed later in the day. It's hard to deny that many artists really brought it like Dogleg, but at this point in Pitchfork’s existence a melodic hardcore/emo band isn't going to be granted more than an earlier/mid-afternoon slot. The diversity of the artists was far more varied than could have reasonably been expected from a post-Conde Nast curated lineup, but the lack of metal, shoegaze, drone, or noise was still a bit of a letdown.

Dogleg were an exceptional early set that blew most of the following artists away. The bulk of their setlist came from their 2020 debut LP, Melee, and it all translated as well to a live setting as could have been expected from that kind of high-wire energy. They also seemed like one of, if not the closest band to exemplify aspiring rock stardom, and they delivered a raucous set filled with cartwheels and windmills, and other kinds of fun guitar antics that bands just don't seem interested (or capable) of executing. The vocals were a little rough around the edges in spots, but they played with remarkable dexterity and chemistry, making a strong case for the staying power of capital-B bands in an era where the solo artist still reigns supreme.

The first electronic act of the festival that completely blew me away was Drew Daniels, aka The Soft Pink Truth. Daniels drew the most from his latest and finest LP, Shall We Go On Sinning So That Grace May Increase, fleshing out the music with a more aggressive low-end that complemented the ambience of the songs beautifully while giving them a heightened edge. The songs continued to build to ecstatic heights without losing their shape, and each flowed superbly into the next without the stiches ever showing. Towards the end of his set Daniels began to draw more from his great 2014 black metal influenced record, Why Do the Heathen Rage? for some of the most chaotic, and eclectic mixing that transpired all weekend.

Even with the absence of founding member and guitarist Matt Kwasniewski-Kelvin, black midi were as great as they've ever sounded, this time rounding out their lineup with a keyboardist and a saxophone player, which is only to be expected given the more prog-leaning approach that they took on their latest LP, Cavalcade. Although a band like black midi is best suited for a seedy, beer stained club than any kind of outdoor festival the new material translated well to this specific context. The songs on Cavalcade are more sprawling, and lend themselves better to lengthier jamming than their earlier material. Throughout their set, black midi managed to breathe some fresh new life into these songs without ever quite extending anything past its welcome. They remain a satisfying anomaly at a festival like Pitchfork, and within the greater sphere of contemporary music as a whole.

The most unpredictable, and satisfying set of the night came from Animal Collective. They returned to Pitchfork with the full-band, four piece setup that was somewhat reminiscent of their dynamic while touring the material for their 2005 opus, Feels, with the exception of Deakin primarily playing keys and synths instead of guitar (except throughout highlights "The Purple Bottle and the "Grass" b-side, "Fickle Cycle", both from that aforementioned era). In proper fashion, they predominantly played new material, which took the form of lounge-flecked psychedelia that continues to make good on their path towards jam band ascension. Aside from the Feels era cuts they also performed Merriweather Post Pavilion cuts "In the Flowers" and "No More Runnin'", and “Unsolved Mysteries” from Strawberry Jam. It was thrilling to hear Panda Bear behind the kit bashing out tight floor tom/cymbal rolls, and Geologist occasionally abandoning his rig for some time with the Hurdy Gurdy. They capped off their set with "The Purple Bottle", and Avey was in top form singing and shrieking his way through the jubilance with tight precision. There are very few bands that continually change their setup, challenge audience expectations, and experiment with form even in the midst of live performances quite like Animal Collective, and on Friday it payed off remarkably.

There are also very few active bands that display the kind of immense inmate chemistry that Big Thief have, and it was palpable throughout their entire set. The band drew from all four of their albums, leaning heaviest on their exceptional pair of 2019 records, U.F.O.F. and Two Hands, with a few great new/previously unreleased songs thrown in. Their most stirring performance arrived with "Spun Infinity", a Lenker solo song that the band helped build into a rousing sing along. They've played it both times that I've seen them, and it's grown in potency each time that they played it (here's hoping it makes that next record). They delivered highlights from both spectrums of their sound, from the lush sway of "Cattails" to the searing eruption of "Not", with older favorites like "Shark Smile" and "Masterpiece" thrown in for good measure. They closed their set with a new song called "Dragon" that was even more intense than the songs from TH, cementing the notion that they're among the best bands active, and one that's still getting better with each record and show.

It wasn't surprising that Phoebe Bridgers headlined Friday given what a massive glow up in popularity that she experienced throughout last year, but her set couldn't help but underwhelm following right on the heels of Big Thief. Her performance was serviceable, with subdued highlights like "Scott Street" and "Garden Song" retaining the melodramatic arcs of the source material, but her set generally lacked the sense of risk, experimentation, or versatility that Big Thief and Animal Collective carried in spades. The lack of dynamics and variation doesn't necessarily hamper the cohesion of her records, but it left quite a bit to be desired from her headlining set. There’s no question that Phoebe’s a talented artist, and she’s already released a handful of good records in the brief span of time that she’s been professionally recording, but her music doesn’t necessarily lend itself to a particularly strong festival headlining performance yet.

On the whole, Saturday didn't quite match the highs of Friday, but there were still a handful of great performances. The lineup was arguably more sonically diverse than either Friday or Sunday, and it showcased the strongest balance between veterans and up-and-coming artists. Bartees Strange delivered a solid performance that exuded the soulful intensity of his recorded output, but it wasn’t quite as gripping as the searing performances early in the day that Dogleg and Special Interest delivered. Divino Nino sounded far more raw than they come off on record, delivering a solid performance only occasionally hampered by muddy basslines. Maxo Kream was charismatic, and engaging, but his performance lacked the intensity of his raps on record. Things didn't really pick up until Waxahatchee's set. Waxahatchee drew most predominantly from her terrific 2020 record, St. Cloud, with a few older highlights like "Silver" thrown in as well. Katie Crutchfield's voice sounds just as strong live, as it does on record, and what the band's performance somewhat lacked in SC's urgency she made up for in gorgeous melodic phrasing.

Aside from Kream, and a few particularly propulsive selections from Divino Nino, things generally remained in a low-key, blissed out temperament perfectly emblematic of the inoffensive chill malaise of mainstream indie up until Ty Segall and his Freedom Band took the stage, and then things took a complete 180. Ty Segall is inherently a throwback, to be sure, from the sonic parameters of his records, to the pacing of his output, to his career trajectory built on relentless touring with an indifference to the expectations of individual branding and fan engagement. All of which makes him an exciting prospect at any sort of festival; there's was some explicit potential for real spontaneity. And while the band mostly stuck to cuts from Segall's recently released, synth-heavy Harmonizer, they also performed a few of Segall's classic cuts like "The Only One" and "Love Fuzz". Everything was heavier, and more aggressive than it comes off on record, with The Freedom Band exuding an impressive level of chemistry that heightened everything that they performed. It would have been nice to hear some more range given just how disparate Segall's discography is (a cut from Sleeper or Goodbye Bread as a breather would have gone a long way towards helping smooth out the pacing), but they still delivered an exciting set with the kind of unrelenting intensity that the festival could have used a little more of.

One of the most intriguing acts going into the festival for me was the prospect of a solo set from Kim Gordon. She released a terrific record in 2019 called No Home Record, but that’s technically the only solo project to her name, and it was hard to say what else she might draw from, and how well the insular music from that record would translate to a festival setting. Gordon was backed by a standard guitar, bass, drum trio while she predominantly provided vocals, and some occasional guitar playing as well. They just played the entirety of NHR all the way through, and yet her set was still the most unorthodox and engaging of Saturday. The music was layered with the usual dissonance and distortion of all her work, but the slyly funky rhythms and jagged no wave guitars were interwoven into some new shapes that service her sparse vocal melodies well. The music translated much better to an outdoor festival space than I had anticipated, in no small part due to the versatility and straight up intensity of her drummer. It was hard to believe that Gordon was able to restrain herself from saying fuck the governor of Texas until the last 15 minutes of her set, but given everything that Gordon has ever stood for the sentiment couldn’t have possibly gone unsaid. It was a welcome reminder of her steadfast commitment to feminist ideals amidst an abrasive set that never quite buckled under the weight of her legacy.

The only mention of 9/11 that I remember was Angel Olsen claiming to have been inspired to write a new song the night prior to the anniversary only to jump into "Shut Up Kiss Me". The absurdity of the sentiment was only matched by a fan asking Olsen if they could throw broccoli on stage, and then actually delivering on the request after she gave it the thumbs up. For all the self-seriousness of her recorded output she certainly seemed to be enjoying herself far more than she generally lets on throughout her records. Her set predominantly featured songs from her last and best record, All Mirrors, with a few songs from My Woman and a handful of earlier cuts sprinkled in. Olsen's band consisted of two guitarists or two keyboardists depending on what she was playing, and was rounded out with drums, bass, synths, a violist, and a cellist. You probably wouldn't necessarily have guessed that was her first set in 2 years given how strong the band's chemistry was, particularly during the AM cuts. She carried herself with the theatricality of a natural performer completely in her element. For Olsen’s last song of the night Sharon Van Etten made a surprise appearance to join her for their collaborative single “Like I Used To”, delivering an immensely satisfying cap to just over a decade long creative and commercial ascension for both singular artists.

As expected, Jay Electronica pulled out of the festival last minute. He was replaced by RP Boo who took Jamila Woods' set time, and Woods took Jay's slot. Jamila performed a strong set, with the only misstep being her underwhelming cover of Nirvana's "Smells Like Teen Spirit". She drew predominantly from her last and best record, LEGACY! LEGACY!, in addition to a few older cuts, and a promising new song. Her voice retained the understated grace, and effortless control of her recorded output, and the band behind her (particularly the drummer and keyboardist) elevated her songs with tight grooves and virtuosic keyboard vamps. Along with Waxahatchee, Jamila delivered some of the strongest melodies of all the acts on Saturday without missing a step. It was incredibly satisfying to see an artist from Chicago take a slot that late in the day, and absolutely crush it. If there’s any justice in the world she’ll be playing larger slots and festivals within the next several years to come.

Annie Clark, aka St. Vincent, is a reliably great performer, and despite the lackluster quality of her last two records her set was much tighter than they'd suggest. Aside from a corny bit where Annie pretended that her sister called her while dropping a P4K 6.8 joke, and seemingly drawing attention to the lukewarm reception of her last record, Daddy's Home (a far worse record than Pitchfork acknowledged in their review), in light of her headlining status, her set was immensely engaging. For the most part she thankfully eschewed that kind of performative exhaustion and eye-rolling by breathing some new life and renewed energy into her songs by way of tight chemistry, great harmonies, and occasionally just fucking ripping into guitar solos. Very few artists had guitarists that can play guitar like Annie, and only Dogleg, Ty Segall, and Yves Tumor seemed to match her aspiration of traditional rock stardom (and of those three, only Yves Tumor was on the same level of her stage presence). Naturally, some of the DH songs fell a little flat, while a few of the songs that predated Masseduction were transcendent. After seeing her twice now it seems pretty evident that no matter how disappointing her records become, she’s still going to deliver a pretty strong show.

Sunday was defined largely by hip-hop and r&b, but there was still some nice variation earlier on in the day. Special Interest kicked things on Sunday off with an urgent performance that retained their aggressive no wave meets four on the floor energy. Although their music is much better suited for a dank basement club, their serrated beats and overall bombast still translated fairly well to the dust-ridden grounds and dry Chicago heat. There were some minor vocal flubs, and some stiff pacing, but they brought some much needed teeth to the day's proceedings right out of the gates. Special Interest have only released two records to date, but their performance reaffirmed that they’re on to something truly singular.

Aside from Dogleg, oso oso were the only fifth wave emo ambassadors that played Pitchfork, and their set was unsurprisingly among the weekend's highlights. Still riding high from their sublime 2019 LP, Basking in the Glow, oso oso delivered a rousing performance imbued with the sugary, top notch vocal melodies that play a large role in shaping their records (oso oso frontman Jade Lilitri is still completely in a league of his own when it comes to writing vocal hooks). They played a few older songs, including Real Stories of True People Who Kind of Looked Like Monsters highlight "Where You’ve Been Hiding ", but the bulk of their set was split between songs from the aforementioned BitG, and their 2017 breakout second LP, The Yunahon Mixtape, capping it off with their great 2018 single “gb /ol h/nf”. The band backing Jade sounded tighter than any I've seen perform with him in the past, freeing him up to just deliver his infectious hooks and prance around the stage. While plenty of acts delivered great melodies throughout the weekend, no one matched the sheer immediacy of oso oso. Oso oso have been making some of the best guitar pop of the last few years, and their live show captured the spark of their records.

Choosing to see Sean Bowie, aka Yves Tumor, over Thundercat was easily the most difficult decision that I had to make that weekend. Thundercat is always great live, and the last two songs that I caught after Tumor's set ("Them Changes" and "Friend Zone" respectively) were tight performances, but Tumor has quickly become one of the defining artists of our time. Bowie’s set brought the smoldering psychedelic glam rock of 2020s Heaven to a Tortured Mind, and their recently released The Asympomtical World EP to life with finesse and ferocity. The four piece band behind them featured guitar, bass, drum, and assorted electronics freeing Bowie to freely prowl about the stage howling, crooning, and shrieking as the songs demanded. The set drew the most from those aforementioned releases (which compounded just how badly I fucked up by not traveling any distance necessary to catch them while touring their 2018 masterwork, Safe in the Hands of Love), but they still dove into "Licking an Orchid", “Lifetime”, and "Noid", showcasing how well the avant-pop of their breakthrough works within the context of their current phase. It was incredibly heartwarming to see dozens of people legitimately moshing to avant-garde music, in addition to Bowie reveling in the immense goodwill that their game changing records deserve. Most of the sets that I saw throughout the weekend were great, but Bowie’s set felt like a particularly transcendent star-making moment.

As anyone who's seen Danny Brown live can attest, it’s always a great time, but you don't exactly know how he's going to perform, and his set on Sunday was no exception. He started off strong with "Dope Song", and one for the heads with "Black Brad Pitt", but within short order Brown began to stumble through a few cuts. Brown stopped many of the songs he performed after just a verse or two since he couldn't remember the rest of the words which made for a disjointed experience, but it also meant he was able to draw from more of his catalog (if only for a minute or two per song) than he would have otherwise. His flows were as sharp and controlled as ever, and there's no denying his idiosyncratic stage presence, particularly during classic cuts like "I Will" and "Grown Up". After shouting out his Bruiser Bridge label Zelooperz and Bruiser Wolf joined his set for a few songs which gave the proceedings a nice Bruiser Thanksgiving spirit. He played only a few tracks from his latest record, uknowhatimsayin? with the bulk of his set drawing on classic cuts from XXX and the tried and true festival staples that make up the bulk of Old’s b-side. While certainly not the tightest performer of the weekend, Danny Brown was easily one of the most charismatic and engaging, and on a handful of songs, like “Attak” from Rustie’s 2014 LP, Green Language, he proved that he's still one of the best rappers alive.

Flying Lotus emerged on the red stage towards the end of Sunday evening with his mind-bending visuals and light show well-intact. He started off playing cuts from his recently released Yasuke OST from the anime of the same name before pivoting to some remixes of old classics, with “Zodiac Shit” in particular teased with its original, iconic Adult Swim visual. The mixing throughout was as remarkable as anyone who’s seen FlyLo live would come to expect, and nothing overstayed its welcome, seemed forced, or uninspired. At one point Thundercat leapt up from the side stage to deliver vocals during "Black and Gold", and the chemistry between them was almost overwhelming. At two different points during his set FlyLo descended from the decks donning his Captain Murphy alter ego which allowed for some nice variation between the dense electronic onslaughts. In a shocking, but sublime move FlyLo ended his set with "Do the Astral Plane", a highlight off of his opus, Cosmogramma, that he doesn't play often, but is nevertheless the perfect festival send off, and yet another reminder of just how far he's taken his singular beat making.

Erykah Badu was only 25 minutes late for her headlining set Sunday night, but her performance was well worth the wait. She performed alongside a 9 piece band, and delivered tight renditions of classics from Baduizm and Mama's Gun, as well as some cuts from her great 2015 mixtape But You Caint Use My Phone. Her singing sounded just as strong live as it does on record, imbuing the music with the same hazy warmth that helped shape her strongest material. Badu’s backing band retained the multi-faceted sweep of her music while subtly enlivening it, and Badu herself had a commanding stage presence that bellied the understated swagger of recorded output. Badu’s set was the perfect send-off for what was by all accounts an extremely well structured and executed festival. Within a landscape of music festivals with homogenized lineups that generally don’t even give the illusion of curation or any sense of personality, Pitchfork 2021 was a satisfying anomaly that will hopefully continue within this vein for years to come.

[voice-of-anarchy]

ARCH ENEMY Celebrates 25th Anniversary: 'It's Been An Awesome Experience,' Says MICHAEL AMOTT

Swedish/Canadian/American metallers ARCH ENEMY are celebrating their 25th anniversary in 2021.

When ARCH ENEMY released its debut album, "Black Earth", in 1996, death metal was stagnating and in desperate need of a kick up the ass. Guitarist Michael Amott's blueprint for the purest of metal strains proved an instant underground hit, both in Europe and Japan, and almost single-handedly resurrected death metal as a viable art form with mainstream potential. Signed to Century Media Records for 1998's sophomore effort "Stigmata", ARCH ENEMY marched purposefully towards a new millennium with a rapidly growing reputation. 1999's "Burning Bridges" added to the band's momentum, their razor-sharp blend of brutality and epic melody becoming more refined with each creative step. But it was in 2001, when original vocalist Johan Liiva stood aside and mercurial frontwoman Angela Gossow stepped in, that ARCH ENEMY truly took off.

Released in 2001 in Japan and nearly a year later in Europe, "Wages Of Sin" showcased a revitalized line-up and newfound gift for immortal anthems, Gossow's feral roar adding many layers of charisma and power to ARCH ENEMY's already-monstrous sound. Swiftly dedicating themselves to a relentless touring schedule, the band's upward trajectory continued throughout the first decade of the 21st century, with each successive album enhancing the band's reputation and bringing legions of new fans to this resolute heavy metal campaign. Albums like 2003's vicious "Anthems Of Rebellion" and 2011's pitch-black and savage "Khaos Legions" ensured that Amott and his loyal henchmen — Gossow, drummer Daniel Erlandsson, bassist Sharlee D'Angelo and Michael's guitarist sibling Christopher — remained firmly at the top of the extreme metal tree: respected veterans at the height of their powers.

Always focused but impervious to other's rules and expectations, ARCH ENEMY evolved once more in 2015 following the departure of Gossow (now the band's manager). Replacing one of the most iconic vocalists of the modern age was never going to be easy, but in the shape of former THE AGONIST frontwoman Alissa White-Gluz, ARCH ENEMY found the perfect candidate. Unveiled on the ferocious, anthem-laden triumph of 2014's "War Eternal", Alissa's powerful identity and extraordinary vocal talents proved a natural and instantly welcomed fit. Further extensive touring cemented the new line-up's thrilling efficacy, before one final line-up change — the arrival of legendary guitarist Jeff Loomis, formerly of NEVERMORE — completed the musical puzzle that Amott had been tinkering with for the best part of 20 years.

Amott comments: "I must admit that it feels somewhat surreal that the year 2021 marks the 25th anniversary of ARCH ENEMY. I never imagined that we would reach a point in our career where we'd be looking back on two and a half decades of creating music, releasing albums and playing live shows all over the planet! It's been an awesome experience, to say the least.

"As a group, we have been fortunate enough to achieve some incredible highs and accomplishments, but we have also lived through difficult times and lows. This is life, peaks and valleys… I have to say, whatever adversities we faced — we've always come through it all stronger than before. Overall, it's been a great journey and one that I am extremely proud of. I wouldn't change a thing.

"Obviously, the COVID-19 pandemic has prevented us from doing any elaborate grand celebrations of the 25th anniversary, but we are doing some special merchandise and some other cool things - so keep your eyes peeled for that.

"A lot of my memories about the earliest days of ARCH ENEMY are connected to Japan. The first trilogy of albums, 'Black Earth' (1996), 'Stigmata' (1998) and 'Burning Bridges' (1999) were all released first in Japan and we toured there on all those three albums. Before much of the rest of the world really cared about us, we had gained a fantastic Japanese fan base that has supported us throughout the years — to this day. Domo Arigato Gozaimasu!

"With the release of our fourth album 'Wages Of Sin' in the early 2000s, we famously changed singer, a dramatic change from the classic Swedish death metal voice of original singer Johan Liiva to Angela Gossow — an unknown female German vocalist. A new concept at the time, and a bit of a gamble... I remember not being sure how the fans would react to the big change in the band. The new music we had written and recorded was also in a more straightforward style and the overall sound was a somewhat new direction for us. I needn't have worried, the 'Wages Of Sin' album was received very warmly by the fans in Japan, quickly becoming our biggest-selling album there. But maybe more importantly, it finally broke the band into the international metal arena in a big way. We found ourselves embarking on a rigorous touring schedule in Europe, USA and beyond. We had arrived!

"One thing ARCH ENEMY always did was tour a lot. We strongly believed in building the band by proving ourselves on the live stage, city by city, country by country…one show at a time. We really loved performing the concerts and the touring lifestyle — we still do.

"ARCH ENEMY is always pushing to play new uncharted territory — we have on many occasions been the first metal band to perform in a city or even country, which is always a huge thrill. Alongside building our own fan base on our countless headline tours and festival appearances, we also received fantastic opportunities with some of our early influences such as IRON MAIDEN, MEGADETH and SLAYER. They all brought us out as special guest on their tours, introducing us to their audience — for that we will always be thankful to them.

"In 2014 we released the 'War Eternal' album and introduced our new singer Alissa White-Gluz to the world, kicking off a new exciting chapter in the evolution of the band. We hit the road harder than ever before, eager to show the world what the band could do with the new lineup. In the seven years that have passed since then, the band has grown far beyond my wildest dreams. ARCH ENEMY's music continues to connect with new fans every day — it's hugely inspiring and keeps us pushing forward.

"On a personal note, ARCH ENEMY has been my band, my passion as well as my work for half of my life now and I can't really imagine what I would do if this band had not come to be all those years ago. I am eternally grateful to all the people that have helped us along the way in some way, shape or form... My dear band members/friends, all the people in the music business and underground metal scene that believed in us, producers and engineers for making us sound great, our tireless road crew and all the ex-members of course. Most importantly, the incredibly loyal fans that we have, whom I'll never be able to thank all in person. I can only promise that ARCH ENEMY will keep on making music (YES, there is a new album on the way!) ... and, of course, we will be out there playing live shows as we embark on what will be our biggest tour ever! I am very positive about the future.

"Here's to hopefully another 25 years! See you in the pit! Metal is forever!"

[infinitielpaso]

El Paso PR: INFINITI growing SUV family takes flight with dynamic art installation in New York City

                                   August 19, 2021                                                            

New 2022 INFINITI QX80 makes debut in New York with refined interior including all-new 12.3-inch high-definition INFINITI InTouch touchscreen

All-new 2022 INFINITI QX60 makes grand entrance in New York exhibition, combines serene interior with modern design and intuitive technology

Refreshed INFINITI utility-vehicle lineup highlighted by dynamic public art installation by Daniel Wurtzel at unique Oculus Transportation Hub display in New York City

NEW YORK — Today INFINITI gathered its growing field of new SUVs, including the new 2022 INFINITI QX80, all-new 2022 INFINITI QX60, and recently released 2022 QX55, in New York City with a one-of-a-kind public art installation from acclaimed artist Daniel Wurtzel.

"The new 2022 INFINITI QX80 combines modern luxury paired with exceptional strength," said INFINITI Americas Group Vice President Jeff Pope. "Alongside the all-new 2022 QX60 that represents the new, forward direction for INFINITI, our SUV lineup is stronger, more advanced, and more intuitive than ever."

The new three-row SUVs for 2022 — both QX80 and QX60 — complement the bold INFINITI utility-vehicle lineup that includes the award-winning QX50 and stunning QX55.

The new 2022 QX80 has been significantly enhanced with a widescreen, high-definition 12.3-inch INFINITI InTouch display that includes wireless Apple CarPlay and USB-based Android Auto compatibility. Standard on all grades, the new display includes navigation with lane guidance and INFINITI's InTouch Services. Leather-appointed seats in three rows, heated front seats and second-row captain's chairs are standard. An all-new wireless smartphone charger is included along with a Bose Premium Sound system and Intelligent Cruise Control to support the driver.

At its heart, the new QX80 is powered by INFINITI's 5.6-liter V-8 that makes 400 horsepower and 413 pound-feet of torque paired to a 7-speed automatic transmission. Equipped with rear-wheel drive as standard, or available with INFINITI All-Mode Four-Wheel Drive, the new 2022 QX80 is as capable and comfortable as ever.

Making a grand entrance at one of New York's iconic locations — Oculus Transportation Hub — the stunning, all-new 2022 INFINITI QX60 points the way forward with a sleek, modern exterior and spacious, serene interior.

"The all-new 2022 QX60 sets the tone for our continuing dialogue with our clients," Pope said. "It's intuitive, spacious, and serene. Its technology supports the driver in utmost comfort with enhanced ProPilot Assist with Navi-link and the latest iteration of INFINITI's Intelligent All-Wheel-Drive system."

Unveiled in June, the all-new QX60 is expected to go on sale in the U.S. this fall for $46,850 MSRP to start.

The three-row QX60 already turned heads with its dynamic reveal film and generous standard equipment including leather-appointed seats in the first two rows, 12.3-inch INFINITI InTouch touchscreen infotainment system, wireless Apple CarPlay compatibility and USB-based Android Auto compatibility. One-touch, easy access to the third row is equipped on all models, and enhanced ProPILOT Assist with Navi-link and 20-inch alloy wheels are included on most grades.

The provocative all-new QX55 rolled into U.S. dealerships last spring, bringing back an iconic silhouette for the brand and returning to the luxury crossover-coupe segment INFINITI created with the groundbreaking FX. Deliveries of the all-new 2022 INFINITI QX55 have exceeded expectations for INFINITI in its first few months and increased showroom traffic, the effect helping to drive monthly sales records for the QX50 mid-size crossover earlier this year.

INFINITI pronounced its arrival in New York with a stunning reveal at the Oculus Transportation Hub featuring an installation by renowned artist Daniel Wurtzel. The installation, called "Sine Wave," features a dynamic display created by fabric and fans. Wurtzel's engaging art has inspired thousands worldwide and have been featured in galleries and locations such as the Grand Palais in Paris and during the closing ceremonies for the 2014 Sochi Winter Olympic Games.

[fuckyeahalexedler]

Alex Edler experiencing deja-vu as last of a generation of Canucks

VANCOUVER -- There are the changes you see coming, and the changes you don’t.

With 14 years in the NHL, Alex Edler had learned not to be surprised. And then 2020 came along. And between the first and second waves of COVID-19, the Vancouver Canucks defenceman also saw three good friends leave the team in free agency over the span of 24 hours.

While the 34-year-old was theoretically aware of his senior standing on the team before Oct. 9, the free-agent departures of Jacob Markstrom, Troy Stecher and Chris Tanev, his longest-serving teammate, made Edler understand keenly that he is the last of a generation of Canucks.

With Tanev following Markstrom to Calgary, the second longest-serving Canuck is 25-year-old captain Bo Horvat, who arrived in Vancouver as a teenager in 2014. Edler has been on the team since 2006.

Think about that -- eight years of his career, and not a single teammate remaining.

“Sometimes you see it coming, sometimes you get a little surprised over it,” Edler said Wednesday in an interview from his Vancouver home. “Those three players, personally, they’ve all been very good friends of mine. I played with Tanny a long time on the same team (since 2011), playing a lot together. So it was hard to see him leave. Also with Troy, we’ve built a relationship off the ice as well as on the ice. And then, of course, Marky, I’ve been very close with since he came here, and he’s close with my family -- my kids and my wife.

“You lose an all-star goalie and you lose two key defencemen, obviously that’s a big blow and a big void to fill. That’s three players I was really sad to see leave, and three key guys for our team.

“We’ve added some good players, too, and that’s exciting. I understand there’s a lot of thinking and planning and everything and it’s harder times now and it’s not easy to build a team and make all the pieces fit with the salary cap. I get that part that you probably couldn’t fit all three of them. But I was a little bit surprised that all three of them are gone. But that’s the business.”

Vancouver general manager Jim Benning was unwilling to match the hefty offers the Calgary Flames made to Markstrom (six years and $36 million) and Tanev (four years, $18 million), while Stecher, made to wait in free agency while the Canucks worked on other deals, chose to sign in Detroit rather than return to his hometown team.

Countering these losses, Benning signed free-agent goalie Braden Holtby, then landed first-pairing defenceman Nate Schmidt in a bargain trade with Vegas. The Canucks plan to replace Stecher on the third defence pairing with a player promoted from the AHL.

So, the Canucks are getting younger still, which, of course, only makes Edler feel older.

“Before the twins (Daniel and Henrik Sedin) retired a couple of years ago, I never felt close to being one of the older guys on the team,” Edler said. “It’s been a big change over the last few years and we’re so much younger, and now I feel I am so much older than most guys. They joke me about it every day, too.”

They're not the only ones. The Vegas Golden Knights could be heard chirping Edler as "old man" during playoffs in the Edmonton bubble.

Not only is Edler the only player remaining from the Vancouver team that made it to the 2011 Stanley Cup Final, he hasn’t a teammate left who played for coach Alain Vigneault or even John Tortorella. Only six Canucks remain from the team current coach Travis Green inherited just three years ago.

A 2004 third-round draft pick plucked by Canucks scout Thomas Gradin out of a semi-professional league in northern Sweden, Edler made his NHL debut at age 20 on Nov. 4, 2006 in a road game against the Colorado Avalanche.

Edler played mostly with fellow Swede Mattias Ohlund that night, but the defencemen at the bottom of the Vancouver lineup were Rory Fitzpatrick and Luc Bourdon, who was killed in a 2008 motorcycle crash. The depth forwards included Jan Bulis, Tommi Santala and Josh Green. In goal, Dany Sabourin backed up Roberto Luongo, who was two months into his Canucks tenure.

“Honestly, I don’t have too many memories from that game,” Edler said. “But I remember being out there a couple of shifts against (Joe) Sakic, and that’s the only thing that kind of stuck with me.”

It was a fascinating time in Canucks history, as the improving team was transitioning from Marc Crawford to Vigneault. Veterans Trevor Linden, Markus Naslund and Brendan Morrison joined Ohlund as holdovers from the previous era, but the Canucks were being taken over by rising stars like the Sedins, Ryan Kesler and Kevin Bieksa.

“When you name all those great players, I feel like maybe we should have been better,” Edler said. “But when you’re young, you just kind of play and don’t think about it too much.”

In all, Edler has skated with 202 teammates in Vancouver, played in front of 16 goalies.

Pop quiz. Among the 65 defencemen, does he remember Lee Sweatt (three games in 2010-11)?

Edler: “He scored and then he retired.”

True. With an economics degree, Sweatt scored the game-winner in his debut but quit hockey for business that summer.

How about Alex Sulzer (12 games in 2011-12)?

Edler: “Yep, I do. German guy. I remember that we played in Tampa, we won a faceoff and he gave it to me and we scored.”

Derek Joslin (two games in 2012-13)?

Edler: “No.”

We admit we couldn’t remember Joslin, either, but the former San Jose Shark and Carolina Hurricane got two games at the end of Vigneault’s final season before taking his career to Europe, where he still plays in Austria for Salzburg.

Edler has logged another 872 regular-season games for the Canucks since his debut, plus 82 in the playoffs, 17 of those last summer.

He is Vancouver’s all-time leader among defencemen in games, goals (99), assists (302) and points (401). Edler remains a top-four blue-liner, last season logging 33 points in 59 games before leading the Canucks with 23 minutes of average ice time in the Stanley Cup tournament that saw Vancouver win two rounds -- the franchise's first playoff success since 2011.

“I think the team really came together in the playoffs and we showed people and ourselves, too, how good we can be,” he said. “It was a good, little playoff run. But I also think when you have a season like that or a run like that, you have to push even harder the next year because you can’t expect to take another step from momentum. You’ve really got to work hard to take the next step.”

Edler said the NHL is faster and younger than it has ever been, but he has a similar sense that this Canucks team is rising towards something, just like the one he started with 14 years ago.

“I’m definitely proud of what I’ve accomplished and what I’ve done, that I’ve been able to stay with the same organization and be an important player, an important part, of the team every year,” Edler said. “But you still want more. I still want more. I think that’s what drives everyone, maybe especially when you get older and realize you don’t have that much left. You want to be in the playoffs again, want to play those big games. I’m proud of what I’ve done so far, but I don’t feel like I’m satisfied yet.”

(Dec. 3, 2020)

[kpopotd2]

September Wrap Up

Wow, guys. It’s September. And that means the Fall comeback rush! We hope all your favorite groups are making comebacks soon, and if not, keep hope because there are still a few months left in 2019! 

We’ve been going strong, getting things ready for my next announcement-- WE ARE STARTING A PODCAST! The first episode will be up on October 6 with a second episode following shortly (release dates for subsequent episodes will be announced soon). The three of us have been talking about this since at least March, and we are happy to report that we are getting closer to the release! 

Our aim is to release two episodes a month, the first episode will follow a looser format where we talk about a lighthearted topic, while the second episode will be more informative. In this first episode we will talk about the different ways the three of us got into KPOP! We will be on SoundCloud and eventually Spotify and iTunes. More information and links will be posted soon!

In lesser but still exciting news, we now have a Spotify! We will be putting up personally curated playlists on there so please check it out and follow us there as well!

We hope you guys will enjoy it, and if you have any topics you want us to cover let us know!

Happy Fall!

~JR, Min, and Onyx

NEWS:

September 28, 2009: President Lee Myung Bak replaces Prime Minister Han Seung-soo with Chung Un-chan. 

September 2, 2010: Typhoon Kompasu starts moving towards South Korea. September 25, 2010: During the 2010 FIFA U-17 Women's World Cup, South Korea won their first FIFA World Cup title. September 29, 2010: Kim Jong-il’s son, Kim Jong-un, is revealed to the world, made a general, and appointed to head of the Worker’s Party.

September 15, 2011: A blackout engulfs the all of South Korea.   September 10-17, 2012: Typhoon Sanba makes landfall in South Korea after hitting Okinawa, Japan.

September 3, 2014: On their way back from Daegu, the Ladies’ Code members were involved in a car accident which lead to the deaths of members Eunbi and eventually RiSe.

September 19, 2014: The Asian Games begin in Incheon, South Korea.

September 6, 2015: The Dolgorae, a submarine, sinks near Chuja Island with 10 people dead, eight missing, and three surviving.

Gaon Album Chart - Album  of the Month 2010-2015:

2010: To Anyone by 2NE1

2011: In Heaven by JYJ

2012: One of A Kind by G-Dragon

2013: Coup d’Etat by G-Dragon  

2014: Mamacita by Super Junior

2015: Magic by Super Junior

DRAMAS:

September 2009: High Kick Through the Roof (This 126 episode long family drama (which is also the second in the High Kick trilogy) boasted countless cameos and popular OSTs. It starred Choi Daniel, Hwang Jung Eum, Yoon Si Yoon, and Shin Se Kyung. It also won various awards at multiple awards shows.) September 2009: Smile, You (This show stars Lee Min Jung and Jung Kyung Ho-- this was the first lead roles for both actors. This was the first K-drama to be remade in India, as well as eventually receiving a remake in Turkey.)

September 2010: The Fugitive: Plan B (This action drama stars Rain and Lee Na Young. It averaged over 10% viewership ratings.)  September 2010: Playful Kiss (This rom-com stars Jung So Min and SS501 member Kim Hyun Joong. This is the first Korean adaptation of the Japanese manga of the same name. Following the show’s conclusion, a mini web-series was released chronicling the main characters’ married life.) 

September 2011: Poseidon (This action drama stars Super Junior’s Choi Siwon and actress Lee Si Young. Originally, Shinhwa’s Eric Mun and actress Kim Ok Bin were slotted to be the leads, but following a military accident they left the project and it was moved from SBS to KBS.)  September 2011: High Kick: Revenge of the Short Legged (This is the third season in the High Kick trilogy, and stars former g.o.d. Member Yoon Kye Sang, Lee Jong Suk, f(x) member Krystal, and Kim Ji Won among many others.) 

September 2012: The Third Hospital (This medical drama stars Kim Seung Woo, Oh Ji Ho, Kim Min Jung and Girl’s Generation member Choi Soo Young. It was broadcast internationally in Algeria, Malaysia, and the Philippines.)  September 2013: Secret Love (This medical drama stars Hwang Jung Eum, Ji Sung, and Lee Da Hee. The viewership ratings averaged over 10%, and it won multiple awards and was broadcast internationally in three other countries.) 

September 2014: My Spring Days (This drama stars Kam Woo Sung and Girl’s Generation member Choi Soo Young. It beat out the two dramas that aired on the same day, SBS’s My Lovely Girl and KBS2′s Iron Man, with viewership ratings of about 10%.) September 2014: My Lovely Girl/She’s So Lovable (This show stars Rain, f(x) member Krystal, and INFINITE member L (with former INFINITE member Hoya in a supporting role). The OSTs boast Loco, Mamamoo, Krystal, Fiestar, and more.) 

September 2015: She Was Pretty (This rom-com stars Park Seo Joon, Hwang Jung Eun, Goo Joon Hee, and Super Junior member Choi Siwon. It reunites Park Seo Joon and Hwang Jung Eum from the early 2015 drama Kill Me, Heal Me. It averaged over 10% viewership ratings, and its OST’s featured Kihyun of Monsta X, Soyou formerly of Sistar, Siwon, and Park Seo Joon. It earned multiple awards at various award shows, and eventually received four remakes, including one in Turkey.)  September 2015: D-Day (This disaster drama stars Kim Young Kwang, Jung So Min, Ha Seok Jin, and INFINITE member Sungyeol. It was broadcast in four other countries.)  

FILMS:

September 9, 2009: The Case of Itaewon Homicide (This movie was based on the true story of the Itaewon Murder Case in which a Korean college student was found murdered. It stars Jung Jin Young and Jang Geun Suk. Following the movie release, interest in the case was reignited and an appeal to the courts was made. The film had over 500,000 cinema admissions.)  September 16, 2010: Cyrano Agency (This witty comedy stars Uhm Tae Woong and Park Shin Hye. The movie was twenty years in the making before finally going into production under Myung Films. Despite it’s low budget it made a slow rise to over 2.5 million admissions. In 2013, a drama spin off called Dating Agency: Cyrano aired.) September 16, 2010: A Better Tomorrow (This film is a remake of the ‘86 Hong Kong movie of the same name. It brought in over 1.5 million admissions, making over $10 million.) 

September 8, 2011: The Day He Arrives (This indie film is fully black and white, and  stars singer Yoo Jun Sang. It gained over 40,000 admissions and made around $300,000 at the box office.)  September 22, 2011: The Crucible/Silenced (This film, starring Gong Yoo, is based on a true story regarding the continuous sexual assault on the students at a school for the hearing impaired. There was a public outcry following the movie’s release because the perpetrators got away without punishment.) 

September 13, 2012: Masquerade (This film stars Lee Byung Hun, Ryu Seung Ryong, and Han Hyo Joo. It brought in over 12 million admissions, making it the ninth highest grossing movie in Korean cinema history. It did incredibly well with critics and won many awards at multiple award shows.)  September 11, 2013: The Face Reader (This period movie stars Song Kang Ho, Lee Jong Suk, and Jo Jung Suk. It won a handful of awards at various award shows.)  September 3, 2014: My Brilliant Life (This movie stars Song Hye Kyo and Gang Dong Won. It is based on the 2013 novel of the same name by author Kim Ae Ran. It did very well at the box office with over 1.5 million admissions and made about $10 million.) 

September 16, 2015: The Throne (This period film stars Song Kang Ho, Yoo Ah In, and Moon Geun Young. It is based on the true story of the life of Crown Prince Sado, his life and relationship with his father King Yeongjo. It won a handful of awards at various award shows.)  September 24, 2015: Right Now, Wrong Then (This movie stars Jung Jae Young and Kim Min Hee. It has a Rotten Tomatoes score 93% and 81 out of 100 on Metacritic. It won various awards including the Golden Leopard from 68th Locarno International Film Festival.)

SAD STUFF:

September 1, 2009: Actress Jang Jin-young passes away from stomach cancer. 

September 3, 2014: Ladies’ Code member Go Eun-bi, 21, passes away immediately following a car accident.  September 7, 2014: Ladies’ Code member Kwon Rise, 23, passes away after multiple surgeries due to injuries from the same car accident.

TOP POST OF THE MONTH:

Jonghyun with End of a Day

-A Tribute To EunBi and RiSe-

EunBi and RiSe debuted in Ladies’ Code as a part of the original five-member lineup in 2013. EunBi was known for her sweet personality and sense of humor. RiSe was a humble beauty queen with a heart of gold. Together, these two were known for their close friendship. After EunBi and RiSe’s passing, the fans and remaining members of the group examined Ladies’ Code’s discography under a different lens, and the remaining members came to earn quite a bit of respect for how they handled their loss. EunBi and RiSe are greatly missed by fans who still celebrate their birthdays every year.

[scifigeneration]

DYSTOPIA SCI-FI CON COMES TO LOS ANGELES CONVENTION CENTER FOR INAUGURAL LAUNCH IN NOVEMBER

Three-Day Event Hosts West Coast Edition of The 8th Annual Philip K. Dick Sci-Fi Film Festival

Star Trek Veteran Tim Russ and Oscar-Winning Makeup Artist Barney Burman Among Celebrated Artists and Filmmakers Set To Appear

Beyond belief lies the heart of science fiction and this fall, fans of the genre will assemble at the inaugural Dystopia Sci-Fi Con, a new interactive event featuring a cinematic lineup of sci-fi, cyberpunk, virtual reality, and future noir alongside special guests, panels, exhibitors, and more. The gathering will also host the first half of The 8th Annual Philip K. Dick Science Fiction Film Festival, a thriving platform for independent film in honor of acclaimed novelist Philip K. Dick. A number of celebrated actors, filmmakers, and speakers will appear including David Brin, Barney Burman, Elizabeth Karr, Julianna Robinson, Tim Russ, Saku Sakamoto, M.D. Selig, and John Alan Simon. Held at the Los Angeles Convention Center, the event will run from November 8-10, 2019.

Theorized that science fiction is the science of tomorrow, Dystopia Sci-Fi Con will serve as a captivating observation into the future. “Dystopia refers to a world out of balance where the human spirit is crushed under the weight of monopolistic corporations,” said organizer Daniel Abella. “Our event is a fascinating way of watching how our lives will be affected by what is to come.” With a slate of activities highlighting feature and short films, cosplay, and guests from across the genre’s spectrum, Abella promises an enjoyable and satisfying occasion. “We are brining back the look and sound of traditional sci-fi cons,” he said. “In such a welcoming environment, fans can express their interests and feel more connected to everything they love about sci-fi.” As the West Coast home for The Philip K. Dick Science Fiction Film Festival, screenings will be held as part of its eighth annual outing that continues in New York City in March 2020. “Philip K. Dick created the modern spirit of rebellion through his questioning of a world run by conformity,” said Abella. “His work centered on the plight of humans keeping their dignity in the face of a dehumanized world and more than any other writer, he foresaw what is happening today.” The festival will present a lineup of independent films and a series of panels that explore revolutionary views and Philip K. Dick’s influence on science fiction. The timing of the gathering also honors a key work in the PKD universe with a noteworthy tribute planned. “Blade Runner takes place in L.A. in 2019,” said Abella of the 1982 film based on PKD’s novel Do Androids Dream of Electric Sheep? “For this reason alone, I cannot think of a better time than now to christen our sci-fi con.” Central to the festival’s program are two early official selections including the World Premiere of M.D. Selig's The Gunrunner Billy Kane, which follows a rogue professor in the arms trafficking business who funds scientific experiments to save the life of his dying daughter. Also screening is Wild Boar directed by Oscar-winning makeup artist Barney Burman in his directorial debut. The L.A. Premiere film depicts a hidden colony of mutant wild boars who prey on innocent people in a world where humans are no longer in control. “We are proud to have these films on our schedule because they show us that science fiction is the dress rehearsal of tomorrow,” said Abella. “They both speak of worlds with new and frightening living conditions after the balance between man and nature has been irrevocably lost.” Dystopia Sci-Fi Con will also introduce Deep Interactive Cinematic Experience, otherwise known as “Deep ICE,” where film and theater blend together and communicate insights into the nature of reality. “The audience will get to participate in a cinematic living theater to uncover the mysteries that connect us to some of the most popular sci-fi films of all time,” said Abella of the multimedia method that follows a “Matrix-style” simulation. “A mega-narrative will be weaved before the audience and they will experience something that is nothing short of a personal transformation.” Featured prominently throughout the convention will be a showcase of creative brands heavily influenced by science fiction. “We will have collectibles, graphic novels, comics, and artwork,” said Abella of the plans to have more than 100 businesses participating. “This is an important element because exhibitors being fans themselves are passionate about their products and services. They collectively represent another dimension of the sci-fi current.” The full schedule will be announced closer to the event. Early Official Selections: The Gunrunner Billy Kane (2019) — WORLD PREMIERE Director: M.D. Selig Run Time/Country: 57 min, USA Synopsis: A rogue professor runs guns to fund dangerous brain experiments that could possibly save his dying daughter. Starring M.D. Selig (Zero Dark Thirty), Mark Arnold(Blade Runner 2049), John Kassir (Jack The Giant Slayer), Imelda Corcoran (Agents of S.H.I.E.L.D.), and Julianna Robinson (Nun). Wild Boar (2019) — L.A. PREMIERE Director: Barney Burman Run Time/Country: 97 min, USA Synopsis: In a world where man is suddenly no longer at the top of the food chain, a group search in the desert for a bounty left by an eccentric billionaire but instead end up being hunted by a mutant boar with an axe to grind. Starring Augie Duke (Burning Kentucky), Daniel Roebuck (The Fugitive), Jessica Sonneborn (The Basement), Douglas Tait(Hellboy), Jim Nieb (I'm Dying Up Here), and Michael Reed (Brides of Satan). Special Guests + Panels: Panels devoted to film screenings, artificial intelligence, classic film and television, dystopian futures, genetic engineering, graphic novels, stem-based applications, time travel, UFO’s, and the legacy of Philip K. Dick will be held. The following attendees have been confirmed ahead of a full guest list slated to be announced at a later date. Tim Russ — Actor/Director/Musician Well known for his impressive roster of film and television credits, Mr. Russ has appeared in Spaceballs (1987), The Highwayman (1987-1988), and The Orville (2019) in addition to his extensive presence throughout the Star Trek franchise that includes Star Trek: The Next Generation (1993), Star Trek Generations (1994), and Star Trek: Voyager (1995-2001). He directed and starred in Star Trek: Of Gods and Men (2007) and Star Trek: Renegades (2015) and is an accomplished musician with albums such as Only a Dream in Rio (1998), Tim Russ (2000), Kushangaza (2001), and Brave New World (2003). David Brin — Writer/Speaker/Futurist As a New York Times best-selling author and winner of Hugo, Locus, Campbell, and Nebula awards, Mr. Brin’s novels include "The Postman" (1985), "Heart of the Comet" (1986), "Kiln People" (2002), and the successful "Uplift Universe" novels which envision galactic issues of sapience and destiny. In addition to his writing career, he is a renowned internet security expert, business and governmental consultant, social media influencer, public speaker, and scientist with a Ph.D. in Physics. Barney Burman — Makeup Artist/Director/Screenwriter Winner of the Academy Award for Best Achievement in Makeup for Star Trek (2009), Mr. Burman is a highly acclaimed special effects makeup artist. He has worked on many notable productions including Body Snatchers (1993), The X-Files (1998), How the Grinch Stole Christmas (2000), Planet of the Apes (2001), and Bird Box (2018). For his directorial debut, his film Wild Boar (2019) will hold its L.A. Premiere at The 8th Annual Philip K. Dick Science Fiction Film Festival in 2019. Elizabeth Karr — Actor/Producer/Teaching Artist As producing partner for Discovery Productions, Ms. Karr has overseen numerous projects including the film adaptation of Philip K. Dick’s novel Radio Free Albemuth (2010). She produced the documentary The Good Breast (2016), which follows the journeys of four women and their surgeon through the course of breast cancer treatment and through her position as an executive member at Women In Film, is an advocate for female representation in cinema. In addition to working as a private acting coach and teaching artist, her acting credits include ER (2005), House (2005), Sleeper Cell (2006), and Women's Murder Club (2007). Julianna Robinson — Actor/Director/Producer/Screenwriter A performer of noted depth, Ms. Robinson’s credits include The Undertakers (2014), The Funeral Guest (2015), Nun (2017), and The Gunrunner Billy Kane (2019). For her work as a director, producer, and screenwriter, she has taken part in the productions of Lucky Penny (2015), The Many Mishaps of Penelope and Ursula (2017), The Party (2019), and Hurricane Forecast (2019). Saku Sakamoto — Animator/Director/Screenwriter Skilled at the techniques of animation, Mr. Sakamoto has directed several short films including Denshinbashira Eremi no koi (2009), Mattsu, Yamma, and Moburi (2014), and Fisshâman (2016). He also created the digital effects for Ghost in the Shell 2: Innocence (2004) and wrote and directed his first feature film ARAGNE: Sign of Vermillion (2018), an official selection at The 7th Annual Philip K. Dick Science Fiction Film Festival in 2019. M.D. Selig — Actor/Director/Producer/Screenwriter Having served in the U.S. Marines, Mr. Selig is a decorated combat veteran of Desert Storm. His first feature film Southern Justice (2006), for which he wrote, directed, produced and starred appeared on all major video outlets and is currently streaming on Netflix. He has been associated with several projects including Zero Dark Thirty (2012) and his production of The Gunrunner Billy Kane (2019), which will hold its World Premiere at The 8th Annual Philip K. Dick Science Fiction Film Festival in 2019. John Alan Simon — Director/Producer/Screenwriter A highly successful director, producer, and screenwriter, Mr. Simon serves as the president and CEO of Discovery Productions. He is noted for the film adaptation of Philip K. Dick’s novel Radio Free Albemuth (2010), which won Best Science Fiction Feature at The Inaugural Philip K. Dick Science Fiction Film Festival in 2012. Over the course of his career, he has been involved in the financing, production, sales, and marketing of films including The Haunting of Julia (1977), Out of the Blue (1980), Howling II: Your Sister Is a Werewolf(1985), and The Wicker Man (2001). Event Dates and Location: Dystopia Sci-Fi Con will take place November 8-10, 2019 at the Los Angeles Convention Center (1201 South Figueroa Street, Los Angeles, CA 90015). For more information visit, https://www.dystopiasci-ficon.com and https://www.lacclink.com/events/detail/dystopia-sci-fi-con. Event Passes: Passes are available at https://www.eventbrite.com/e/dystopia-sci-fi-con-tickets-63888970631.

[martinnecas]

Everything You Need To Know About Auston Matthews

See what other players I’ve done a EYNTKA on

Name: Auston Matthews

Nicknames: Papi, Aus, Matts, Matty, Juicy, Hit em with the four, AM34, Five head, fridge boy, some of you guys are just mean ok, 1/3rd of the ‘Three Headed Monster’

Born: September 17, 1997 (age 20) VIRGO ♥

Birthplace: San Ramon, California

Height: 6’3

Position: Centre (Shoots Left)

Draft: 1st overall, Toronto Maple Leafs 2016

I.                 Parents are Ema (Hermosillo, Mexico) and Brian (California) Matthews.

II.                Although he was born in San Ramon, California, his family moved to Scottsdale, Arizona when he was only two months old.

III.              Developed and interest in hockey after he began watching the Phoenix Coyotes.

IV.              Auston started going to Phoenix Coyotes games when he was two years old, and his favorite players were Shane Doan (top) and Daniel Brière (bottom).

V.               At first he didn’t care for the sport, only the Zamboni.

VI.              After his fifth birthday he started to want to play the game and began playing with the Arizona Bobcats minor hockey program.

VII.            He also played baseball at the time, which his dad believed he was better at. However, Auston preferred the fast pace of hockey over baseball.

VIII.           His main coach during his minor years was Boris Dorozhenko, who had founded the national ice hockey program of Mexico.

IX.              Auston comes from a family of athletes. His father played college baseball and his uncle, Wes Matthews, played in the NFL. (I couldn’t find photos of either)

X.                In 2012 he began playing for the United States National Team Development Program (USHL), despite being drafted 57th overall by the Everett Silvertips in the WHL Bantam Draft.

XI.              He played for the U.S. National U17 Team where he started getting attention from NHL scouts, and was even featured on NHL.com about his southwestern background.

XII.             He played a second season with the U.S. National U18 Team where he broke the National Team Development Program record of 102 and finished first in league scoring with 116 points (55 goals, 61 assists). He also helped lead the American national hockey team win gold in 2014. (Not sure if this photo is ‘14 or ‘15 but Tkachuk is in it so it’s staying)

XIII.           He helped them win gold again in 2015, leading the tournament in scoring and being named MVP, as well as earning the Best Forward slot on the Media All-Star team.

XIV.           Matthews won the USA Hockey Bob Johnson Award for excellence in international competition on May 21st, 2015.

XV.            He was named to the USDP roster again in 2015, but was forced to pull out of the tournament due to a back injury.

XVI.           Matthews missed the 2015 NHL Entry Draft cutoff by two days, so while he waited for the 2016 Draft, instead of playing US amateur hockey or playing Canadian junior league, he chose to play professionally with the ZSC Lions in Switzerland.

XVII.         He lived with his mother and sister Alexandria while playing in Switzerland.

XVIII.        Auston took online courses with the University of Nebraska Omaha.

XIX.           He made his NLA debut, and scored his first goal on September 18th, 2015, after missing the first four games of the season.

XX.            Auston finished the 2015–16 regular season as the second top scorer on the Lions and tenth in the NLA. He also won the NLA Rising Star Award and was second in voting for MVP.

XXI.           At the 2016 IIHF World Junior Championships, Auston and Matthew Tkachuk each scored eleven points to lead the American team in scoring. Also, beat Sweden to claim the bronze medal.

XXII.         A few months later, Auston joined Team North America for the 2016 World Cup of Hockey where he finished the tournament with three points in three games played. He was advised by the Maple Leafs to skip the 2017 IIHF World Championship and rest instead.

XXIII.        June 24th, 2016, Auston was selected first overall in the 2016 draft by the Toronto Maple Leafs, becoming the first American to be picked with the top selection since 2007.

XXIV.       On July 21st, Auston signed a three-year ELC, which included the maximum allocation of performance bonuses.

XXV.         Two weeks later, he was given the NLA Youngster of the Year award for the league's top rookie. It would be his fifth award he received while with Switzerland.

XXVI.       September 28th, 2016, Auston shattered a glass panel in the Leaf’s practice arena off a one timer from new teammate Mitch Marner

XXVII.      Auston made his NHL debut on October 12th, 2016, in the first regular season game of the year. He scored four goals during his debut, earning him the saying ‘Hit em with the four’. He was the first modern day NHL player to score four goals in his debut.

XXVIII.    Matthews' jersey went on sale following his debut, and it quickly became the highest selling jersey in the league.

XXIX.        On January 10th, 2017, Mathews was selected to for the 2017 NHL All-Star Game.

XXX.         He beat several records during his first season,

·        On March 28th, 2017, he scored his 35th goal on the season, beating the most goals by a Leaf in their rookie season

·        April 3rd, 2017, Auston scored his 39th goal and 67th point, breaking the Leafs record for most points in a season and most goals by an American rookie. 

·        April 8th, 2017, he scored his 40th goal, becoming the second rookie to do so since ‘04-’05, and was only the fourth teenager in history to do so. 

·        Finished the regular season second in the league with 40 goals

XXXI.        Matthews helped the Maple Leafs make the playoffs. The last time they had made it was the ‘13-’14 season.

XXXII.      After being pointless in the first two games of the series against the Capitals, he scored in the last four games before the team was eliminated.

XXXIII.     Auston won the Calder Memorial Trophy on June 21st, 2017, with 164 of 167 first-place votes.

XXXIV.    After colliding with teammate Morgan Rielly during a game against Pittsburgh, Auston missed six games to recover from a concussion on December 9th, 2017.

XXXV.      On January 10th, 2018, Matthews was selected to participate in the 2018 NHL All-Star Game.

XXXVI.    On February 24th, Matthews suffered a shoulder injury and was said to be out at least ten days, however he didn’t return to the Leafs lineup until March 22th, 2018, where he scored a goal in the second period to help the Leafs win.

XXXVII.   The Leafs made it to the playoffs again, where he faced his old American teammate Charlie McAvoy, but were eliminated by the Boston Bruins.

XXXVIII. There is also an Awesome documentary you should check out if you haven’t already called, “I Am Auston Matthews” 

____________________________________________________

That’s all I have I hope you enjoyed! 

~ALL gifs made by me~

~All photos and information were easily found throughout google~

~All videos were easily found on YouTube~

~I was going to make a resource page, but it was getting extremely long. If you want any specific links let me know.~

[blackkudos]

Louis Gossett Jr.

Louis Cameron Gossett Jr. (born May 27, 1936) is an American actor. He is perhaps best known for his Academy Award-winning role as Gunnery Sergeant Emil Foley in the 1982 film An Officer and a Gentleman, and his Emmy Award-winning role as Fiddler in the 1977 ABC television miniseries Roots. Gossett has also starred in numerous film productions including A Raisin In The Sun,The Landlord. Skin Game, Travels with My Aunt, The Laughing Policeman, The Deep, Jaws 3-D (1983), Wolfgang Petersen's Enemy Mine, the Iron Eagle series, Toy Soldiers and The Punisher, in an acting career that spans over five decades.

Early life and education

Gossett was born in Sheepshead Bay, Brooklyn, New York, on May 27, 1936, to Hellen Rebecca (née Wray), a nurse, and Louis Gossett Sr., a porter. He is an alumnus of Mark Twain Intermediate School 239 and Abraham Lincoln High School. His stage debut came at the age of 17, in a school production of You Can't Take It with You when a sports injury resulted in the decision to take an acting class. Polio had already delayed his graduation.

After graduating from Abraham Lincoln High School in 1954, he attended New York University, declining an athletic scholarship. Standing 6'4" (1.93 m), he was offered the opportunity to play varsity basketball during his college years at NYU, which he declined to concentrate on theater. His high school teacher had encouraged him to audition for a Broadway part, which resulted in his selection for a starring role on Broadway in 1953 from among 200 other actors well before he entered NYU.

Career

Gossett replaced Bill Gunn as Spencer Scott in Broadway's Take a Giant Step, which was selected by The New York Times drama critics as one of the 10 best shows of the year. He was 17, and still a student at Abraham Lincoln High School, with no formal drama training.

Gossett's Broadway theatre credits include A Raisin in the Sun (1959). Gossett stepped into the world of cinema in the Sidney Poitier vehicle A Raisin in the Sun in 1961.

Also in 1961, Gossett appeared in the original cast of Jean Genet's The Blacks, the longest running off-Broadway play of the decade, running for 1,408 performances. The original cast also featured James Earl Jones, Roscoe Lee Browne, Cicely Tyson, Godfrey Cambridge, Maya Angelou and Charles Gordone.

In 1965, Gossett appeared in the musical play, Zulu and the Zayda on Broadway as Paulus with music and lyrics by Harold Rome.

Gossett wrote the antiwar folk song "Handsome Johnny" with Richie Havens which Havens recorded in 1966.

His Emmy Award-winning role of Fiddler in the 1977 television miniseries Roots first brought Gossett to the audience's attention.

In 1983, he was cast in the title role in Sadat, a miniseries which chronicled the life and assassination of Anwar Sadat. While filming An Officer and a Gentleman, Gossett was also starring in the 1982–1983 science fiction series, The Powers of Matthew Star. His role as drill instructor Gunnery Sergeant Emil Foley in the 1982 film An Officer and a Gentleman won him an Academy Award for Best Supporting Actor. He was the first African-American male to win an Oscar in a supporting role, the second black male to win for acting, and the third African-American actor to win overall.

In 1986, Gossett starred in another role as a military man (Colonel Chappy Sinclair) in the film Iron Eagle. It was followed by three sequels.

Gossett is the voice of the Vortigaunts in the video game Half-Life 2 and is the Free Jaffa Leader Gerak in Season 9 of the sci-fi television series Stargate SG-1. He provides the voice of Lucius Fox in The Batman animated series. He recorded several commercials for a Nashville-based diabetic company, AmMed Direct, LLC. In 1997, Gossett presented When Animals Attack! 4, a one-hour special on Fox.

He played the role of fictional U.S. President Gerald Fitzhugh in the 2005 film Left Behind: World at War. In 2008 he filmed the "Keep It Real" series of commercials for the Namibian lager Windhoek.

In 2009, Gossett also lent his voice talents in the Thomas Nelson audio Bible production known as The Word of Promise. In this dramatized audio, Gossett played the character of John the Apostle. The project also featured a large ensemble of well known Hollywood actors including Jim Caviezel, John Rhys-Davies, Jon Voight, Gary Sinise, Jason Alexander, Christopher McDonald, Marissa Tomei and John Schneider.

In 2013, Gossett starred in the controversial drama, Boiling Pot, which is based on true events of racism that occurred on college campuses across the country during the 2008 Presidential election. The film, written and directed by the Ashmawey brothers under AshmaweyFilms, also stars Danielle Fishel, Keith David, M. Emmet Walsh, and John Heard. Gossett plays a detective attempting to decipher a murder case that was fueled by racism, all while putting aside his own prejudices. Boiling Pot was released in 2014. Gossett returned to television in the CBS All Access series, The Good Fight, guest starring as founding partner Carl Reddick of Diane Lockhart's new firm.

Personal life

Gossett has been married three times and fathered one son and adopted one son. His first marriage was to Hattie Glascoe; it was annulled. His second, to Christina Mangosing, took place on August 21, 1973. Their son Satie was born in 1974. Gossett and Mangosing divorced in 1975. His third marriage, to Star Search champion Cyndi James-Reese, took place on December 25, 1987. They adopted a son, Sharron (born 1977). Gossett and James-Reese divorced in 1992.

Louis is the uncle of actor Robert Gossett who starred on TNT's The Closer.

According to DNA analysis, he is descended, chiefly, from people of Liberia and Sierra Leone.

On February 9, 2010, Gossett announced that he was suffering from prostate cancer. He added: the disease was caught in its early stages, and expects to make a full recovery.

On July 18, 2016, Mr. Gosset cohosted as a guest programmer on Turner Classic Movies' primetime lineup. Allowed to choose four movies to air, he selected Blackboard Jungle, Lifeboat, Touch of Evil and The Night of the Hunter.

Wikipedia

[consultancyload899]

Ottawa Senators Game Used Glovesottawa Senators Game Used

Ottawa won their first game of 2021, and Toronto was instantly relegated to the minor leagues, because that’s what happens when you lose this badly to the 2021 Ottawa Senators. Sens r cool, leafs r poo, and all that. It’s safe to say this game went much better than the last time the Ottawa Senators wore the 2D logo. The start of a new era. The LOA's are placed in a custom certificate holder for safe transportation and can be used for display purposes. All of our game-worn jerseys have been registered into the Ottawa Senators Game-Worn Program and thus have been given a unique registration number included on the LOA and a matching custom patch included inside the jersey. Ottawa Senators Game Used Gloves. Home Jerseys Equipment Wanted Contact Me Game Worn Gloves. Daniel Alfredsson - 2009-10 - Bauer XXXX Pro. Erik Brannstrom - 2019-20.

Connor Hellebuyck made 28 saves and Nikolaj Ehlers, Mark Scheifele, Adam Lowry and Blake Wheeler each scored to help the Winnipeg Jets beat the Ottawa Senators 4-1.

It was the first game for the Senators in 310 days, and it felt amazing to finally cheer for our favourite hockey team once again. There was a sense of normalcy. The fact that Ottawa won was icing on the cake, and the Senators had a chance to pull off the unthinkable with a back-to-back sweep of the Toronto Maple Leafs on Saturday night. The Belleville Senators will remain in Belleville as the Ottawa Senators' top farm team through the 2026–27 AHL season. 1 Because of the Covid-19 pandemic, the team's home games for the 2020–21 regular season will be played without spectators.

OTTAWA -- Four different Winnipeg players scored as the Jets defeated the Ottawa Senators 4-1 on Thursday night at Canadian Tire Centre.

Nikolaj Ehlers, Mark Scheifele, Adam Lowry and Blake Wheeler tallied as the Jets (3-1-0) controlled most of the game. Ehlers and Scheifele had two points apiece.

Chris Tierney ended Winnipeg goalie Connor Hellebuyck's shutout bid at 17:03 of the third period.

The Senators (1-2-1) looked flat throughout the contest and simply made too many careless mistakes. Winnipeg was coming off a 4-3 overtime win over Ottawa on Tuesday night.

Honors Pre-Calculus Use the links in the navigation bar to the right, or the subpages listed below to find class notes and assignment sheets. You can also see a copy of our class curriculum letter here or in the class notes page. Mac's class website: american civics and government honors ap united states government and politics. Back to school night 2014-2015; world history. Mac's class website: american civics and government honors ap united states government and politics back to school night 2014-2015. Honors gov resourcesmr. mac's class website login.

Ehlers opened the scoring at 11:50 with a low wrist shot from the high slot. The puck went between the legs of netminder Matt Murray, who was partially screened.

Ehlers helped make it a 2-0 game early in the second period. He made a pass from the corner to Kyle Connor, who directed it to the side of the goal for Scheifele to sweep in at 4:22.

Celebrity fight club big games play. Scheifele took advantage of some lax defending by Thomas Chabot, who was a minus-3 on the night.

Zombie Trailer Park Zombies have taken over and destroyed the Metropolis - luckily you were never much for city folk. But now the zombies have turned their sights on your trailer park! Manage your economy and train fighting units to defend your trailer park. Zombie Trailer Park is a thrilling addictive game having similar topic of a warrior attempting to guard his realm, which can be played by any age aggregate. The fundamental objective of this game is to safeguard your trailer park against the solid zombie armed force. Zombie trailer park one more level. Zombies have taken over and destroyed the Metropolis - luckily you were never much for city folk. But now the zombies have turned their sights on your trailer park! Manage your economy and train fighting units to defend your trailer park. Gather 'Yee-Haw' power to activate super weapons. Submit and share your best stage times with your friends. Here come the zombies! Kongregate free online game Zombie Trailer Park - Zombies have taken over and destroyed the Metropolisluckily you were never much for city folk. Play Zombie Trailer Park. Zombie Trailer Park is a free tower defense game. It’s the end of the world. Zombies have taken over, and your trailer park is the last bastion of humanity. It’s up to you to ensure that it survives.

The Jets pulled away with two more goals later in the stanza.

Derek Forbort made a crafty bank pass off the side boards to spring Trevor Lewis, who deked Murray but watched the puck hit the post. Lowry banged it in at 7:05.

An Ottawa timeout did little to stem the momentum.

Moments later, Connor knocked down a poor clearing attempt by Chabot and flipped it to Scheifele for a one-time pass to Wheeler, who made it 4-0 at 13:55.

Hellebuyck, meanwhile, was steady when needed. His best stop came early in the third period when he stacked the pads to deny Connor Brown on a breakaway.

Netminder Marcus Hogberg played the final 20 minutes for Ottawa. The Jets outshot the Senators 29-28.

Ottawa Senators Game Used Glovesottawa Senators Game Used Jerseys

Centre Colin White was back in the lineup after being scratched in two of Ottawa's first three games. Defenceman Ville Heinola made his season debut for Winnipeg.

Ottawa rookie Tim Stutzle and Winnipeg sniper Patrik Laine were out with injuries.

Ottawa Senators Game Used Glovesottawa Senators Game Used Jersey

The teams will face off again Saturday at Bell MTS Centre. It will be the opener of a seven-game road trip for the Senators.

four-different-jets-score-winnipeg-beats-ottawa-senators

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[nightmareonfilmstreet]

FANTASIA FILM FEST Announces Second Wave of Programming

One of Canada’s favourite genre film festivals is back, and they’ve announced even more exciting new films coming to the 22nd annual Fantasia Film Festival in Montreal on July 12th-August 1st.

The second wave of films, which Fantasia announced via press release (check it out in full below) is chock-full of premieres, awards, exciting new talent, and genre legends. The full lineup of 130+ films won’t be announced until June 28th, but there’s plenty here to whet our appetites until then.

Fantasia 2018’s opening night film will be the North American Premiere of Dans La Brume (“Just a Breath Away”), co-production between France and Canada, directed by Quebecois filmmaker Daniel Roby (Louis Cyr, White Skin) in a welcome nod to Fantasia’s Quebecois roots. A disaster thriller about a mysterious toxic gas and a Parisian family that tries to escape it, Dans La Brume looks like a tense, nervy start to the fest.

On the premiere front, several films will have their official debut at Fantasia: the world premieres of The Man Who Killed Hitler And Then The Bigfoot, directed by Robert D. Krzykowski in his feature debut and starring Sam Elliott, as well as another fantastically-named film: Louder! I Can’t Hear What You’re Singin’, Wimp!, a musical action comedy from festival fave Miki Satoshi (Adrift in Tokyo, Instanto Numa). Fans of the brutal Korean horror I Saw the Devil will also be pleased to note that its writer, Park Hoon-jung, will be premiering his latest film at the fest, a bloody sci-fi about telekinesis: The Witch: Part 1. The Subversion.

Finally, in news so exciting it deserves its own paragraph, the festival will present the world premiere of Tales From the Hood 2. The sequel to the beloved cult classic anthology Tales From the Hood, original Executive Producer Spike Lee and writers/directors/producers Rusty Cundieff and Darin Scott will return for another series of anthology shorts exploring social topics in funny, clever, creepy ways. Considering how films like Get Out have brought socially-aware horror to the forefront of the genre these days, it seems like an especially apt time to make another Tales From the Hood.

Check out the full press release below, which contains more news on Fantasia’s debut Action! Achievement Award as well as more films in its Action! programming block, some indie anime, a bonkers-looking true crime doc, and the Canadian premiere of La Quinceañera, the new web series from the queen of Tex-Mex horror, Gigi Saul Guerrero. We can’t wait for the full lineup of films on June 28th – stay tuned!

  FANTASIA 2018 TO OPEN WITH DANIEL ROBY’S DANS LA BRUME AND WORLD PREMIERE OF RUSTY CUNDIEFF AND DARIN SCOTT’S TALES FROM THE HOOD 2

World Premieres of John Sayles-produced THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT and Satoshi Miki’s LOUDER! CAN’T HEAR WHAT YOU’RE SINGIN’, WIMP!, bold new works from Sonny Mallhi and Dennison Ramalho, and a special Action! Achievement Award for Cynthia Rothrock are among the Montreal genre festival’s spectacular Second Wave announcements

Montreal, Quebec – June 14, 2018 – The Fantasia International Film Festival will be celebrating its 22nd Anniversary in Montreal this summer, taking place from July 12 – August 1, with its Frontières International Co-Production Market being held July 19 – 22. The full lineup of over 130 feature films will be announced on June 28. In the meantime, the festival is excited to reveal a selected Second Wave of titles and events.

TRIPPING THE FOG FANTASTIQUE: DANIEL ROBY’S DANS LA BRUME IS FANTASIA 2018’S OFFICIAL OPENING NIGHT FILM

Fantasia is proud to announce that the festival’s 22nd edition will open with the North American Premiere of DANS LA BRUME (“Just a Breath Away”), a large-scale genre co-production between France and Canada, directed by celebrated Quebec filmmaker Daniel Roby (LOUIS CYR, WHITE SKIN), starring Romain Duris (MOOD INDIGO), Olga Kurylenko (QUANTUM OF SOLACE), and Fantine Harduin (HAPPY END). Paris is hit by an earthquake, then filled with a mysterious toxic gas that seems to come from below ground. A family attempts to survive the massive catastrophe, but first… they will have to face the fog.

YOU’LL BE KNEE-DEEP IN THE WORLD PREMIERE OF RUSTY CUNDIEFF AND DARIN SCOTT’S TALES FROM THE HOOD 2

Fantasia is proud to present the highly-anticipated world premiere of Universal 1440 Entertainment’s TALES FROM THE HOOD 2. The sequel to the groundbreaking original film TALES FROM THE HOOD reunites Executive Producer Spike Lee and writers/directors/producers Rusty Cundieff and Darin Scott for an all-new gripping,  horrifying, and oftentimes devilishly comical anthology. This next installment will keep viewers on the edge of their seats, as they course through several stories that explore socially relevant topics from the past and present.

WORLD PREMIERIN’ SATOSHI MIKI’S LOUDER! CAN’T HEAR WHAT YOU’RE SINGIN’, WIMP!

After a five-year hiatus from feature-filmmaking following 2013’s IT’S ME, IT’S ME, Fantasia favorite Satoshi Miki is back with LOUDER! CAN’T HEAR WHAT YOU’RE SINGIN’, WIMP! An explosive musical comedy with energy to spare, Miki’s usually quirky, offbeat characters, extravagant hairdos and vintage costumes are back, colliding here with a renewed sense of energy and chaos, as the charismatic Sin (THE APOLOGY KING’S Sadao Abe), a rock musician with an superhuman, steroid-enhanced voice, meets the shy Fuka (AKEGARASU’S Riho Yoshioka), a gifted busker with a whisper quiet style. With an eclectic soundtrack oscillating from J-pop to metal to clerical music, with contributions from TOO YOUNG TO DIE!’s Kankuro Kudo, Hyde from L’Arc~en~Ciel, and comedian Abe himself, this is the rock ‘n’ roll feel-good-movie for the ages!

SAM ELLIOTT IS THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT (World Premiere)

Sam Elliott stars as a legendary World War II veteran who many years ago assassinated Adolf Hitler – an incredible secret that he’s frustratingly unable to share with the world. One day, just as he’s coming to terms with rounding out his life, Calvin gets a visit from the FBI and RCMP. They need him to take out Bigfoot. A wondrous feature debut from writer/director Robert D. Krzykowski, featuring visual effects by celebrated two-time Academy Award Winner Douglas Trumbull (2001: A SPACE ODYSSEY, BLADE RUNNER), who also co-produced alongside the great John Sayles and Lucky McKee. A fantastical discourse on the melancholia of old age and a singular blast of entertaining wit, THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT (World Premiere) also stars Aidan Turner, Caitlin FitzGerald, and Ron Livingston.

PREPARE TO BE SPELLBOUND BY THE INTERNATIONAL PREMIERE OF THE BLOODY ACTION-FANTASY THE WITCH: PART 1. THE SUBVERSION

A nefarious agency has been genetically engineering children. One of the telekinetic kids escapes and goes into hiding with an adopted family. Ten years later, she appears on a talent show, where she’s spotted by the bad guys and  becomes prey for both her peers and a hit squad. Writer/Director Park Hoon-jung, who wrote the savage I SAW THE DEVIL, is back with THE WITCH: PART 1. THE SUBVERSION. Nothing will prepare you for the fusion of over-the-top sci-fi thrills, surprising twists and a climactic bloodbath that will leave you gasping. After THE VILLAINESS, South Korea has a new girl in town (Kim Da-mi) to kick butts and give action fans what they always dreamed of.

FANTASIA’S DEBUT ACTION! ACHIEVEMENT AWARD GOES TO THE LEGENDARY CYNTHIA ROTHROCK

Fantasia will bestow its first-ever Action! Achievement Award upon U.S. athlete and action legend Cynthia Rothrock, an unstoppable action starlet who inspired a generation of martial artists and kicked open doors for women in the male-dominated action industry. Her skills, courage, and determination – along with black belts in seven separate martial arts – paved the way for today’s action starlets such as Charlize Theron, Gina Carano, and Milla Jovovich.

Rothrock – or Law Fu Lok, as she was known to millions of Hong Kong cinephiles – was a five-time World Champion before becoming the first western actor to headline a Hong Kong action film with 1989’s THE BLONDE FURY. A member of Black Belt Magazine’s Hall of Fame and the inspiration for the Mortal Kombat character Sonya Blade, Rothrock would go on to star in over thirty martial arts films and inspire a generation. Fantasia is deeply honored to bestow their debut Action! Achievement Award to the amazing Cynthia Rothrock, a true pioneer in the worlds of martial arts and action cinema.

LOOK NO FURTHER THAN FANTASIA FOR THE CANADIAN PREMIERE OF SEARCHING

Fantasia is proud to be showcasing the Canadian Premiere of Aneesh Chaganty’s Sundance smash SEARCHING, produced by Timur Bekmambetov (working with Sev Ohanian, Natalie Qasabian, and Adam Sidman) in his innovative “screenlife” storytelling approach that brilliantly captures the way we engage online. After David Kim (John Cho)’s sixteen-year-old daughter goes missing, a local investigation is opened and a detective is assigned to the case. But 37 hours later and without a single lead, David decides to search the one place no one has looked yet, where all secrets are kept today: his daughter’s laptop. In a hyper-modern thriller told via the technology devices we use every day to communicate, David must trace his daughter’s digital footprints before she disappears forever.

    DENNISON RAMALHO’S SPECTRAL MORGUE UNLEASHES AN EVIL AMONG THE LIVING (World Premiere)

Brazilian Writer/Director Dennison Ramalho instantly captured the hearts and nightmares of legions with his brilliant shorts LOVE FROM MOTHER ONLY (2003) and NINJAS (2011), in addition to scripting José Mojica Marins’ celebrated Coffin Joe comeback EMBODIMENT OF EVIL (2008). His entry in ABCS OF DEATH 2 (2014) further cemented the filmmaker as a hellishly original talent to watch in world horror cinema. Fantasia will proudly be bringing Brazil’s subterranean maestro of the macabre back to Montreal for the World Premiere of his long-awaited feature debut, AMONG THE LIVING, a film brimming with grotesque imagination and otherworldly magick in which a morgue attendant working the night shift in a very large, very violent city possesses an occult ability to communicate with cadavers. He commits the sin of acting on information obtained from the dead and horrifically curses himself and those that he loves. Brace yourself.

YOUR BIRTHDAY WILL BE YOUR LAST DAY IN THE WITTY COMEDY-FANTASY I HAVE A DATE WITH SPRING

Multiple award-winning director Baek Seung-bin brings us to doomsday with a smile in the omnibus styled intimist South Korean apocalyptic dramedy I HAVE A DATE WITH SPRING (North American Premiere). Different characters, all with unique personalities, celebrate their birthday the day before the end of the world, meeting bizarre individuals in surreal circumstances in this truly unique gem of a film that debuted at 2018’s International Film Festival Rotterdam.

    SONNY MALLHI TEAMS UP WITH BLUMHOUSE TO BRING YOU A SPECIAL KIND OF HURT (World Premiere)

The world first discovered Sonny Mallhi’s poignant style of character-driven horror storytelling with 2015’s ANGUISH (a Fantasia World Premiere). Earlier this year, his second feature, the vampiric drug addiction chiller FAMILY BLOOD debuted on Netlfix. And now, Sonny Mallhi has teamed with Blumhouse for his third feature, HURT, in which the collective psychosis of American culture is an inescapable horror film and a waking nightmare. Its story honors masked mascots of fear such as Jason, Freddy, and Michael…. but explores those who helplessly wear a mask of normalcy while desperately fighting the traumatic monsters within.

GET HAZED TO HELL AT THE WORLD PREMIERE OF PLEDGE

It’s not getting into an exclusive fraternity that three geeky college freshmen need to worry about, it’s getting out – alive! Boasting amazingly well-rounded characters, endearing performances, a wicked streak of black humour, and a desperate situation that erupts into sickening violence, in many ways Daniel Robbins’ PLEDGE (World Premiere) is an intense, acceptance-themed companion film to Jeremy Saulnier’s similarly gasp-inducing GREEN ROOM. Rats, torture, knife fights, and vodka shots – who’s ready to pledge?

    WRITER/DIRECTOR LEE CHANG-HEE WILL LEAVE YOU BREATHLESS WITH THE VANISHED (North American Premiere)

In this clockwork thriller, nothing is what it seems – not even a corpse. THE VANISHED (North American Premiere) is a piece of classic cinematic construction right out of the Golden Age of Hollywood, polished to a sleek modern sheen, South Korean-style. Without an ounce of padding, this is modern suspense in gothic drag, full of old school brio, dolly zooms, a ticking clock, entitled murderers, and vengeful ghosts.

CAMERA LUCIDA UNVEILS TWO INTERNATIONAL PREMIERES: TADASHI NAGAYAMA’S BEING NATURAL AND AARON SCHIMBERG’S CHAINED FOR LIFE!

The Camera Lucida section, dedicated to experimental, boundary-pushing and auteur-driven works on the borders of genre cinema, unveils two major International premieres!

Taka (SAUDADE’s Yota Kawase) is a bong-playing, turtle-loving saint. When a hypocritical couple from Tokyo moves into town, intent on opening a health-conscious, eco-friendly coffee shop at all costs, the man’s peaceful existence is shattered to pieces. Tadashi Nagayama’s second feature, BEING NATURAL, is a total revelation; a surprising and eccentric satirical rural comedy, with a dash of the absurd and the supernatural! A unique introduction to one of Japanese cinema’s most promising new auteurs!

The beautiful Mabel (TEETH’s Jess Weixler) admits to being pushed outside of her comfort zone on the set of a foreign auteur’s shlocky English-language horror film debut. Playing the role of a blind woman, she soon meets her disabled co-star Rosenthal (UNDER THE SKIN and DRIB’s Adam Pearson) and soon, the boundaries between fiction, reality, exploitation, and fair representation become blurry. GO DOWN DEATH’s Aaron Schimberg returns to Fantasia with CHAINED FOR LIFE, a reflexive and surreal black comedy about life on set – casting a critical eye on cinematic representations of disability and difference, from ELEPHANT MAN to FREAKS and beyond.

The full Camera Lucida lineup will be unveiled on June 26.

FANTASIA 2018’S ACTION! SECTION UNVEILS BUYBUST, CHUCK STEEL: NIGHT OF THE TRAMPIRES, AND LÔI BÁO

Dedicated to discovering the world’s best undiscovered action films, Fantasia’s Action! Section, now in its seventh year, is proud to announce three new titles and one incredible retrospective film. Following the section becoming competitive in 2017, Action! is now proud to introduce its debut Action! Achievement Award, which will be bestowed on U.S. martial arts legend Cynthia Rothrock. For the occasion, Fantasia will present a 35mm print of the 1989 Hong Kong classic THE BLONDE FURY with star Rothrock in attendance.=

Four years after seducing Fantasia audiences with his short film RAGING BALLS OF STEEL JUSTICE, Michael Mort will return to the festival with his animated feature debut, CHUCK STEEL: NIGHT OF THE TRAMPIRES (North American Premiere), hot off its World Premiere at Annecy. Chuck Steel is a maverick, renegade, loose cannon, lone wolf, cop-on-the-edge who doesn’t play by the rules. He’s the best goddamn man on the force and, once again, Los Angeles needs him to save the city from an army of Trampires – a mutated hybrid of vampire and hobo.

With LÔI BÁO (North American Premiere), Vietnam has officially jumped on the wave of superhero movies in a very big way. Without a single cape or hero clad in spandex, Victor Vu’s clever interpretation of what it means to be a superhero brings a wildly unique vision to the genre, as a man on the receiving end of a head transplant finds himself suddenly granted a seemingly endless supply of superhuman abilities. With LÔI BÁO, Vietnam has created a world of very unlikely superheroes – and villains – like no other.

Five years after the impressive ON THE JOB, director Erik Matti returns to Fantasia with the Canadian Premiere of BUYBUST, one of the most action-packed movies ever to come out of the Philippines. Here he writes, produces, and directs a truly one-of-a-kind actioner about a rookie female cop who finds herself in hot water with an anti-narcotics squad. Starring Filipino superstar Anne Curtis, over 1200 extras, and featuring an unbelievable 300 stuntmen and women, BUYBUST is packed with spectacular gunplay, nonstop hand-to-hand combat, and a nearly-uncountable number of people being stabbed in the face.

As of 2017, all titles selected in the Action! Section are eligible for Fantasia’s Best Action Film Award, awarded by a jury composed of Quebec director Alain Desrochers (BON COP BAD COP 2), actor/stuntman Alain Moussi (KICKBOXER: VENGEANCE), and filmmaking duo Sebastien Landry and Laurence Morais-Lagace (GAME OF DEATH).  

MAJOR ANIME PREMIERES ARAGNE: SIGN OF VERMILLION AND PENGUIN HIGHWAY OFFER THE SINISTER, SENTIMENTAL, AND SURREAL!

Fantasia’s Axis section is thrilled to announce two more anime titles in its lineup, each a major premiere.

Something sinister is manifesting itself – something at the cursed crossroads of mythology, monstrosity, and medical science – in Saku Sakamoto’s ARAGNE: SIGN OF VERMILLION, a potent new slash of independent, high-standard horror anime from Japan making its World Premiere at Fantasia this summer.

One memorable summer, a precocious schoolboy contends with a crush on an older woman and a strange penguin invasion in the sentimental, surreal science fiction anime PENGUIN HIGHWAY (International Premiere). The first feature from Japanese director Hiroyasu Ishida, creator of the 2009 indie online sensation FUMIKO’S CONFESSION, and his colleagues at Studio Colorido, PENGUIN HIGHWAY is a delight for the mind, eye, and heart.

FANTASIA UNDERGROUND’S INSPIRED 2018 LINEUP REVEALED!

Fantasia’s section dedicated to bold, ultra-independent, outsider works returns with a charming, counter-cultural teen film made by a twenty-year-old girl who cut classes to shoot it, a single-take Japanese zombie oddity, a genuinely shocking and surprising black comedy/crime thriller from Colorado, and a Mexican-Canadian action siege assault that’s likely the bloodiest coming-of-age film ever made.

Described at the latest Berlinale as the “distant cousin of Louis Malle’s ZAZIE DANS LE MÉTRO crossed with the DIY spirit of punk Japanese cinema from the 1980s (Tsukamoto, Sogo Ishii, and co.), one thing’s for sure: twenty-year-old Yoko Yamanaka’s AMIKO (North American Premiere) will instantly charm you with its gleeful irreverence, and its crystalline, sour-sweet candied confection of extreme emotions, forged in the fiery pits of adolescence, and effectively turning the schoolgirl into a counter-culture icon.

Let’s be honest – a low-budget zombie movie shot in one take about a film crew shooting a low-budget zombie movie in one take sounds bad. Add the fact that the indie film crew stumbles across real-life zombies and Shunichiro Ueda’s debut, ONE CUT OF THE DEAD (Canadian Premiere) sounds worse. And you couldn’t be more wrong. This indie marvel isn’t a just zombie movie or even a one-take stunt. Instead, it’s Japan’s smartest comedy of the year: a touching father-daughter story, a tale about the value of perseverance, and a meta puzzlebox that cleverly unpacks itself onscreen, one severed limb at a time. Pick your rotting jaw up off the floor, because this is pure horror-comedy gold in the vein of SHAUN OF THE DEAD.

A neurotic, introverted young military veteran forces himself to go to a party to meet new people and finds himself plunged into a bizarre criminal underworld of sex and blood in Drew Barnhardt’s utterly mad RONDO (World Premiere). An exuberantly seedy, obsessively well-directed gonzo thriller that’s funny in the darkest ways, RONDO’s violent twists and genuinely uncomfortable moments will leave you breathless from gasping, laughing, and screaming – possibly at the same time. Oddly reminiscent of CRIMEWAVE-era John Paizs by way of De Palma, this is a squirm-inducing, one-of-a-kind exploitation oddity that even the most brazen viewers will never be able to unsee.

Award-winning Mexican-Canadian filmmaker Gigi Saul Guerrero bathes the screen with ferocity in her scorching web series LA QUINCEAÑERA (Canadian Premiere), in which a girl’s fifteenth birthday party becomes a demented, blood-fuelled journey of revenge when the cartel shows up to attack her relatives. This ultra-violent homage to the strength of women and the power of family may be the bloodiest coming-of-age tale ever told.

2018 DOCUMENTARIES FROM THE EDGE LINEUP REVEALED!

Fantasia’s showcase of compelling documentary works returns with a trio of docs hailing from Quebec, China, and the USA.

Jailed for comics?! The unbelievable true story of the only U.S. artist convicted of obscenity is explored in the chilling and captivating BOILED ANGELS: THE TRIAL OF MIKE DIANA (International Premiere), directed by the legendary Frank Henenlotter (BASKET CASE, BAD BIOLOGY) and narrated by Dead Kennedys’ Jello Biafra, neither of whom are strangers to censorship struggles themselves. The obsessively well-researched doc features Neil Gaiman, Stephen Bissette, Peter Bagge, and Diana himself, alongside the case’s investigating officers, prosecution, defense, and even members of the local Florida press who initially reported on the situation. This truly thoughtful account won a well-deserved Audience Award at NYC’s What The Fest!? and should be considered required viewing for anyone remotely interested in confrontational art or stories of overreaching law enforcement.

Marginally-talented internet personalities skyrocket to fame in Hao Wu’s provocative, dystopian documentary PEOPLE’S REPUBLIC OF DESIRE (Quebec Premiere), where hordes of devoted fans tune in to find comfort in virtual relationships through live streaming. A Grand Jury Prize-winner at SXSW, the film tracks China’s emergent breed of off-the-rails celebrity-making obsession, and the impact of plunging into the virtual to satisfy real human needs. Fantasia’s screening will be a co-presentation with the RIDM.

Shot over a period of three years, Jean-Simon Chartier’s PLAYING HARD (Quebec Premiere) gives us a sprawling behind-the-scenes window into the drama, tension, and compromises behind the creation of a blockbuster Ubisoft video game, and the grueling personal tolls the process can take on its creators, both in terms of fractured relationships and mental anguish. An engrossing film that met with major acclaim at its recent Hot Docs launch.  

The post FANTASIA FILM FEST Announces Second Wave of Programming appeared first on Nightmare on Film Street - Horror Movie Podcast, News and Reviews.

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[junker-town]

6 winners from Week 13 of the NFL season

Joe Maiorana-USA TODAY Sports

Andy Dalton set a Bengals record. Derrius Guice showed he might just be the guy after all. The Texans? Also good.

Week 13 of the NFL season started with a Thanksgiving lineup of mostly drama-free contests. David Blough exceeded expectations but fulfilled his destiny as a Lions quarterback by losing a one-possession game to the Bears. The Cowboys continued a rich 2019 tradition of getting beaten by teams with winning records by eating a double-digit loss to the Bills. The Falcons, uh, tried.

That was a lead-in to all the action on the final day of the long weekend. The nation’s collective turkey (and alcohol) hangovers were soothed by a handful of big games. The early slate featured a possible Super Bowl preview between the 49ers and Ravens and a rivalry showdown between the Steelers and Browns. The late games were highlighted by games like Patriots-Texans and Chiefs-Raiders that had major postseason implications.

That left us with a wide slate of winners and losers, both on the scoreboard and in the locker room. Who stood out the most?

It wasn’t: the Jets, Panthers, or Eagles, who deserve nothing nice

The Jets handed the Bengals their first win of the season. That’s notable because it’s December. Carolina recovered an onside kick to take a stab at an unlikely 15-point comeback against Washington, then turned a first-and-goal situation with 40 seconds to play into zero points and a 29-21 loss. That’s notable because the Panthers held a 94 percent win probability in the first quarter.

The Eagles wasted a 28-14 lead in Miami to lose to a team that gave Patrick Laird (six career carries before Week 13) the majority of its rushes Sunday. That game was made even more gloriously weird and entertaining thanks to one of the greatest fake field goals our fragile world has ever known.

THE GOAT FAKE FIELD GOAL#PHIvsMIA #FinsUp pic.twitter.com/dAZJuTxUmQ

— Miami Dolphins (@MiamiDolphins) December 1, 2019

That, at least partially, was enough to convince Eagles head coach Doug Pederson the Dolphins are, in fact, good. The data doesn’t bear that out, but sure, Doug. That’s just as likely as my working theory that a bad team uprising took place to push the Giants to the top spot in the draft. That way, they can force New York into passing up Joe Burrow because the team’s already got Daniel Jones.

Now, on to ...

This week’s actual winners:

6. Jarvis Landry, who has gotten even better despite the presence of Odell Beckham Jr.

The Browns lost to the Steelers, relinquishing their edge in one of the AFC North’s oldest rivalries and losing the battle of sassy t-shirts along the way. Their offense regressed to Hue Jackson levels and their defense allowed Devlin Hodges to throw for 10.1 yards per pass.

That cold front froze out Beckham (three catches, 29 yards), but it failed to cool off Landry (6 catches, 76 yards). Though 12 games, the versatile wideout is on pace for an 87-catch, 1,225-yard, seven-touchdown season. The second number would be a career high, as would his 14.1 yards per catch.

Landry isn’t just putting up big numbers — he’s showcasing some of the game’s strongest hands and field awareness in the process:

holy crap, Jarvis Landry pic.twitter.com/StyWIFHAR7

— Christian D'Andrea (@TrainIsland) December 1, 2019

That catch was originally ruled an incompletion, but a Freddie Kitchens challenge overturned it to give Cleveland new life in the Pittsburgh red zone. In true Browns fashion, the team lost yards and was forced to settle for a field goal. Even so, it was a statement proving Landry’s one of the league’s top wideouts, despite languishing on mediocre teams.

Beckham’s trade to Ohio seemed likely to cut into Landry’s production. Instead, he’s coming up with more catches on only slightly fewer targets per game (from 9.3 in 2018 down to 9.0). The Browns may be facing a lost season after falling to 5-7, but Landry has emerged as the kind of player who can change this franchise’s fortunes when he and Baker Mayfield — who played the second half with a badly bruised throwing hand and made Landry his security blanket — find their rhythm.

5. Aaron Rodgers, free play god

Green Bay faced third-and-goal back at the New York 17-yard line when Rodgers saw a disheveled Giants defense struggle to sub out its personnel. He used that opportunity to hurry the Packers to the line of scrimmage, induce a 12 men on the field penalty with a quick snap, and then delivered an absolute dart to Davante Adams on the free play.

Second TD of the day for #One7 ❄️ RETWEET to #ProBowlVote for @tae15adams! ❄️#GBvsNYG | #GoPackGo pic.twitter.com/G1WZ0Mrn5O

— Green Bay Packers (@packers) December 1, 2019

Suddenly, a dicey 17-13 lead was a two-possession game in the fourth quarter, effectively stomping out the Giants’ comeback hopes. The touchdown catch was Adams’ second of the day and 38th since 2016 — most in the NFL over that span despite missing seven games due to injury. He wasn’t the only Packers wideout to feast after Thanksgiving. Allen Lazard, undrafted in 2018, had his first career 100-yard game, needing just three catches to get to 103 yards Sunday.

Rodgers finished his day with four touchdowns — the 23rd time he’s hit or exceeded that number. That ties Brett Favre for fourth all-time when it comes to four-plus TD games in NFL history, behind only Peyton Manning, Drew Brees, and Tom Brady.

4. Ryan Fitzpatrick, who keeps quietly messing up the Dolphins’ tanking plan

Fitzpatrick started the day with an interception on his first pass of the afternoon and a quick 7-0 deficit. His next two drives centered around sacks and punts.

Then he woke up, and here’s what he did over the Dolphins’ final eight drives:

26 of 36 passing

358 passing yards

3 touchdowns

0 interceptions

a 131.5 passer rating

Miami scored five touchdowns and a field goal over its next seven possessions, stopped only by a kneeldown with six seconds left in the second quarter.

Fitzpatrick’s big day was a boon for DeVante Parker, who faces an uncertain 2020 since he has no guaranteed money remaining on his contract. Parker’s 159 receiving yards and two touchdowns were both career highs. More importantly, four of his targets created first downs or touchdowns in third- or fourth-down situations, including one brilliant scoring play:

.@DeVanteParker11, OH MY! #FinsUp : #PHIvsMIA on FOX : NFL app // Yahoo Sports app Watch free on mobile: https://t.co/uPnyeJSIAR pic.twitter.com/6eFfYXlP7G

— NFL (@NFL) December 1, 2019

The Dolphins are still bad. Fitzpatrick isn’t their quarterback of the future. But if you squint hard enough, you can see how they could be good again.

3. Derrius Guice, very much back (for the first time)

Guice has been effectively cursed over the course of his brief NFL career. The 2018 second-round pick missed his entire rookie season after tearing his ACL in his preseason debut. His 2019 started with a 10-carry, 18-yard performance in Week 1 that saw him land on injured reserve shortly afterward with a torn meniscus.

The former LSU star kept working. He returned in Week 11 and showed off a glimpse of his potential with a 45-yard touchdown catch in garbage time of a loss to the Jets. He outgained backfield-mate Adrian Peterson in a Week 12 win over the Lions.

And then, facing the Panthers and their 30th-ranked rushing defense, Guice finally got the breakout game for which he’d waited 19 months. One week after gaining 32 yards on 10 carries, he smashed through the Carolina defensive line for a career-high 129 yards on 10 more. That included a pair of touchdowns and a brutal stiff-arm that should have Shaq Thompson reconsidering his future in the league.

Great run from Derrius Guice here. Nice patience initially to allow the blocks to develop. Found the hole and then burst through it. Nasty stiff arm to run through the tackle and turn the run into a big gain #Redskins pic.twitter.com/VQltGkZZMT

— Mark Bullock (@MarkBullockNFL) December 1, 2019

The second-year tailback was instrumental in Washington’s third win of the season. He accounted for two-thirds of his team’s touchdowns and 38 percent of its total yards. Guice may have done it against a bad Panthers rushing defense, but he planted his flag as a playmaker who can be a major part of Washington’s rebuild.

2. Bradley Roby, who led a defensive effort that made Tom Brady look like crap

Brady’s 2019 has been a tale of decline, but he hasn’t been as bad as he was Sunday night in a long, long time. Midway through the third quarter, he looked like he’d been replaced with Brock Osweiler:

Brady’s final numbers — 326 yards and three touchdowns — failed to convey the absolute frustration he wore on his sleeve on the sideline:

'why don't YOU take out the trash, DAD' pic.twitter.com/H2zdc2BplW

— Christian D'Andrea (@TrainIsland) December 2, 2019

How did the Texans make Brady act like a surly teenager on their home field? While the Patriots averaged more than three seconds of dropback time per pass, the six-time NFL champion struggled to find open targets downfield. That started with Roby, who picked off Brady twice (though one was called back due to a pretty blatant hold from Roby), sacked him once, and knocked down another pass in his return from a hamstring injury.

Roby signed with Houston on a one-year, $10 million deal aimed at restoring the value that made him a first-round draft pick in 2014. His big night against Brady — one whiffed tackle on a third-and-14 conversion for the Pats aside — was the latest turn in a solid 2019. He’s recorded as many interceptions as he’s had touchdowns allowed (one each) and has limited opposing QBs to a 71.5 passer rating and 50 percent completion rate in coverage.

That helped the Texans earn their first win over New England since 2010. Come 2020, it could be the key piece of evidence that lands him a multi-year contract.

His primetime performance was about more than making a statement about his place in the league, however:

Bradley Roby dedicated this game to his grandfather who passed away 'this is special to me. I take pride in being a game-changer'

— Aaron Wilson (@AaronWilson_NFL) December 2, 2019

1. Andy Dalton, Cincinnati savior

Dalton was benched midway through the Cincinnati season in favor of fourth-round rookie Ryan Finley. It happened on his birthday. It happened just hours before the trade deadline, effectively marooning him with the Bengals. It happened while he was tied for the franchise lead in touchdown passes.

Despite this amazing confluence of crappiness, Dalton remained a consummate professional. When Finley didn’t make his case as the team’s next franchise passer (zero wins, 47.1 completion rate, 62.1 passer rating in three games), the Bengals turned back to their long-tenured gunslinger in hopes of diverting their path from 0-16 and toward a much more respectable one- or two-win season.

Dalton was up for the challenge. The nine-year veteran brought the Jets’ three-game winning streak to a screeching halt, throwing for a cromulent 243 yards and one record-setting touchdown:

.@AndyDalton14 is now the @Bengals all-time leader in passing touchdowns! : #NYJvsCIN on CBS : NFL app // Yahoo Sports app Watch free on mobile: https://t.co/uPnyeJSIAR pic.twitter.com/tFJOFC28pq

— NFL (@NFL) December 1, 2019

While Dalton was completely acceptable in his return, Cincinnati’s first win of the season hinged on the swarming play of a charged-up defense. The Jets had scored 34 points in each of their last three games. They were held to six on Sunday as Sam Darnold needed 48 passes to throw for just 239 yards. New York’s running backs averaged just 3.5 yards per carry. Carlos Dunlap sacked Darnold three times and hit him six times total.

It was a lone triumph in a season marred by mistakes, but it was a big moment for what may be Dalton’s final victory wearing orange and black. Even better, it didn’t affect the Bengals’ place at the top of 2020’s prospective draft order. That’s a win/win.

[urbsci]

#LeCypher March 14 (week 217) . MUSIQUE LIVE + DANSE + BOUFFE + DJs + DRINK SPECIALS + JAM SESSION . Montreal’s premiere HIP-HOP & SOUL party! . 🎧 8PM Mark Magnanimous (DJ) 🎤 9:30PM UZUAZO (opener) 🥁 10:30PM 🎷 URBN SCNC 🎶 11:30PM Hip-hop & soul jam session 🍽 Go2Tacos 📷 Bianca Lecompte . Drink Specials 🍹 Cocktails (1oz) $6.50 🍺 Beer $5.50 (pint) $7 (boot) 🥃 Shots $3 (+txs) . Tous les jeudis / Every Thursday Live @Bootlegger, L’Authentique / 3481 St-Laurent $6 / $4 before 9pm $45 FAM cards (10 entries) available at the door! Portes 20h . Band lineup 🎤 Fredy V 🎤 Wayne Tennant 🥁 Harvey Drumz 🎸 Jon Arseneau 🎹 Daniel Thouin (guest) 🎸 Christopher Cargnello 🎷 Vincent Stephen-Ong . UZUAZO (opening act) . UZUAZO is a 22 year old Nigerian Canadian hip-hop artist and producer from Vancouver. After moving to Montréal for university in 2014, he became known in the McGill community for his performances at Downtown Montreal venues such as Belmont, TRH Bar, Bluedog, La Vitrola, and McGill’s OAP. He released a music video for a single titled “You Should Know This” in 2016 which has amassed 137,000+ organic views and followed that with a video for “Houston Rocket” (35,000+ views) in 2017. He has been working on his debut album which is set to be released early 2019. . . Go2Tacos food) Fusion Tacqueria . . #hiphop #rap #soul #montreal #mtl #mtlblog #cultmtl #mtlshots #music #jamsession #mobilemag #snobshots #complex #agameoftones #artofvisuals #way2ill #citykillerz #dailyhivemtl #somontreal #hypebeast #modernnotoriety #mtlprodigies #localcollective #montrealisawesome #mtlmoments (at Bootlegger, L'Authentique) https://www.instagram.com/p/Bu-O4V6AVC6/?utm_source=ig_tumblr_share&igshid=iuq9gef7m34o

[themusicenthusiast]

Friday, March 3rd, 2017 – Dark Avenue and Redefine Round Out a Topnotch Lineup at The Curtain Club

All photos by Jordan Buford Photography Another Friday night, another stellar (and fairly eclectic) show at The Curtain Club, the five acts that were on tap ranging from rock to metal, each bringing their own distinct flare to the stage this night. While most had just traveled from parts of D/FW to perform this night, This Day Forth had made the trek up from Tyler for what would be their first proper Dallas show in a few years. Taking some of the credit for getting them on this bill would be Dark Avenue, the two groups having performed together in Tyler and then Arkansas over the previous few of weeks, this show concluding their little ‘tour’ together.

Little attention was brought to the fact that TDF was down a member for the show this night, guitarist Travis Hull having other obligations; and it was rather surprising learning that afterwards. They looked incredibly tight as a trio with vocalist David Wilson being the lone guitarist, while bassist Brad Huff and drummer Harrison Rice rounded out the rhythm section. Everything even sounded well fleshed out, not even the slightest of signs that they were missing a crucial component of their lineup as they cranked out about thirty-minutes’ worth of material from their debut LP, Defiance. Only about a dozen or so people milled around the Curtain at that point (because 8:30 is too early to show up to a concert?), though everyone who was there stood transfixed by the hard rock songs that also had a melodic touch about them; the band giving it their all and keeping things as energetic as possible. Huff jumped about the stage at times as he attacked his bass, while Wilson took a step back from the mic when he was able, affording him a few moments to shred.

This Day Forth kicked off the show right, delivering a great set that won over pretty much everyone who was there. They had no trouble holding everyone’s attention, their music having a quality that made it fairly radio-friendly, though it also had an edgy feel. Hopefully they’ll be able to make it back to Dallas a little sooner next time; and for anyone interested they do have a pair of shows lined up at Six Flags in Arlington, TX on March 10th and 11th. The Friday show will see them doing a few performances in the evening, while the Saturday appearances will be in the afternoon. More info on those can be found HERE; and check out Defiance in iTUNES or GOOGLE PLAY.

Second up this night was Idler, the quintet having a whole new set to unleash this night, “Pitch Fork” being the only remnant of the groups’ past era. However, if one of those old songs is going to stick around than that’s the best one to, and it acted as an electrifying opener and sounded more charged than ever, perfect for a brisk set that would be a sheer onslaught of rock. They followed it up with “Lemonade”, after which vocalist Mercedes Ann took a moment to inform the ever growing crowd who they were, before they promptly got back to business. From there on out it was an entirely new batch of songs that this current incarnation of the group has penned; bassist Brooks Campbell and drummer Daniel Meza being the most recent additions to the band.

Maybe it was the unrelenting pace they kept, dishing out the songs at a machine-gun pace, the most dialogue of the night coming when Ann formally introduced her band mates, or perhaps it was the new songs themselves, but something made this the most impressive show I’ve seen Idler put on. You could tell the music had a different kick to it, the new creative input enhancing things. It wasn’t necessarily different from what their fans have come to expect from them, just all around stronger and more refined. Each track had an overwhelming intensity about it with bold guitars and a robust rhythm section, the foundation of which was some pummeling percussion. From the shadows of stage left Nick Laracuente struck his axe with a fury, waving it around in the air at times, while Mykey O'Neil used more precision, picking at his guitar while strolling about stage right.

Their time on stage flew by, each song somehow topping the last and further escalating things as Idler proved themselves a ferocious force. It was an exciting glimpse of things to come, the members’ stage personas and the performance in general being stronger than ever, and while it will surely be a good while, these new songs are going to make for a killer record sometime down the road. In the meantime, keep an eye on their FACEBOOK for news of future shows, and check out their EP in BANDCAMP.

By the looks of it, Redefine was the most anticipated band of the night, seeming to draw the most substantial crowd of the night. It had been the better part of two years since I had last seen them, back as Mike DiQuinzio and Daniel Taylor made their exits, and thus had not seen them with their latest rhythm section. That had been way too long; and a sense of excitement filled the air as patrons hung close to the stage, waiting for the curtain to open. Their 37-minute long set was comprised almost entirely of new(er) material, from 2014’s The Harbinger King EP onward, with “All That Ever Was” serving as the opener and setting an adrenaline-pumping mood. Right off the bat it was noticeable how happy they all were to be back on a stage and playing their music, their enthusiasm making the performance all the more engaging for the spectator. From atop one of their boxes with the word “redefine” illuminated on it Chris Apaliski shredded out his solo; while Scott Headstream brandished the mic stand around in the air at one point, swinging it out towards the crowd even, as if encouraging some singing along.

“…Who’s ready for a good time?!” Headstream asked afterwards. Several cheers answered his question. “We’re Redefine and we’re hoping to deliver,” he added before they broke into the rip-roaring and anthem-esque sounding “Over and Over Again”. With it they cut loose even further, bassist Justin Haber and Apaliski beginning to demonstrate their chemistry as they jammed beside one another; while Matt Jones, partly concealed in the shadows of stage left, shouted out the backing vocals as he picked at his guitar. In just a couple of songs they were already well on their way to establishing themselves as the best band of the night, and as they got to the third, they certainly hit their stride. After commenting what a beautiful crowd he was looking out at, Headstream mentioned the next song was the first one he had ever written with the band after joining them “like, eight years ago”. That song was “The Silent Hum” from The Power Of Persuasion EP, and it stood as the lone “oldie” of the night. Still, if they were only going to play one, than they made sure it was the right one, that song still standing not only as a fan favorite but as one of Redefine’s best songs in general. There’s an undeniable complexity to it, though it’s also accessible to any listener; the quintet’s true prowess being on prominent display as they knocked it out. Only making it better was the fact that a couple pairs of ‘granny panties’ were suddenly thrown on stage, Headstream grabbing one during a breather he got, holding it over his waist, seeing if they might fit. Everyone, both on and off stage, was cracking up.

From there on out it was new stuff, the hard-hitting “Fiction” preceding “Alive In Our Own Way”, which received its live debut on this night. By Redefine standards it was different, even if it was in subtle ways. It was extreme. Surprisingly so even, giving that previous cut a run for its money. However, as much of a rock song as it was, there was a definite jazzy influence to it. Not throughout, though it permeated portions of the song that they all appeared to enjoy playing, Haber in particular. Perhaps the most entertaining part of it came at the end, and instrumental outro closing out the song, during which Headstream bowed out and disappeared from stage… soon joining the audience. He stood front and center with everyone else, watching his band mates as they brought it to a tight finish. “Should we keep it?” asked Headstream over some fanfare, consensus seeming to be it that it was a hit. The frontman then got ahead of himself by just a bit, Jones and Haber working to get his attention and make sure he knew there were in fact two songs left and not just one like he had told the crowd.

With that, Will Hardin opened up “Beware The Bear” with some relaxed though sonorous beats, the song soon transforming into another potent display that boasts some slick guitar work. They really just had one left after that, another pretty new song, “Heartattic”, finishing out their time on stage. In some aspects it, too, sounds different from other Redefine songs, though not to the extent of the song they debuted this night. While mining a similar vein of their past work it also explores a different creative side, the tone of the riffs being different, while some hearty percussion still acts as the foundation. No one would have argued if they had been able to play another twenty to thirty minutes, though with that newer song they wrapped up their time on stage quite nicely. If there’s one upside to having gone so long without seeing Redefine it was the fact that they’ve had ample time to break in Haber and Hardin, who looked and felt like natural fits with the band. Indeed, this latest incarnation was every bit as strong as Redefine has ever been, the five of them having gelled nicely and developed some great chemistry, while the bond between Apaliski, Headstream, and Jones has become more impressive than ever. Their new songs sounded great, reflective of a new era while also being deeply in touch with the bands’ roots; and their stage show was as high-energy as ever, the five of them leaving it all up there. Keep up with news of future shows on their FACEBOOK; and check out their past releases on ITUNES OR GOOGLE PLAY.

Dark Avenue had the next to last slot of the night, taking the stage at 11:27, another eager crowd huddled up against the stage and rocking out as the rock outfit kicked things off with the lead track from Illusions, “No Answers”. They were another act that seemed to be chomping at the bit to be back on stage, bassist Alan Sauls and guitarists Barry Lorberbaum and Andrew Lewthwaite prowling around the stage right from the start, the two guitarists even trading out spots on a couple of occasions this night. Segues bound many of their songs together this night, and even those that didn’t bleed into one another were followed up swiftly with another song, as in the case of “Forget You”, which greatly added to the momentum Dark Avenue was already building up. The aggressive and blistering number saw Lorberbaum, Sauls, and Lewthwaite lining up beside one another as they jammed briefly, while Mario Cadena continued to work the stage, the singer never taking his attention off the spectators as he worked to build a rapport with everyone. As the closing notes rang out, Jeff Hathcock abruptly began another assault on his drum kit, taking them directly into the dynamic “Outside”. “Make some noise!” Cadena requested at one point, that along with the sizzling solos further pumping up the onlookers who at that point were enthralled by the display.

“How we doing tonight?” asked Cadena as they took a quick break, the frontman correcting his wording after first saying they were playing in front of a lot of friends on this night, instead stating that everyone felt much more like family. “We appreciate you,” he stressed in a humbled manner before they took things back to their 2014 EP, Seasons Change, with “In Memory (Of Me)”. It was the first of several offerings they would do from that release this night; the musicians continuing to race about the stage and interact with one another.

Soon after they got to one of the singles from their LP, “Una Vez Mas” having been better received better than I think the band could have even hoped for. Cadena’s voice sounded exceptionally smooth and rich as he delivered the words in Spanish, adding almost an elegant quality to the otherwise unbridled rock song that stood as one of their strongest of the night.

With 37-minutes in all, they still had plenty of time left, ramping things up further with “Aftermath”, which was bridged perfectly into “Last To Know” thanks to Hathcock, who, with a hoodie drawn over his head, was hammering away at his drum kit. That song seemed to come at just the right point, providing a serious spike of adrenaline during what had already been a high-octane show; that track also affording Lewthwaite and Lorberbaum another chance to showcase their chops thanks to some more stellar solos.

“It’s very humbling to be playing with a lot of talent…” Cadena said once that one was finished, taking a moment to thank each of the other acts on the bill. That was when they busted out a surprise, tackling a cover song that wouldn’t have been first on most peoples’ minds. They had retooled George Michael’s “I Want Your Sex” to better fit their harder rock brand, doing more than even just putting their own flare on it but also changing the tone of the song, the way some of the lines were sung, such as the chorus, making it sound more like a demand than a desire. The remaining songs came in quick succession, “Another Day” feeling like a sing along of sorts, those who knew it chiming in at times, while “Sober” was the icing on the cake. What’s arguably Dark Avenue’s strongest song acts as a marvelous closer, or at least it did this night, nicely rounding out what had been a topnotch set as they became yet another act that left everyone hungry for just a little more from them. One of the main things that helps set Dark Avenue apart from other bands (on both a national and local scale) is how intricate they make their shows, keeping everything as tight as possible. You seldom see acts that do transitions the way these guys do, keeping everything near seamless, and that goes a long way in creating a riveting flow that allows their shows to transcend the typical concert experience.

It feels more like a presentation, though their vigorous performance gives it a gritty appearance and ensures it never strays from a display of pure rock. Aiding that is the fact that these veterans of the D-FW music scene all know how to work a crowd, reeling in practically everyone who happens to hear them. They have a few shows lined up over the next couple of months, including one at Gas Monkey Bar & Grill in Dallas on March 18th supporting Adeltias Way. They’ll be in Fort Worth on April 20th at The Ridglea Theater; and on May 26th they’ll be back in Dallas at The Granada Theater opening for Black Stone Cherry. Their complete schedule and more info can be found HERE; and check out their LP in iTUNES or GOOGLE PLAY. The night nearly over, Low Gear closed down the show, a dedicated group of metalheads coming out to see the band’s first show in several months. Per usual, it was an exceptional night of music at The Curtain Club, a few of the bands each being headline quality in their own right, while the others wound up proving they have more than enough potential to fill that spot sometime in the future. The show served as yet another reminder of all the great talent that resides in North Texas and what a stupendous local music scene this region has.