#mosh pits WILL be created by their own accord

[lee-sanghyeok]

230721 SEVENTEEN 세븐틴 Follow to Seoul - Back it up + Fire (HIPHOP TEAM)

[tf2heritageposts]

Elizabeth Eden Harris[2] (born May 31, 1997), known professionally as Cupcakke (often stylized as cupcakKe; pronounced /ˈkʌpkeɪk/ "cupcake"),[3] is an American rapper and singer-songwriter known for her hypersexualized, brazen, and often comical persona and music.[4][5]

Born in Chicago, Illinois, Cupcakke began her career as a rapper in 2012 by releasing material online. She drew attention in 2015 when she released two music videos, "Vagina" and "Deepthroat", on YouTube that went viral; the songs were later included on her debut mixtape, Cum Cake (2016), which was included on Rolling Stone's list of the Best Rap Albums of 2016 at number 23.[6] A second mixtape, S.T.D (Shelters to Deltas), released in 2016, preceded her studio albums: Audacious (2016), Queen Elizabitch (2017), Ephorize (2018), Eden (2018), and Dauntless Manifesto (2024).

Aside from a brief retirement at the end of 2019, Cupcakke has been steadily releasing standalone singles, such as "Squidward Nose" (2019), "Discounts" (2020), "Mosh Pit" (2021), and "H2hoe" (2022).

Elizabeth Eden Harris was born on May 31, 1997,[7] in Chicago, Illinois, and was raised on King Drive, near Parkway Gardens. Harris was raised by a single mother and spent nearly four years in Chicago's homeless shelters starting at age seven.[8] In the lyrics of her song "Ace Hardware", Harris recounts her experiences struggling with depression and being raped by her father, who is a pastor.[9][10] She has referred to her father as a "deadbeat", "con artist", and "child molester."[11] She attended Dulles Elementary School[12] with other established Chicago rappers such as Lil Reese and Chief Keef. She got an early start into music and poetry at the age of ten by her involvement in her local church. It was also there that she got her start in performing, where she would perform for her local pastors by reciting poetry about her Christianity and faith.[13]

When she was 13, she met a fellow churchgoer who encouraged her to turn the poetry into rap music, and she became infatuated with the art form. She cites 50 Cent, Lil' Kim, and Da Brat as early influences to her musical style.[14][13]

Harris released her first music video, "Gold Digger" onto her official YouTube channel in August 2012. She was only 15 at the time of its release—the original video has since been deleted.[5] Over the next few years, she continued to release original music, as well as freestyles using beats from other artists through her YouTube channel, where she has amassed over 919,000 subscribers.[15]

In October 2015, the official music video for her song "Vagina" was released on YouTube via YMCFilmz. According to Cupcakke, she wrote the song because she was inspired by Khia's dirty rap song "My Neck, My Back (Lick It)" from 2002.[16] One month later, Harris released "Deepthroat" on her own channel. Within weeks, the two videos went viral on YouTube, Worldstar, and Facebook. The songs later became singles for Harris' debut mixtape, Cum Cake, which was released in February 2016. Its release was also supported by further singles such as "Juicy Coochie", "Tit for Tat", and "Pedophile". A writer for Pitchfork, which included it on "9 Rap Mixtapes You Might Have Missed This Year", called the mixtape a "well rounded introduction to a skilled writer" and said it used songs "about love, loss, and hardship with its more explicit tracks to create a full profile of the up-and-coming Chicago rapper".[17] "Pedophile" was also specifically noted for its "blunt commentary" on sexual assault.[5]

In June 2016, Harris released her second mixtape, S.T.D (Shelters to Deltas). It was preceded by the single "Best Dick Sucker". Other tracks, such as "Doggy Style" and "Motherlands", were also later released as singles. The mixtape was listed among Rolling Stone's "Best Rap Albums of 2016 So Far".[6]

In October 2016, Harris released her debut studio album, Audacious.[18] The album was preceded by the single "Picking Cotton", which was described by MTV News as "a protest song about racist cops".[13] Other tracks on the album such as "Spider-Man Dick" and "LGBT" were accompanied by music videos.[19][20] In an interview Harris stated that she made the song "LGBT" "...strictly for the gay community to know that they are loved and don't need to feel judged."[21]

In February 2017, Harris released "Cumshot", which served as the lead single to her second studio album. On March 7, English singer-songwriter Charli XCX premiered her song "Lipgloss", which featured Harris. The song was later included on XCX's mixtape, Number 1 Angel, which was released on March 10.[22]

Her second studio album, titled Queen Elizabitch, was released on March 31, 2017.[23] The Fader described it as "the type of nasty rap that made her a viral sensation, alongside all-out pop bangers like '33rd' and the confessional a cappella freestyle 'Reality, Pt. 4'."[24] Stereogum also noted that the album "sees CupcakKe engaging with the current political climate and radio trends in a way that could help her cross over to a more mainstream audience".[25][26]

On April 7, 2017, Queen Elizabitch was removed from online streaming services and digital music stores due to an illegal backing track that Harris had purchased from what she described as a "shady producer". She soon announced on Twitter that Queen Elizabitch would be re-released on April 16.[27] She then released the singles "Exit" and "Cartoons" in November 2017.[28][29]

Her third studio album, Ephorize, was released on January 5, 2018.[30] Exclaim! called it "her most polished work to date" and noted that "she still slides in plenty of deliciously dirty one-liners throughout the new record."[31] HotNewHipHop commented that "Ephorize might be one of the most introspective bodies of work she's dropped off to date."[32] Pitchfork called it Cupcakke's "best album yet, with terrific production and a barrage of raps that reveal Elizabeth Harris to be far more than her hilarious and absurdly raunchy one-liners."[33] She released music videos for the songs "Duck Duck Goose" and "Fullest".[34] The former features her "showing off an extensive collection of dildos as well as a souvenir Statue of Liberty."[35]

On November 9, 2018, Harris released her fourth studio album, Eden. She released music videos for the lead single "Quiz", and for the following singles "Hot Pockets" and "Blackjack".

On January 8, 2019, Harris was reportedly taken to a hospital in Chicago after tweeting that she was going to commit suicide.[36] In a tweet posted the next day, Harris wrote "I've been fighting with depression for the longest. Sorry that I did it public last night but I'm ok. I went to the hospital & I'm finally getting the help that I need to get through, be happy, & deliver great music. Thanks for all the prayers but please don't worry bout me."[37]

On January 11, 2019, the single "Squidward Nose" was released,[38] and on February 21, a music video for the song featuring John Early premiered.[39] On April 17, 2019, Harris released a remix of Lil Nas X's song "Old Town Road", titled "Old Town Hoe", on her YouTube channel,[40] and its music video the following day.[41]

In September 2019, Harris made several posts on social media criticizing several artists such as Camila Cabello (she accused Cabello of racism) and Shawn Mendes, followed by her retirement announcement in an Instagram Live video.[42] She stated, "This live is going to be the last video that y'all [will] see of me. I am completely done with music". She said that she would no longer be releasing music to the public and that she would be removing her music from all streaming platforms.[43] She stated that she was disturbed to see children in videos and young people at her shows singing along to her explicit songs, felt she was corrupting the youth with her raunchy songs.[44][45] Harris also told fans that she has a "very bad gambling addiction" and that she had lost $700,000 at a casino in September 2018.[45][46] Harris' Instagram and Twitter accounts were deactivated after the livestream ended.[45] Her music remained available on streaming platforms.[46]

On November 7, 2019, Harris came out of retirement after a 40-day absence on all social media platforms with a tweet; "Jesus fasted for 40 days & so did I...... Nov 16th".[47] On March 6, 2020, Harris released a new single, "Lawd Jesus".[48] Harris uploaded her first video to YouTube since her previous deletion of all videos on her channel the previous year, with the double video for singles "Grilling Niggas" and "Lawd Jesus", on May 13, 2020.[49]

On June 1, 2020, Cupcakke released the single "Lemon Pepper"[50] with half of the proceeds going towards the Minnesota Bail fund.[51] Another single, "Discounts" was released on June 26.[52] The song received critical acclaim, peaked at number 78 on the UK Singles Downloads Chart and number 80 on the UK Singles Sales Chart, becoming her first single to do so.[53][54] "Discounts" also reached number one on the US iTunes chart, which is her first song to do so. She is also the only female rapper to have a number-one song on the iTunes chart with no label.

On December 16, 2020, Harris received significant media attention after releasing "How to Rob (Remix)", a diss track. It was released on YouTube and sees Harris take aim at Megan Thee Stallion, Lizzo, and Lil' Kim, among others.[55] The song received positive reviews.

On March 1, 2021, "Deepthroat" was certified Gold by the Recording Industry Association of America (RIAA), which denotes five hundred thousand units based on sales and track-equivalent on-demand streams.[56] It is her first song to be certified by the RIAA.[57] In June, Rolling Stone magazine reported that Harris will be co-hosting the upcoming OutTV reality show Hot Haus with Tiffany Pollard, which will mark the rapper's TV hosting debut. Harris said of the casting decision, "As soon as I heard what this show stood for, owning your sexuality and talent, I knew I had to be involved."[58]

In 2021, her songs went viral on TikTok, mainly in the form of remixes; she later joined the platform because of it.[59]

On May 31, 2022, Harris released the single "H2Hoe".

On June 23, 2024, Harris announced her album Dauntless Manifesto, which was released on June 28, 2024.

wow

[clubgazette]

the GazettE Live Tour 18-19 THE NINTH / PHASE #04 -99.999- @ E-werk, Cologne 2019.06.16.

I’ll spare you the full story but queueing was again well organised by fans and messed up by venue staff. Short version: A fan had called the venue about a week in advance and inquired about the plans for queueing. They were told to line by doors (there’s 3 entrance doors), GA to the left, FC in the middle, and VIP to the right. The people who arrived first and organised the numbering system followed this system. Unfortunately staff decided to change plans right before VIP doors were supposed to open, creating complete chaos. This happened again right before GA doors since they wanted to move the FC queue to where VIP had been previously. Staff was again incredibly rude and unhelpful (some highlights including: “we’re in Germany, speak German!” followed by an unpleasant smirk and laughter when someone asked what was being announced in German, “We don’t care about your fucking queues”, and “SHUT THE FUCK UP” when we tried to move the queues according to updated information from the 1 helpful member of staff who let us know they’d changed their mind about queue locations).

Anyway, live:

I was on the balcony with Kou so we had an amazing view of both the stage and the crowd. I only saw like... 3 people? recording. Good going Germany!

There was a group of guys down in the back of the pit who were taking lots of selfies & being super cute before the show, then in the middle of AGONY Kou slaps my arm & I look down & they’re having their own 4-man mosh pit 😂😭 it was so cute, they were so energetic✨

That set was SO good omg

Kou: Today was such an amazing live! The crowd was incredible! The boys seemed to really enjoy themselves! ❤️

Aoi was ON FIRE (I feel like I always tweet this lol but he’s really feeling himself lately!)

Reita was licking his finger, poking his tongue out at us and doing his usual stary Stare (I die)

Reita times his claw hands for ���show your beast” in inside beast, it’s so cute 😭💕

Christina: My attention was mostly on ruki but whenever i looked at kai he was either feeling his drumming a LOT or singing along and i fell in love with him all over again

Uruha and Reita went to the middle at the same time (it’s one of the few times it’s looked nearly choreographed and it’s really cool bc the timing is so good) and headbanged in synch

Ruki kept doing his little jig by the drum set 😂 it looks ridiculous (and cute)

Aoi did this weird... jumping circle dance thing, it looked really silly 😂

Ruki, Uruha and Reita took turns going up to Kai’s drum set to play with him 😭

When they were leaving stage after the encore Aoi gave like... 5 extra bows and thanks to shimote balcony 😭 so cute

Kou: God, Uruha... When they played Babylon today, I literally was like, falling to my knees he was so sexy. 😍

Thank you so much!

[bthenoise]

Here Are The Top 10 Most Anticipated Fall Tours Coming Your Way

Do you smell that? No, not the smell of your disgusting roommate leaving out his leftover asparagus for the hundredth time -- AGAIN WITH THE ASPARAGUS, STEVE?! What we’re talking about is the crisp and golden smell of fall.

With us being three weeks into September, that means two things: We’re one step closer to sweater weather and finally, the fall tour schedule is upon us.  

That’s right, without even looking at your phone calendar, we can bet you’re already anticipating an incredibly busy next few months. With countless bands announcing plans to tour later this year, we know you have a handful of different shows you’re looking forward to. 

So to help get you pumped for the upcoming tour season, we’re listing 10 of the best forthcoming fall tours. From hardcore heroes Every Time I Die to pop-punk mainstays The Story So Far, this our list. Enjoy!  

Note: To make this list fair, we left off our upcoming Noise Presents tours with Behemoth and Atreyu. We know those tours are STACKED and all but we didn’t want you thinking we only promote our own stuff. Also, according to the all-knowing Google, fall runs from September 22 - December 21. So please don’t annoy us with “December isn’t fall, that’s winter!”  

The Story So Far // Turnover // Citizen // Movements 

Starting things off, we’re pretty sure this is the definition of a “dream tour.” Very rarely do you see a four-band bill as perfectly balanced and aesthetically pleasing as The Story So Far, Turnover, Citizen, and Movements. To say we’re excited about this tour would be is a total understatement. 

Beartooth // Knocked Loose // Sylar

Is it possible for a tour to still be highly anticipated even though it’s already started? Well since we’re the ones making the list, that’s a definite yes. Kicking off late last week, Beartooth’s headliner with Knocked Loose and Sylar is one you absolutely do NOT want to miss -- especially if you’re a fan of some of the craziest and most intense mosh pits you’ve ever seen.  

Every Time I Die // Turnstile // Angel Du$t // Vein

Speaking of craziest mosh pits you’ve ever seen, this tour will without a doubt create a few you’ll end up telling your grandkids about. “Hey, little Scotty. Let me tell you all about that time me and your Nana barely survived the Every Time I Die, Turnstile, Angel Du$t, and Vein show. It was 2018, ETID was celebrating 20 years as a band and our dickhead president had just made some bullshit tweet about Puerto Rico. Anyway, there was no barricade at the venue so we knew we were in for a treat...”  

Mayday Parade // This Wild Life // Willam Ryan Key // Oh, Weatherly 

The end of the year can be a stressful time for people. You know, with year-end goals to be met, finals to be passed and holiday gifts to be purchased. What better way to help end the year than with a chilled-out night on the town with Mayday Parade, This Wild Life, William Ryan Key (formerly of Yellowcard) and Oh, Weatherly? Yeah, we knew you’d agree.  

Good Charlotte // Sleeping With Sirens // Knuckle Puck // The Dose

“Stacked” doesn’t even begin to describe this lineup. When you have three bonified headliners teaming up, you know you’re about to get a great tour package. Add the nostalgia factor of singing along to “The Anthem,”  “Lifestyles of the Rich & Famous” plus “Girls & Boys” and you’ve got yourself a night you won’t regret thanks to Good Charlotte, Sleeping With Sirens and Knuckle Puck.

3oh!3 // Emo Nite LA // Lil’ Aaron

This is easily the biggest and best party package of the year. Forget Migos and Drake, 3oh!3 celebrating 10 years of their debut, breakout album Want! alongside Emo Nite LA and Lil’ Aaron is the only time we’ll be dancing “in our feelings” all year long -- whatever that means. 

Thrice // The Bronx // Teenage Wrist

Any chance we get to watch The Bronx for more than 20 minutes a night, you can bet your behind we’ll be there. Add Thrice playing songs from their incredible new album Palms on top of that and yeah, this tour has our name written all over it.  

Waterparks // IDKHBTFM // AG // Super Whatevr

We’re serious when we say this: There’s a chance in about five years you’ll look back in shock remembering a time when Waterparks and I Don’t Know How But They Found Me toured together. With both bands on the heels of breaking into superstardom, you’ll definitely want to see the two play together when you can.

Silverstein // Hawthrone Heights // As Cities Burn // Capstan

You’d be a fool to question this making our list of most anticipated fall tours. Hell, Silverstein could be touring with a team of retired trapeze artists and we’d still include it. Instead, to help make this a true trip back to 2003 in celebration of 15-years of their album When Broken Is Easily Fixed, the post-hardcore vets will be bringing out Hawthorne Heights and As Cities Burn as well as Capstan. Better get your Myspace profile back up and running!

Underoath // Dance Gavin Dance // Crown The Empire // The Plot In You

In spirit of the big fight that just happened this past weekend (no, not Nicki Minaj and Cardi B), this is Underoath and Dance Gavin Dance round two! UØ and DGD II: the Battle of the Behemoths! Screamo vs Swancore! Who will come out victorious, you ask? Well, you will because this tour package, also featuring Crown The Empire and The Plot In You, is an absolute knockout. 

Honorable Mentions:

Stray From The Path // Silent Planet // Kublai Khan // Greyhaven 

Whitechapel // Chelsea Grin // Oceano // Slaughter To Prevail

Stick To Your Guns // Emmure // Wage War // Sanction

Real Friends // Boston Manor // Grayscale // Eat Your Heart Out

Terror // Harm’s Way // Backtrack // Year Of The Knife // Candy

Counterparts // Being As An Ocean // Have Mercy // Varials 

Seaway // Trophy Eyes // Microwave // Can’t Swim // Hot Mulligan 

WATCH MORE:

[doofluffle]

From the gutter to the glitter: King No-One

From an unknown band to a sellout show, King No-One are the band to know. Creating an environment of acceptance and excitement, their growth as one of the leading unsigned indie-rock bands is well deserved - as proven by their recent releases of Two Islands and Systematic, further demonstrated by the success of their largest tour yet.

After seeing them for the first time in April I've been hooked to the thumping basslines and melodic hook of King No-One. One tour later, with the addition of various gigs and busking sessions to keep their fans fulfilled, the boys were back on their longest tour to date: 19 shows ranging from intimate bars in Glasgow to their biggest venue - Church in Leeds.

Lead by vocalist Zach Lount, alongside friends and band mates Alex Townsley, Joe Martin and James Basile, the band is climbing the ladder to success with an ever expanding audience to support their every move.

As a band built on the guise of equality it's no surprise Lount was so vocal about social issues throughout the tour. Not only did he speak about the inequality of a sexist society through the free the nipple movement, saying "if women can't, I can't", but also how "the colour of your skin, your gender, your sexuality, or even your financial status does not define the person that you are". Although, from a band whose name literally means "no-one is king, we're all born equal" it is to be expected that feminism plays a critical part in their set. However, all this is what helps to create the comfortable and accepting environment at each gig, one where the diversity of the audience is celebrated.

It is truly understandable to see why their fans are so dedicated. Although my view is bias due to being one of the "kno superfans" according to Kirstie Lount, Zach's mother, I have personally witnessed their fanbase growing yet remaining one of the best I've ever been a part of. Through them I've met so many people of all ages and genders, from 14 year old non-binary people to 26 year old cis men, yet every single person has been brought together for the same reason: the politically driven music of King No-One.

The talent of the band goes without saying - they're a must-see as words and videos cannot do them justice. The powerful vocals of Lount, complicated beat kept carefully controlled by Basile, beautifully rhythmic solos from Martin and pulsing bass lines from Townsley are something which must be witnessed as studio recordings just don't capture the spark of energy found on stage. Not only that, but the excitement from witnessing Lount never drop a note as he runs from stage left to climb the speakers above the audience, or when jumping into the crowd and relying on the hundreds of fans to keep him up is lost through video. Of course, these are only a handful of important elements found with each set which are best witnessed in person. There are also the confetti canons raining colourful tissue paper and metallic gold leaves over the screaming people below, the surge of the crowd to hold Lount's outstretched hand, the communication between band and audience as banners, flags and posters are handed to the boys in an attempt to make the night more intimate and personal, the night is always spontaneous but exhilarating. Just be warned, this all comes with free bruises if stood in the first few rows or caught up in the mosh pit towards the back, although a few purple marks will always be expected at great gigs.

Even with a tight curfew in place the band will always find the time to meet fans. In an attempt to make the experience even better they do their own merchandise, allowing fans to greet the men they've lost their voices to, collect autographs and take photos to remember the evening. Although in some places, such as Leeds, the security hurry fans along and make them unable to meet the boys inside but that doesn't mean they wont get to meet the men they admire. King No-One always move outside after a short amount of time, an experience possibly more special than inside as hugs and longer conversations can be held under the stars.

After seeing them for the fifth and sixth time on the autumn tour I can say with confidence that this band are going to go so far, whether they remain unsigned and work hard to keep breaking records (such as being the first ever unsigned band to play the Reading and Leeds NME/Radio 1 stage) or get signed and produce full length albums instead of fan-funded EPs, the magic of King No-One is something which must be seen. After all, this is only the beginning.

- Quinn Barnes, 21/10/17

[midnightiscoming-kasabian]

Kasabian's Serge: We are better than ever

I am ecstatic waiting for Serge Pizzorno’s call ��� it’s not every day you get to speak to Kasabian’s guitarist, let alone find out what he had for breakfast.

'I had crumpets and Marmite and it was just great!’ he tells me.

But we’re not here to chat breakfast. After their three-year break from recording, I’m itching to know about Kasabian’s much-awaited sixth album, For Crying Out Loud.

Keep reading 

From the tracks debuted so far, it seems to have something for everyone, with influences from punk to acid house, but one collaboration with De Montfort University Gospel Choir stood out for Serge, who describes himself as a ‘studio head’.

‘I was walking down to the Leicester City football grounds and I heard this amazing sound,’ he says.

‘A choir basically singing some gospel terra songs, and I couldn’t believe it – straight away I needed to know what was going on so I stood in front of DMU and watched them.’

So impressed was Serge that he invited the group to perform new track Put Your Life On It with Kasabian at a special homecoming gig at the football stadium.

‘There’s something about the unison and harmony, especially harmony, with a choir – the power of the music and the lines being sung by a lot of people – it elevates it, it really does,’ he explains. ‘They entered our world and our world is sort of 100mph and it’s quite chaotic. They were so sweet and we had a really good time.’

Serge was so impressed he also hired the choir for the most personal of gigs.

‘I got married this year and they all sang at my wedding,’ he tells me.

The collab really demonstrates the group’s investment in Leicester, and I wonder if the band’s global fame has ever distanced Serge from a normal life back home.

He assures me that would never be the case because home is either ‘in you or it isn’t’ when it comes to your sound.

‘It’s easy to get swept up in it and think you are anyone but who you are. But staying and living there, with Kasabian anyway, I kind of want to make music for my friends and I fi gure to do that I need to know about their lives,’ he says.

‘If you move down to London then you live in a different world. You sing about that world. And not many people go through that world.

'You lose touch with real life and real life is more interesting to make music for.’

And make music they certainly have. Kasabian seem to be maturing like fi ne wine, even after six albums people can’t get enough. I ask if Serge thinks they’re the best they’ve been.

‘You know what, yeah,’ he says. ‘It’s really exciting and you make it to six albums and it’s almost like they sort of just give in – in the end they just can't get rid of you,' he chuckles.

'They look at the stuff you’ve done and the albums you’ve created and they say OK there is a lot more to it. With us, there has been a lot of people saying after each record, “oh, I didn’t think they were like that”.

‘People sort of realise what you’re trying to do the longer you stay in the game. The new show with the set we already have, it’s really quite amazing. It really has hit another level.’

Kasabian are at home with their back catalogue, especially on the festival stage, according to Serge.

'The shows we've just played have been unbelievable,' he says. 'It really feels like we're band nobody's sen before, like nobbody felt "oh not these lot again".'

I want to talk rumours, after hearing Bless This Acid House was set to be the best track on the abum.

But Serge is quick to correct me, saying he doesn’t want to put that kind of pressure on it and he just wanted to write a punk pop song.

‘It’s really difficult,’ he says. ‘We got it in the last day of recording, and we were all like “right, no more after this”. So we kind of wrote it pretty quickly, but it sounds really hopeful and uplifting. But it's one of the best, not the best. I don't want to get in trouble,' he jokes.

It took a little longer to spin gold this time around and like many music lovers I wondered why the release date was put back to April 28. Serge feels it's an album for the summer crowd and says he needed a holiday.

'I finished it last year before the summer and it was going to come out, then I just thought I’d go on holiday, like “well I’ve done all the hard work”,’ he tells me. ‘I never really give myself a break, like why don’t you have three months off? So I had a holiday, got married and hung out with the kids.

'Then I went back to the album and made it even better and I wrote three more songs It was the best thing I could've done and it definitely made the album better.

'It also didn't sit right it coming out in the winter — it's going to own the summer.'

When it comes to this summer’s festivals, Kasabian’s dance card is certainly looking full. With headline shows at Reading and Leeds I wonder if the band gets much down time and if festivals are the highlight of the summer for them.

'I love Reading and Leeds — I have such fond memories of those places and we're honoured to be part of the history of those festivals,' Serge says.

'Unfortunately, by the time we get there and we're off, there isn't much time. It's different with the European festivals with dance tents that go on till late and you can get out there.’

I’m curious about how Serge finds the energy to do such big sets. ‘I don’t like to get there too early,’ he says. ‘My adrenaline kicks in too early and by the time you get there you’re knackered. I’ve seen the line-up is really strong and amazing and to share a poster with Eminem is incredible. I'm a huge fan.'

The last time Kasabian played new stuff was at Glastonbury, in a blaze of bass and magenta, with the pressure piled on. But Serge says that 'excites me, rather than frightening me'.

'The most important thing to remember is that the show is about the mosh pit, and the escape, dress it up as much as you like, but it has to be about the moment you feel that connection, when you’re elevated to another dimension,’ he says.

'It has to feel almost tribal, like cave people dancing round a fire. While I want to make music and the studio is my place, the more you play the festival stage, the more you become a heightened version of yourself.'

A our time is coming to a close, I decide to ask for Kasabian's craziest festival story. Serge recalls the time they were chatting to Wu-Tan Clan at T In The Park. ‘We were about to go on and we were huge fans of theirs,’ he recalls. ‘We were told not to stare too much at them, but suddenly we all had a chat about golf swings. Totally bizarre moment.’

www.unipaper.co.uk

[entergamingxp]

Hearo Live Is Fixing Live Streaming by Pairing You with Friends and Cutting the Chaos

March 9, 2020 10:04 AM EST

Hearo Live is the up and coming solution to noisy, crowded and impersonal live streaming and video services in 2020.

Whether you watch Twitch, Mixer, or YouTube Gaming, video and live streaming has become the predominant way to enjoy your favorite gaming content. As the arena of video content expands, so does its chaos and noise. With hundreds or thousands of fans tuning in, live stream comments become impossible to read, and Discord channels are totally overwhelming. Too much community, instead of spicing up the experience, overwhelms it. Should game watchers give up on the social aspect of streaming?

In steps Hearo, aiming to be the solution to bring a sense of community and individuality back to live stream watching. Their pitch is simple:

Most large scale live streams (whether we are talking esports or Nintendo Direct) should feel like you’re watching a pro game in a stadium or show in a theater. Fans watch together, and a raucous crowd makes the experience come alive. When something exciting happens, you want to hear the crowd react instantly, with groans and cheers.

And when you go to the game, you don’t want to be stuck in a mosh pit full of drunk strangers — you want to sit together with your friends. Even better, what you’d want is your own VIP box. A private room with the right amount of sound insulation, so you can talk to your friends without worrying about bothering everyone in the theater. You want the intimacy of sitting side by side with your friends and the fantastic sound of the crowd when it gets into the game. You want the awesome experience of going to the arena, without its hassles and costs.

DualShockers sat down with the creator of Hearo — Ned Lerner, a well-worn veteran in the industry who has placed himself at the forefront of most emerging technology… often moments before they hit the mainstream. Starting his career with Chuck Yeager’s Advanced Flight Trainer (arguably the game that launched Electronic Arts into their IPO and a household publishing brand), cofounding Looking Glass studios (System Shock, Thief), and creating some of the most fundamental precursor tech to both MOBAs and voice chat. Aside from working as an industry pioneer, Lerner took significant steps in the creation of the tech behind the PS4.

You want the awesome experience of going to the arena, without its hassles and costs.

In discussion with DualShockers, Lerner made it known that he has always considered himself a pioneer in the industry and loves the freedom and innovation that comes with startups. “Someone has to go first!” Lerner joked.

Hearo leans heavily into giving content creators a more direct way to engage with their community:

If you think of Hearo as a stadium, our job is to get people in the seats and watch. But also we need people on the stage. We’re a connector between the audience and the broadcaster. Content creators can’t connect to their viewers on random Discord servers.

That’s to say that far too often, sites like Twitch, Discord, and YouTube act like they own the world. They tell content creators how they can and can’t engage with the people who care about their content. This means following strict rules of a mega Tech company like Twitch and YouTube, and with Big Brother monetizing their audience (and their audience’s information) in the process.

Discord is used all over the place, but ultimately the ownership of those communities is by Discord. They monetize the creator’s audience. Meanwhile, Hearo — like a theater — we let the content creators decide how they want to monetize that audience. The big guys, Discord, YouTube, and Twitch want to own the fans that the content creators attract and serve.

What does this mean? While Hearo isn’t looking to be a replacement for YouTube or Twitch, it will let content creators and artists take the reins over the communities that they have nurtured and developed. They can turn the creator’s own website into their home base, the best place to watch their content (and for you to enjoy it with your friends). If the creator doesn’t have a website, Hearo even offers to help them make one.

On top of that, Lerner makes the point how while Discord may once have been a place for smaller gaming-oriented or team-based communities, that has shrunk as Discord has grown.

We talk to tons of people, and lots of folks we talk to don’t know that Discord does voice. This sounds kind of absurd, but when you think about it, a lot of Discord servers have hundreds (if not thousands) of people. On those servers, only a core group — 5, 10, 15 people — are allowed to talk, and everyone else can only text chat. While Discord incentivizes people to grow their own mostly text-based server, Hearo aims for people to connect with their tight-knit circles.

Last but not least, we wanted to figure out what the future of Hearo looks like. Are gaming and live streaming just the entrance for a much broader platform? According to Lerner, yes. — Hearo’s first priority is being great for gaming.

We are starting with esports and game watching, which aren’t small numbers.

But that isn’t to say the Lerner is turning away from more traditional multimedia, including physical sports and TV providers. Lerner proposed what if you had a dedicated avenue to watch March Madness games with your friends? And while that may not be this year exactly, the opportunities for growth are very real.

Most importantly, Lerner underscores that while Hearo is in part a system to improve on voice chat, it is also a way to improve the content itself.

In the same way that multiplayer games (in my opinion) are more fun than single-player games, I feel the same way about video. If you can grab a friend or family member to sit down and watch, it becomes a lot more fun.

Hearo has soft-launched and is available now with a rotation of videos over at Hearo.Live. Check out the content over there, or download the app in Google Play or the App Store. For more information, follow Hearo over on Twitter.

March 9, 2020 10:04 AM EST

from EnterGamingXP https://entergamingxp.com/2020/03/hearo-live-is-fixing-live-streaming-by-pairing-you-with-friends-and-cutting-the-chaos/?utm_source=rss&utm_medium=rss&utm_campaign=hearo-live-is-fixing-live-streaming-by-pairing-you-with-friends-and-cutting-the-chaos

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“When I was 20 years old I had a awful dream that able one of my ancient achievement series. In the dream, I opened a debris can and saw myself naked in a fetal position with bisected my beard shaved. I looked bottomward into the can and affiliated eyes with myself. Afterwards that dream, every time I anesthetized by a mirror, I absurd bisected of my beard baldheaded off. So I did a alternation of pieces for bisected a year based on that dream.”

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The dreamer speaking is artisan Alex Grey, who for added than 35 years has been at the beginning of the abstracted art field. Alex, however, hasn’t been abandoned in this journey. In 1975, while accessory the Academy of the Museum of Fine Arts in Boston, he met his constant partner, artisan Allyson Rymland Grey, and the two accept been afire trails in the abstracted art association anytime since. But their access has able abundant added into the realms of accepted culture. Alex’s consciousness-expanding creations accept been acclimated by artists including Meshuggah, Nirvana, Beastie Boys and David Byrne. In 1999, Alex’s assignment bent the absorption of Apparatus guitarist Adam Jones. Afterwards affair at one of Alex’s art exhibitions, the two “struck up a friendship,” which eventually led them to coact on the iconic artwork for Tool’s Lateralus, 10,000 Days and more.

Allyson Grey in her flat at CoSM

photograph by Carlos Jamarillo

The seeds of the Greys’ appalling analysis of assignment can be traced aback to the couple’s aboriginal consciousness-expanding affair in Boston, and their aboriginal “sacramental journeys” on LSD. As the Greys connected to deepen their airy affiliation and artistic consciousness, Alex was additionally exploring the anatomical realms while alive in Harvard Medical School’s analysis department, area he able cadavers for dissection. He afterwards active on as a analysis technologist with mind-body anesthetic antecedents Dr. Herbert Benson and Dr. Joan Borysenko to advice investigate healing energies. Alex’s mind/body/spirit explorations would eventually apparent in his iconic “Sacred Mirrors” alternation — 21 active life-sized paintings that appraise the coaction amid the body’s concrete and airy anatomy. Alex eventually went on to acquaint Artistic Analysis and Amount Carve at New York University, afterwards which, he and Allyson began teaching abstracted art workshops worldwide.

Since their aboriginal meeting, the Greys accept had abounding transformative experiences, but one decidedly cardinal moment occurred in 1985, when, according to Allyson, “the eyes came to both of us accompanying of a allowance apartment the ‘Sacred Mirror’ paintings. This became the adventure of our life: to analysis the Chapel of Angelic Mirrors. CoSM has been a … nonprofit aback 1996, and an interfaith abbey aback 2008. Countless friends, artists and artisans are co-creating this airy center. CoSM ceremoniousness the Mystical Acquaintance portrayed in abstracted artworks aggressive by claimed acquaintance with Divinity.”

The latest affiliate in this adventure is the architecture of Entheon (meaning, “A abode to ascertain the Creator within”). The three-story structure, which is currently actuality congenital on the Greys’ acreage in New York’s Hudson Valley, will be CoSM’s art sanctuary. Aback completed, it will affection a striking, white-and-bronze sculptural exoteric advised by Alex depicting airy motifs from his paintings as able-bodied as representations of Adam and Eve abiding to the Garden of Eden.

“[We] will affectation the ‘Sacred Mirrors’ in a appropriate Chapel room. Twelve thousand aboveboard anxiety of exhibition amplitude will affectation key works of the CoSM abiding accumulating and baddest iconic originals of the all-around abstracted art movement,” says Allyson. “Entheon’s three-story abstracted art environment, will accommodate originals from the best outstanding abstracted artists worldwide, art that ceremoniousness the alluringly aggressive accomplishments of painters, sculptors, musicians, dancers, performers of all kinds, art as a airy aisle to advance consciousness.”

Allyson and Alex Grey with calibration archetypal of Entheon

photograph by Carlos Jaramillo

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My own claimed history with Alex and Allyson began in June 2015, in a ambagious way, through philosopher and longtime acquaintance of the Greys, Ken Wilber. Ken wrote the advanced to my book, Everything Mind: What I’ve Abstruse About Hard Knocks, Airy Awakening, and the Mind-Blowing Accuracy of It All, and apprenticed the Greys to apprehend it. Alex had some absolute affectionate words to say (“Chris Grosso’s boxy activity acquaint acquaint his no-bullshit adherence in Everything Mind. A angelic atrocity is in the affection of awakening, Chris takes us there and shares abstracted accoutrement to deepen with.”) and the Greys arrive me to advise a branch at CoSM on Activation Your True Spirit, in which I discussed how to breed a airy activation out of arduous activity adventures through benevolence and meditation.

As a musician, whenever accessible I additionally absorb a alive ambient guitar brainwork at the end of my sessions. That black at CoSM I played for about 25 minutes. What I didn’t apperceive was, during that time, Alex and Allyson snuck into the aback of the allowance to watch. Once the guitar brainwork was over, Alex approached me and, in a absolute soft, about bashful accent of voice, said, “That was beautiful. I achievement you don’t apperception but I did some sketches of you while you played.” He afresh presented the bristles assets he’d done. Somewhat stunned, I could alone aggregation up a simple “thank you” in return.

The affair is, that’s Alex and Allyson. They are two of the best present, apprehensive and cellophane bodies I accept anytime met. Their assignment has afflicted so abounding facets of life, from art to music, blur to spirituality, and much, abundant added — yet, aback they are talking to you, none of that matters. All that affairs is the three of you administration your barter in the aerial actuality and now — the absolute Oneness that we all allotment with one another. It’s a Oneness that — aback we’re still enough, if alike aloof for a abrupt moment — we can see reflected aback in audacious accuracy through the Greys’ eyes, and their abstracted art as well.

Alex Grey’s “Theologue,” 1986, acrylic on linen, 180 x 60 inches

artwork by Alex Grey

WITH THE UNITED STATES IN SUCH A DIVISIVE PLACE RIGHT NOW, WHAT ARE YOUR THOUGHTS ON CREATIVE EXPRESSION AND HOW IT RELATES TO UNITY AND HEALING?ALEX GREY Artistic announcement presents a moral best to the artist. Should I activity my ego’s abhorrence and abhorrence or transcend my baby cocky and affect bodies to apprehend their college added accord through the spirit of accepted love? A lover of activity would seek for our apple the best absolute aftereffect for the greatest cardinal of active beings. The best burning antecedence charge go to the ecology affairs of stabilizing and healing the web of life. We’re beholden for the abounding ecological initiatives now underway by so abounding able people.

Any accountable can be the berry of art. Artists generally mirror the anarchy of their lives or the carelessness of the times with allegorical reflections of humanity’s darkest hours. The announcement of adumbration offers ablution and acknowledges the accuracy of misery. Look at the origins of applesauce and the blues. Suffering can accord bearing to new art forms. Aback we feel our analysis is lost, an acknowledgment of art and music restores us because we see a angelic absorption of area we are at and/or area we charge to go. Symbols that accompany opposites together, icons that affiliate polarities, can action healing in a time of cultural fragmentation.

MUSIC IS CLEARLY AN INTEGRAL PART OF YOUR VISION AND MISSION. DO YOU HAVE ANY INFLUENCES FROM THE PUNK/HARDCORE/METAL OR HIP-HOP SCENE? IF SO, DO YOU EXPERIENCE A DIFFERENT FORM OF CREATIVE EXPRESSION WHILE LISTENING TO THEM?ALEX Aback the additional Led Zeppelin anthology alone in 1969, I was admiral of my aerial academy art club and appointed a alert affair for the accumulation followed by a discussion. In 1970, at age 16, I bought the Black Sabbath anthology and admired it, but it afraid the bits out of me. I was consistently admiring to artists that appoint the adumbration in their craft. How do we accord creatively with the affections of fear, abhorrence and evil?

ALLYSON GREY I additionally had a archetype of Led Zeppelin II in 1969. Didn’t everybody? Aback the Ramones, Sex Pistols and the Clash hit, Alex and I were calm and we admired them. As benumbed hippies who had begin God, it became added harder for either of us to buy into asinine chaos, absurd abandon and misogynistic lyrics. Alex’s art was included on the Ill Communication anthology and we able the mosh pit at a Beastie Boys concert afore artifice stage-side to the VIP box. Our best abstruse absorption in the metal arena has absolutely been the music and ability of Tool.

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OFTEN THOSE WHO REJECT THE IDEA OF GOD LISTEN TO WHAT’S REFERRED TO AS “DARK” MUSIC. IT WAS ANALYTICAL PSYCHOLOGIST CARL JUNG WHO SAID, “ONE DOES NOT BECOME ENLIGHTENED BY IMAGINING FIGURES OF LIGHT, BUT BY MAKING THE DARKNESS CONSCIOUS.” SO WHAT ARE YOUR THOUGHTS ON THE POLARITIES OF LIGHT AND DARK WHEN IT COMES TO MUSIC? AND HOW CAN “DARK” MUSIC PLAY INTO ONE’S SPIRITUAL DEVELOPMENT?ALLYSON In the affliction of the analysis of the artist, aphotic admiral can be acclimatized for artistic expression. Inwardly captivated agony and all-overs can appear from the abstract accompaniment and access an artifact. The ability of acerbity and anguish is amaranthine and ultimately self-destructive if unacknowledged. Jung accepted that the adumbration charge be chip for the cocky to transform and evolve.

The absolute Godhead is above all concepts. All words abort to butt the Great Mystery of the abstruse account of existence. Yet, the cabalistic God charge additionally ache to be known, for why abroad would the Infinite One acknowledge itself to us through the mystical acquaintance of accord with the abstracted realms? This is why the mystical acquaintance is the best healing accident in a person’s life. The cabalistic reveals itself in theophanies of the all-powerful imagination.

Without a cosmos, God cannot be accepted and admired by creatures. Every moment, God creates a amazing masterwork to amaze and affect us if we could but see it. So it is that a temple or any assignment of angelic art aboriginal appears in the apperception of the abstruse as a theophany to be shared, that God may be revealed, that the alien may be known. Artists activity to construe the eyes into absolute analysis as an alms to spirit and to boost people. Those who apperceive not God backpack the anguish of the unrevealed.

TOOL IS A BAND THAT HAS LED MANY LISTENERS TOWARD AN INTEREST IN SPIRITUALITY. ALEX, MANY PEOPLE BECAME FAMILIAR WITH YOUR ART THROUGH THEIR MUSIC. CAN YOU WALK READERS THROUGH WHAT A COLLABORATION WITH TOOL LOOKS LIKE?ALEX The action on anniversary anthology has been unique. For Lateralus, Adam had an abstraction of the anatomical overlays and afresh with a bit of feedback, he let me do my thing. I came up with the ablaze eye as a way to ablaze up the artistic centers of a person. Afterwards the success of the Lateralus album, Adam arrive me to allotment some architecture account for the date and afterwards asked me to assignment on the “Parabola” music video with him. I offered the 90-second catastrophe with the Kundalini ascendance and accident to the Accepted Apperception Lattice.

With 10,000 Days, I approved a cardinal of account and afresh I aloof showed Adam what I was alive on in the studio, the “Net of Being” painting. He accustomed the angel from a account I had apparent him years before, and he admired it immediately. He was creating top abstruse 3D photos and got me to assignment with 3D modelers to achieve faster anatomical figures. Adam is consistently blame artists to analyze new territory. I adulation Adam and all the men of Tool.

Tool consistently challenges and pushes their artistic bend with anniversary new album, summoning the zeitgeist into a advancing and accurate sonic mirror. Their record, 10,000 Days, is symphonic. Both affliction and arete are apparent in their work. Thanks to Adam Jones’ adroit genius, the celebrated packaging of the 10,000 Days CD won a Grammy. With my painting “Net of Being” as a awning image, the 10,000 Days album, abounding of alarming music and lyrics, aural the aboriginal anniversary of release, became the No. 1 affairs album.

Alex Grey’s “Net of Being,” 2002-07, oil on linen, 90 x 180 inches

artwork by Alex Grey

When Maynard [James Keenan’s] biography, A Perfect Union of Contrary Things, was appear in 2016 he went on a book bout and included CoSM as a destination. We had an candid chat on his artistic action in the attendance of a active allowance abounding of advantageous fans. There is absolutely no added able actuality in music and winemaking than Maynard.

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Tool is endlessly adroit industrial-strength consciousness-expanding bedrock & roll. Everyone is a apparatus for something. I accept been a advantageous apparatus for the branding of the bandage with my images. We use a apparatus to achieve a assignment or purpose. Music and art are the best abstruse accoutrement altruism has for accouterments and cogent the heights and base of the soul.

Working with one of the greatest bedrock bands of all time has been a attenuate privilege, the adventure of a lifetime — alert already! I will consistently be beholden for how Apparatus alien my assignment to so abounding bodies throughout the world.

WHILE ON THE TOPIC OF TOOL, THEY’VE HAD FANS ON AN EMOTIONAL ROLLERCOASTER THESE PAST FEW YEARS WITH VARYING UPDATES ON THEIR FORTHCOMING ALBUM. WILL WE BE SEEING NEW ALEX GREY ARTWORK ACCOMPANYING ITS RELEASE?ALEX I haven’t heard any of the new music yet, and I can’t acknowledgment this question, but it is attractive positive. As far as added collaborations, there are still a few earlier things that accept never been about aggregate and I can’t say whether they anytime will, but if I get a adventitious to assignment with Apparatus again, it will be an honor.

WHAT ARE YOUR THOUGHTS ON EXPLORING DREAM STATES THROUGH ART? WHAT ROLES CAN NIGHTMARES HAVE IN OUR SPIRITUAL AWAKENING?ALEX The aboriginal compositional elements of the painting “Transfigurations” came to me in a dream in 1993. Later, in a DMT experience, I became the amount in the dream painting. My analysis was fabricated of a filigree of ablaze with jewels abeyant throughout. This crystalized the angel in alertness for authoritative the absolute painting.

ALLYSON Alex says, “The accountable of an artist’s assignment is their best important consideration.” If an artisan remembers dreams and nightmares, surely, exploring that adumbration through art can be a affluent treasure. I’ve been an artisan all my activity and accept kept abounding volumes of my dream journal. At age 12, I began painting actively in my attic, advised art through alum academy and accept been practicing art about every day since. I do not anamnesis basing a painting or cartoon on a dream or nightmare. For over 40 years, the antecedent of my adumbration has consistently sprung from a acquainted close articulation that guides the change of my painting and amusing sculpture, aggressive by consciousness-expanding visions.

details of Alex Grey and Allyson Grey’s artwork

PAINTER, SCULPTOR, TEACHER, MOTHER, MUSE TO ARTISTS WORLDWIDE: 60 SOMETHING YEARS LATER, WHO IS ALLYSON GREY?ALLYSON I am an artisan with two bodies of work: my paintings, including oils, acrylics and watercolors, and my collaborative amusing sculpture, Chapel of Angelic Mirrors, CoSM, a transdenominational, radically affable interfaith art abbey in the Hudson Valley of New York. My activity is a assignment of art. My ancestor makes me a Jew, and I adulation actuality Jewish alike admitting I do not adulation all the things Jews say or do. I am the wife of the able and able artist, Alex Grey. I am the mother of the able and able artist/performer, Zena Grey. I am a acquaintance to abounding who accompany us in the angelic assignment of architecture an constant temple to boost a all-around community.

VISIONARY ARTIST, AUTHOR, TEACHER, FATHER, VAJRAYANA PRACTITIONER: 60 SOMETHING YEARS LATER, WHO IS ALEX GREY?ALEX I am a abstruse abstracted artist, co-founder of CoSM, Chapel of Angelic Mirrors, accomplice and best acquaintance to my beloved, the artist, Allyson Grey. I am the ancestor of the outstanding artisan and actor, Zena Grey. Bags of bodies about the apple are tattooed with my art. My assignment has actually larboard an consequence on them. A porn brilliant called herself afterwards me. My art frequently apprehension up on blotter acid. I’m a apprentice of consciousness-expanding history, mysticism, analysis and angelic art traditions. For a cord of years, I fabricated it to the top of Watkins Review’s 100 Best Spiritually Influential People. I accept abstruse that bags of affiliated souls accept apparent agnate mindscapes to those I accept depicted in my paintings. My art and I accept become articular with adapted and college states of consciousness. The Abstracted Art Tribe ceremoniousness me as a airy friend. I am a agent for the acceptable that psychedelics can do. I angle for cerebral alternative and apostle for adroitness as a airy path.

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The Race to Mass-Produce Perfect Waves

In 2015, a rancher named David Howe lifted off from a California airfield on a covert mission. For weeks, a neglected water-ski park in his Central Valley farming community had been mysteriously ensconced in privacy fencing and manned by a security detail. The clandestine development raised eyebrows in town, but according to Howe, locals contracted to do work at the facility weren’t talking.

To quench his curiosity, Howe decided to sneak in an aerial view. In a helicopter normally employed in crop dusting, he and a friend rose over the lake, and saw something like a train car moving back and forth, causing a disturbance on the water’s surface. On a second pass, workers emerged from trailers below. “They looked mad,” Howe says. “We laughed at how hard they were trying to keep their secret.”

Trained as an engineer, Howe had no doubt what the train-car contraption was being used for: Whoever was behind the development was trying to generate ocean-like waves in a lake. This was an odd thing to build in a lightly populated community 100 miles inland. “We don’t have any surfers around here,” Howe says.

Later that year, the surfing legend Kelly Slater caught the surfing world unaware by posting the first video of the waves created at the facility. The pool, he said, was his “little secret spot,” a mechanism designed by his Kelly Slater Wave Co. to create “perfect waves”—the kind surfers scour the globe to find. And now, if Slater’s plan worked, West Coast surfers could soon enjoy a dependable supply in landlocked Lemoore, California.

Until that point, the physical act of surfing had just about defied monetization. Great surf spots can net up to tens of millions in visitor dollars for their host communities annually, but the main ingredient—waves—was delivered for free. Enthusiasts rarely paid admission or membership fees. Competitions generated no ticket sales; no price-gouging hotdogs or sodas. Now, Slater opened the possibility of growing fans and participants in geographically disparate markets, of controlling access and production, of generating leagues and erecting stadiums. He could turn a fickle, nature-dependent activity into a commodifiable sport.

Pro surfer Gabriel Medina at Kelly Slater’s Surf Ranch (Grant Ellis)

But as Slater grabbed headlines, something else was happening. Consortiums of engineers, scientists, and financiers were building other wave-generating technologies around the world. Slater’s company wasn’t only generating fake waves; it was spreading an infectious enthusiasm for the very idea. And there was potential gold for whoever could do it best: In 2016, the International Olympic Committee voted to include surfing in the 2020 Japan Games. First to market in Japan meant an introduction to the world.

A race was on.

Like the push toward nuclear-fusion technology or the search for dark matter, the quest for a machine that could accurately replicate oceanic waves has been long and illusive. As far back as the 1920s, European pools used pistons, paddles, and waterfalls to generate waves at public baths. For surfers, a breakthrough occurred in 1969, when Big Surf Waterpark in Tempe, Arizona, developed something like a giant toilet tank that unleashed tons of water into a shallow pool. Notable surfers crossed the Mojave to test these early man-made rollers, and locals made the park a regular hangout. “The culture was genuine, the waves were artificial,” said surfer Dave Manning in a documentary featuring the water park.

Nevertheless, surf culture was changing. By the 1970s, surfers weren’t looking for long peelers but breaks that harnessed power only great swaths of ocean deliver. The 1987 cult-classic film North Shore honed in on this distinction in its plotline. After winning an Arizona wave-pool contest, its main character, Rick Kane, journeys to Hawaii, where he finds success in big waves. In the real world, the very name Rick Kane became a catchphrase for the buffoonery of attempting replace nature with technology.

Indoor surfers at a wave pool near Tokyo in 1967 (BW / AP)

When Kelly Slater Wave Co. delivered on the long-held dream, it came as something of a moon landing for the surf community: The future was suddenly here. A controlling interest in Slater’s company was purchased by the World Surf League, the organizer of the elite world tour. This year, the Founder’s Cup, held May 5 and 6, was to be the facility’s proof that reliable machines could liberate competitive surfing from the confines of the coasts. To a certain extent, the event delivered: The dunny brown waves contested by international, mixed-gender teams that weekend mesmerized the general public. But about four minutes were required for the pool to settle between waves, creating a significant spread between scores. And Slater’s machine was in fact so consistent that it offered scant variety, and no upsets. Surfer magazine declared the competition “a yawn.”

[Read: The next big wave]

The ocean’s variability, it turned out, was both its glory and curse. Distant storms send waves in batches called “sets,” but unexpected “lulls” occur as well. Part of the thrill of surfing is in reading and anticipating those changes and being in the right place at the right time. In competition, the number and variety of waves causes scores to volley back and forth, heightening the drama and leading to unpredictable outcomes. The challenge for wave technology isn’t simply making one type of perfect wave; it’s replicating the ocean’s many moods.

On the same weekend as Slater’s Founder’s Cup, a water park called BSR Cable Park in Waco, Texas, released a video of their own wave pool. Shapely, pointbreak-style waves rose out of artificially blue water three at a time, less than a minute between sets—150 waves per hour. More videos soon followed. The waves could change shape and even evolve, allowing surfers to execute increasingly technical maneuvers.

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On May 18, Hawaii’s Seth Moniz landed an unprecedented trick in the pool: a frontside 540, which looks something like a backflip. It was proof that wave pools could push performance. Suddenly, Rick Kane’s storyline had been reversed: Hawaiian surfers were migrating inland.

In June, Cheyne Magnusson, the manager of BSR’s new “surf resort,” stood in a rustic operations tower. He seemed dazed by the flurry of calls he’d fielded since the debut of PerfectSwell, the brand name of the technology that generates his pool’s swells. Developed by the California-based company American Wave Machines, the design is essentially driven by fans that push water through a series of chambers hidden behind the pool’s concrete wall. Each chamber represents a “section” of a wave, and the order in which they’re fired can be manipulated to “build” different waves—more power here, less water there, and so forth.

On a tablet running the technology’s software, this series of chambers looked like notes on sheet music. “I call this my ‘iPod’,” Magnusson said. “And this is my soundtrack.” The soundtrack was a collection of waves, files really, that Magnusson had developed with feedback from visiting pros. Once they’d “recorded” an acceptable wave, or pattern of waves, he only had to push the button and the software looped it endlessly. Magnusson, a former professional surfer, could turn it on and go out for a surf himself.

On my visit, the grounds of the pool were still under construction. A backhoe dug a trench for electrical lines that would power night lighting, which would help attract more attendees: Unlike Slater’s pool, BSR Surf Resort was open to the public. (Currently, the pool is closed as the Centers for Disease Control and Prevention investigates a possible dangerous contamination.)

How many surfers could be accommodated was still being worked out at the time. In the first public session, they’d loaded the pool with 40 surfers. “It was like a mosh pit,” Magnusson said. “A fight broke out instantly.” With a more manageable number, the pool setting compelled surfers to actually communicate for priority—an act that’s usually sorted out by skill level and bullying in the wild. Not only were the waves in development, but the culture of surfing was as well.

Jackson Butler surfs in the BSR Surf Resort pool in Waco, Texas. (Shawn Butler)

Magnusson insisted that the BSR Surf Resort team was not contesting a race with Kelly Slater Wave Co. or any other pool developers. “That would imply there is only going to be one winner, and one technology, and that would suck,” Magnusson said. “If there’s going to be a race, hopefully it’s toward variety.”

Nevertheless, actions and announcements from a number of entities have suggested that a race is indeed at hand. As early as September 2017, a Spanish-based pool developer, Wavegarden, announced plans to build a pool near Tokyo in time for the 2020 Games. Following BSR’s video release, Slater invited aerial specialists to the Surf Ranch to help its team develop an “air section,” or ramp, something Waco boasted but Slater’s facility lacked. In July, a group fronted by former world champion Mark Occhilupo revealed photos of a massive pool under construction in North Queensland, Australia, with a purported capability of generating 2,400 waves per hour among eight distinct breaks.

It could all be a pipe dream. So far, the International Surfing Association has insisted that surfing’s Olympic debut will occur in the ocean, and along with the Tokyo 2020 committee, they’ve proposed a beach site 40 miles from the city. But during the window of the 2020 Games, wave conditions at Tokyo beaches are generally unimpressive. This puts surfing at risk of suffering the same fate as other failed trial sports before it, like cricket, lacrosse, and polo. Should surfing appear underwhelming, or even clownish, which it can in anemic surf, the International Surfing Association’s bid to extend surfing to 2024 in Paris, or 2028 in Los Angeles, could sink.

Many commentators have mused that a crystalline wave pool will be the obvious solution. Beyond predictable and impressive swells, these nascent pools lend themselves to arena-like management, ticket sales, and studio conditions for broadcast. “It’s got to happen in a pool,” says Surfer magazine’s photo editor, Grant Ellis. “The Olympic audience can’t watch a couple of surfers bobbing in a flat ocean.”

Rendering of a possible Olympic wave pool design (Paul Roget Design / Courtesy of Webber Wave Pools)

Over the summer, interesting developments occurred at a clip. The parent company of Kelly Slater Wave Co. won community approval to replicate their pool just outside of Tokyo. According to a Japanese news site, construction will be finished this December. Soon after, Olympic surfing’s governing body, the International Surfing Association, chose BSR’s Waco pool as the “official training center” for the U.S. surf team. The Australian surf team countered by traveling en masse to Slater’s Lemoore pool.

[Read: The improbable persistence of swimming pools built in the ocean]

A lot of work and energy was pouring into technologies that Olympic bodies had denied considering. A final decision on the site of Olympic competition won’t be formally made until July next year, which may be keeping the crowded field optimistic. But there’s no proven financial model for inland wave pools, despite the amount of capital going into their development. Should these Olympic dreams come to naught, what will happen to a possible glut of artificial waves? Will communities embrace their new coasts? Who is going to buy all of these waves?

The Waco resident Brian Filmore might have the answer. “My story is the opposite of the North Shore story,” he said. “I experienced surfing with my dad in California, but I really learned how to surf here [in the pool]. I’m a Central Texas surfer.”

BSR initially sold annual permits to surfers for the low cost of $1,000, a decision they openly regretted. Locals who’d learned to surf in the Gulf, California, and Hawaii realized the value and snapped up the passes. Over the course of the year, they could end up paying as low as a buck a wave. One surfer, a father, doubled his money. He’d rekindled skills he’d honed during a long stint in the islands, and then he pushed his son into the foamy leftovers ridden by other pass-holders.

Communities across the country already have their surfers. They’re just waiting for the waves.

from Health News And Updates https://www.theatlantic.com/health/archive/2018/10/surfs-up-world/572839/?utm_source=feed

[bishreview]

DZ Deathrays - Bloody Lovely Review

When the only thing that's left is sound/Yeah it sounded like a total bore

Brisbane punk duo DZ Deathrays have made a lot of ground since their debut five years ago (the crazy, party-punk album Bloodstreams). After major success on alternative radio with their sophomore, Black Rat, and some strong standalone singles (Blood on my Leather and Pollyanna), they came out stronger than ever with lead single Shred for Summer (placing an admirable #67 in the latest Triple J Hottest 100, improving on their previous highest placing at #88 with Gina Works at Hearts in 2014). Follow up single Total Meltdown also did well (just missing out on the Hottest 100 at #109), having a sound which suggested they had matured further. Now they’ve released their long awaited third album, Bloody Lovely, and although it does feel like they haven’t progressed much, they’ve continued to refine their blend of high energy punk, and inspirations from the EDM and 70s Australian Rock genres.

The first thing to notice from the album is the focus on catchy hooks and melodic vocals. Even on their heavier songs (such as Feeling Good, Feeling Great and Guillotine) there is a strong focus on melody as lead singer Shane Parsons has matured as a writer. This might have something to do with Parsons vocals moving further away from his vicious punk screaming, with a higher concentration on cleaner vocals on this record. Lyrically, the album doesn’t shine as such, nor does it really need to. The lyrics suit the fast paced style of the album, fitting the punk genre. It’s a bit disappointing though, especially due to the lack of progression from their earlier work. Although it is fun, with songs like Shred for Summer having some enjoyable quotes (”Shred the grit from my guitar/Bleed the riff from my blood”), there is room for depth which isn’t attempted. 

Musically, DZ Deathrays continue with their traditional, unique ‘dance-punk’ sound (according to Wikipedia it’s apparently a genre) which has defined their earlier records. Parsons guitar style is brilliant, filling the album with his signature guitar tones, utilising his many pedals to create a sound which is almost like a synthesizer. This sound accentuates his riffs, being a major highlight of the album, and their career. The downside of this is that many of the songs do tend to sound similar. On their previous record they changed it up on a couple of songs (noticeably the title track Black Rat and the ballad Northern Lights) but on Bloody Lovely they don’t go away from their dance-punk sound. Drummer Simon Ridley is again consistent behind the kit. He lays out some tight rhythms and often makes the vibe and intensity of the tracks, the punky Back & Forth and the metallic Afterglow being two examples of when he lets loose. 

The album kicks off with an intro which builds slowly before a high pitched scream breaks the track up, leading into the main riff of lead single Shred for Summer. The song is very close to their previous work, being a dance-punk track which has an accessible chorus without getting too ‘pop’. Second single, Total Meltdown, follows and is a very surfer, stoner pop song. The striking guitar chords in the verse gives the song a raw energy and the chorus lets loose with a very thick production. Feeling Good, Feeling Great gives the album a punky turn straight after, gifting listeners with a strong punk chorus with a catchy hook. There is very Nirvana-esque vibe to this song, with the crunching guitar chords feeling a lot like Nirvana classics Territorial Pissings and Breed. 

Third single Like People is next, a track which would fit perfectly on their previous album Black Rat. The guitar riff, which follows the vocal melody, is brilliant and gives the track a darker sound. Watch the music video for this as well as it features Murray from The Wiggles dancing to the track. Fifth track High feels a lot more psychedelic than their previous work, feeling like a 70s alternative hit. It is slightly forgettable though as there isn’t much different from other tracks on the album. Guillotine follows and has probably the danciest feel to it. Again though, it’s missing a unique feel to it and is a bit slow.

The shortest track on the album, Bad Influence, is next. Although it’s fun, I feel they don’t get heavy enough for it, despite it being one of the heaviest tracks on the album. It just feels like a waste of short hardcore punk song and is a bit disappointing. Over It follows and although doesn’t go far from a sound previously explored on the album, is one of the strongest songs on the album. There is a shoegaze influence to the track which gives it a bit of airy-ness, allowing the lead guitar to explore without deviating from the lead vocal melody. The breakdown is huge as well, leading to one of the biggest moments of the album. Back and Forth has a very bassy intro and is probably the all round heaviest track on the album. It feels like an old school, Nick Oliveri lead Queens of the Stone Age track in the verses and has some killer screams throughout.

Afterglow follows and is probably the weakest track on the album. There is a pretty cool instrumental chorus but there’s not much new going on vocally until the final minute and by then it’s become a bit draggy. The album closes with Witchcraft Pt.II. I’m not sure if there’s a first part to this song as I’ve never heard one, but this track is psycho in all the right ways. It’s messy and all over the place but doesn’t once feel over the top or ‘too far’. It’s just a ballsy punk rock song from start to finish, pounding through verses with senseless intensity. Definitely one of the funnest songs on the album and a great head-banger from the soft start to the stoner-metal ending. There is also a soft outro which starts about 20 seconds after the ending which is worth listening to just for the beautiful guitar work. A bit disappointing that they didn’t save it for an actual ballad on the album, with it’s spaghetti-western vibe being very intriguing.

Overall, Bloody Lovely fits perfectly in the DZ Deathrays discography. It doesn’t add too much to there sound outside of a few in-song experiments and influences, but it’s still enjoyable for fans of the band and the genres they are associated with. It’s 11 straight head banging, dance-punk songs which are perfect for a mosh pit, and that’s all it’s intended to be. The rise of Australian punk, stoner and alternative rock in the last few years (thanks to bands like DZ, Violent Soho, Dune Rats and more) has been huge and the resurgence of a ‘pub-rock’ genre in Australia is massive for the live music industry. With Bloody Lovely, DZ Deathrays continues the rise and success of this genre as well as their own career.

Favourite tracks: Total Meltdown, Like People, Over It, Back & Forth, Witchcraft Pt.II

Bloody Lovely gets a B-

[newstfionline]

The Rise of the Violent Left

Peter Beinart, The Atlantic, Sept. 2017 issue

Since 1907, Portland, Oregon, has hosted an annual Rose Festival. Since 2007, the festival had included a parade down 82nd Avenue. Since 2013, the Republican Party of Multnomah County, which includes Portland, had taken part. This April, all of that changed.

In the days leading up to the planned parade, a group called the Direct Action Alliance declared, “Fascists plan to march through the streets,” and warned, “Nazis will not march through Portland unopposed.” The alliance said it didn’t object to the Multnomah GOP itself, but to “fascists” who planned to infiltrate its ranks. Yet it also denounced marchers with “Trump flags” and “red maga hats” who could “normalize support for an orange man who bragged about sexually harassing women and who is waging a war of hate, racism and prejudice.” A second group, Oregon Students Empowered, created a Facebook page called “Shut down fascism! No nazis in Portland!”

Next, the parade’s organizers received an anonymous email warning that if “Trump supporters” and others who promote “hateful rhetoric” marched, “we will have two hundred or more people rush into the parade … and drag and push those people out.” When Portland police said they lacked the resources to provide adequate security, the organizers canceled the parade. It was a sign of things to come.

For progressives, Donald Trump is not just another Republican president. Seventy-six percent of Democrats, according to a Suffolk poll from last September, consider him a racist. Last March, according to a YouGov survey, 71 percent of Democrats agreed that his campaign contained “fascist undertones.” All of which raises a question that is likely to bedevil progressives for years to come: If you believe the president of the United States is leading a racist, fascist movement that threatens the rights, if not the lives, of vulnerable minorities, how far are you willing to go to stop it?

In Washington, D.C., the response to that question centers on how members of Congress can oppose Trump’s agenda, on how Democrats can retake the House of Representatives, and on how and when to push for impeachment. But in the country at large, some militant leftists are offering a very different answer. On Inauguration Day, a masked activist punched the white-supremacist leader Richard Spencer. In February, protesters violently disrupted UC Berkeley’s plans to host a speech by Milo Yiannopoulos, a former Breitbart.com editor. In March, protesters pushed and shoved the controversial conservative political scientist Charles Murray when he spoke at Middlebury College, in Vermont.

As far-flung as these incidents were, they have something crucial in common. Like the organizations that opposed the Multnomah County Republican Party’s participation in the 82nd Avenue of Roses Parade, these activists appear to be linked to a movement called “antifa,” which is short for antifascist or Anti-Fascist Action. The movement’s secrecy makes definitively cataloging its activities difficult, but this much is certain: Antifa’s power is growing. And how the rest of the activist left responds will help define its moral character in the Trump age.

Antifa traces its roots to the 1920s and ‘30s, when militant leftists battled fascists in the streets of Germany, Italy, and Spain. When fascism withered after World War II, antifa did too. But in the ‘70s and ‘80s, neo-Nazi skinheads began to infiltrate Britain’s punk scene. After the Berlin Wall fell, neo-Nazism also gained prominence in Germany. In response, a cadre of young leftists, including many anarchists and punk fans, revived the tradition of street-level antifascism.

In the late ‘80s, left-wing punk fans in the United States began following suit, though they initially called their groups Anti-Racist Action, on the theory that Americans would be more familiar with fighting racism than fascism. According to Mark Bray, the author of the forthcoming Antifa: The Anti-Fascist Handbook, these activists toured with popular alternative bands in the ‘90s, trying to ensure that neo-Nazis did not recruit their fans. In 2002, they disrupted a speech by the head of the World Church of the Creator, a white-supremacist group in Pennsylvania; 25 people were arrested in the resulting brawl.

By the 2000s, as the internet facilitated more transatlantic dialogue, some American activists had adopted the name antifa. But even on the militant left, the movement didn’t occupy the spotlight. To most left-wing activists during the Clinton, Bush, and Obama years, deregulated global capitalism seemed like a greater threat than fascism.

Trump has changed that. For antifa, the result has been explosive growth. According to NYC Antifa, the group’s Twitter following nearly quadrupled in the first three weeks of January alone. (By summer, it exceeded 15,000.) Trump’s rise has also bred a new sympathy for antifa among some on the mainstream left. “Suddenly,” noted the antifa-aligned journal It’s Going Down, “anarchists and antifa, who have been demonized and sidelined by the wider Left have been hearing from liberals and Leftists, ‘you’ve been right all along.’” An article in The Nation argued that “to call Trumpism fascist” is to realize that it is “not well combated or contained by standard liberal appeals to reason.” The radical left, it said, offers “practical and serious responses in this political moment.”

Those responses sometimes spill blood. Since antifa is heavily composed of anarchists, its activists place little faith in the state, which they consider complicit in fascism and racism. They prefer direct action: They pressure venues to deny white supremacists space to meet. They pressure employers to fire them and landlords to evict them. And when people they deem racists and fascists manage to assemble, antifa’s partisans try to break up their gatherings, including by force.

Such tactics have elicited substantial support from the mainstream left. When the masked antifa activist was filmed assaulting Spencer on Inauguration Day, another piece in The Nation described his punch as an act of “kinetic beauty.” Slate ran an approving article about a humorous piano ballad that glorified the assault. Twitter was inundated with viral versions of the video set to different songs, prompting the former Obama speechwriter Jon Favreau to tweet, “I don’t care how many different songs you set Richard Spencer being punched to, I’ll laugh at every one.”

The violence is not directed only at avowed racists like Spencer: In June of last year, demonstrators--at least some of whom were associated with antifa--punched and threw eggs at people exiting a Trump rally in San Jose, California. An article in It’s Going Down celebrated the “righteous beatings.”

Antifascists call such actions defensive. Hate speech against vulnerable minorities, they argue, leads to violence against vulnerable minorities. But Trump supporters and white nationalists see antifa’s attacks as an assault on their right to freely assemble, which they in turn seek to reassert. The result is a level of sustained political street warfare not seen in the U.S. since the 1960s. A few weeks after the attacks in San Jose, for instance, a white-supremacist leader announced that he would host a march in Sacramento to protest the attacks at Trump rallies. Anti-Fascist Action Sacramento called for a counterdemonstration; in the end, at least 10 people were stabbed.

A similar cycle has played out at UC Berkeley. In February, masked antifascists broke store windows and hurled Molotov cocktails and rocks at police during a rally against the planned speech by Yiannopoulos. After the university canceled the speech out of what it called “concern for public safety,” white nationalists announced a “March on Berkeley” in support of “free speech.” At that rally, a 41-year-old man named Kyle Chapman, who was wearing a baseball helmet, ski goggles, shin guards, and a mask, smashed an antifa activist over the head with a wooden post. Suddenly, Trump supporters had a viral video of their own. A far-right crowdfunding site soon raised more than $80,000 for Chapman’s legal defense. (In January, the same site had offered a substantial reward for the identity of the antifascist who had punched Spencer.) A politicized fight culture is emerging, fueled by cheerleaders on both sides. As James Anderson, an editor at It’s Going Down, told Vice, “This s--t is fun.”

Portland offers perhaps the clearest glimpse of where all of this can lead. The Pacific Northwest has long attracted white supremacists, who have seen it as a haven from America’s multiracial East and South. In 1857, Oregon (then a federal territory) banned African Americans from living there. By the 1920s, it boasted the highest Ku Klux Klan membership rate of any state.

In 1988, neo-Nazis in Portland killed an Ethiopian immigrant with a baseball bat. Shortly thereafter, notes Alex Reid Ross, a lecturer at Portland State University and the author of Against the Fascist Creep, anti-Nazi skinheads formed a chapter of Skinheads Against Racial Prejudice. Before long, the city also had an Anti-Racist Action group.

Now, in the Trump era, Portland has become a bastion of antifascist militancy. Masked protesters smashed store windows during multiday demonstrations following Trump’s election. In early April, antifa activists threw smoke bombs into a “Rally for Trump and Freedom” in the Portland suburb of Vancouver, Washington. A local paper said the ensuing melee resembled a mosh pit.

When antifascists forced the cancellation of the 82nd Avenue of Roses Parade, Trump supporters responded with a “March for Free Speech.” Among those who attended was Jeremy Christian, a burly ex-con draped in an American flag, who uttered racial slurs and made Nazi salutes. A few weeks later, on May 25, a man believed to be Christian was filmed calling antifa “a bunch of punk bitches.”

The next day, Christian boarded a light-rail train and began yelling that “colored people” were ruining the city. He fixed his attention on two teenage girls, one African American and the other wearing a hijab, and told them “to go back to Saudi Arabia” or “kill themselves.” As the girls retreated to the back of the train, three men interposed themselves between Christian and his targets. “Please,” one said, “get off this train.” Christian stabbed all three. One bled to death on the train. One was declared dead at a local hospital. One survived.

The cycle continued. Nine days after the attack, on June 4, Trump supporters hosted another Portland rally, this one featuring Chapman, who had gained fame with his assault on the antifascist in Berkeley. Antifa activists threw bricks until the police dispersed them with stun grenades and tear gas.

What’s eroding in Portland is the quality Max Weber considered essential to a functioning state: a monopoly on legitimate violence. As members of a largely anarchist movement, antifascists don’t want the government to stop white supremacists from gathering. They want to do so themselves, rendering the government impotent. With help from other left-wing activists, they’re already having some success at disrupting government. Demonstrators have interrupted so many city-council meetings that in February, the council met behind locked doors. In February and March, activists protesting police violence and the city’s investments in the Dakota Access Pipeline hounded Mayor Ted Wheeler so persistently at his home that he took refuge in a hotel. The fateful email to parade organizers warned, “The police cannot stop us from shutting down roads.”

All of this fuels the fears of Trump supporters, who suspect that liberal bastions are refusing to protect their right to free speech. Joey Gibson, a Trump supporter who organized the June 4 Portland rally, told me that his “biggest pet peeve is when mayors have police stand down … They don’t want conservatives to be coming together and speaking.” To provide security at the rally, Gibson brought in a far-right militia called the Oath Keepers. In late June, James Buchal, the chair of the Multnomah County Republican Party, announced that it too would use militia members for security, because “volunteers don’t feel safe on the streets of Portland.”

Antifa believes it is pursuing the opposite of authoritarianism. Many of its activists oppose the very notion of a centralized state. But in the name of protecting the vulnerable, antifascists have granted themselves the authority to decide which Americans may publicly assemble and which may not. That authority rests on no democratic foundation. Unlike the politicians they revile, the men and women of antifa cannot be voted out of office. Generally, they don’t even disclose their names.

Antifa’s perceived legitimacy is inversely correlated with the government’s. Which is why, in the Trump era, the movement is growing like never before. As the president derides and subverts liberal-democratic norms, progressives face a choice. They can recommit to the rules of fair play, and try to limit the president’s corrosive effect, though they will often fail. Or they can, in revulsion or fear or righteous rage, try to deny racists and Trump supporters their political rights. From Middlebury to Berkeley to Portland, the latter approach is on the rise, especially among young people.

Revulsion, fear, and rage are understandable. But one thing is clear. The people preventing Republicans from safely assembling on the streets of Portland may consider themselves fierce opponents of the authoritarianism growing on the American right. In truth, however, they are its unlikeliest allies.

[onestowatch]

The 7 Best Emerging Bands From Bottlerock Napa Valley Festival [POLAROIDS + Q&A’s]

There are so many music festivals these days that your eyes are bound roll back into your head when you read a lineup flyer announcement. As a lover of rock music, Bottlerock had a particularly great mixture of bands from emerging to headliners and everything in between. If you are a fan of all the off-shoot genres of rock--from folk rock, to alt rock, to pop rock--then Bottlerock was the place to be.

Other festival highlights included: The JamPad, a sponsored tent for all attendees where artists like Gavin Degraw and Judah and the Lion played short acoustic sets for smaller groups of fans; a culinary stage where band members like Green Day’s Mike Dirnt discussed his Oakland Coffee Company; and even a limited edition Foo Fighters wine by Blackbird Vineyards. The VIP area featured acoustic sets by Fitz and The Tantrums, and the main stage included emerging acts like The Helmets--a rock band of 12-year-olds whose bass player is the son of Metallica bass player, Robert Trujillo.

Bottlerock is one of the most exciting places to find emerging bands, hear your faves like Maroon 5, and keep your mouth full of delicious Napa area restaurants and wines all at once. According to Dave Graham, CEO of Latitude 38 Entertainment who helps to choose the line-up, “Our challenge is to create a lineup that appeals to a large demographic and spans a variety of genres. From our headliners to our emerging acts, we are proud that people of all ages can attend together and not only hear long time favorites, but can discover new bands that have a wide appeal. It makes for one of the most diverse lineups in the festival industry."

Besides the one major scheduling fail--the fact that The Roots’ set time was at the exact same time as The Foo Fighters--the festival lineup was one of the best this year. Below, we’ve interviewed some of the best of the emerging acts that appeared at Bottlerock: Saint Mesa, Corey Harper, SWMRS, The Heydaze, James Hersey, Hippo Campus, and A R I Z O N A.

-------------------

Saint Mesa

Saint Mesa’s sound, at least on paper, is described as “alt pop”--but just one listen to “Jungle” and “Beads” will have you questioning if there is an actual genre that Danny McCook, A.K.A. Saint Mesa, fits into. With influences all the way from Childish Gambino to the Backstreet Boys, Danny’s sound is anything but generic. His fashion is just as much part of his performance as his music, as you may confuse him with a young Johnny Depp who rolled around in a whole bunch of Gucci and then showed up to sing you songs. With a new single called “Maderas” dropping today, Saint Mesa is a live performer you don’t want to miss should you have the chance to see him.

Describe your genre.

Danny: The stuff that I'm writing leans more toward experimental pop—it’s got pop roots, but then the writing and production is more experimental-inspired. I’m just trying to establish who I am sonically, but maintain an identity lyrically and tonally.

Name your musical Influences.

Danny: I've been listening to really random references, Backstreet Boys—the Millennium album or whatever. It goes hard. What's really cool about it is they were starting to discover the extent you can go with digital recording, so everything is isolated and made perfect. It's fun to pull influences from things that are not within my genre.

What is your ultimate music festival lineup?

Danny: I would've loved to have seen Coldplay like five years ago. I've also never seen Radiohead live.

What’s next?

Danny: I've written like 30 songs, so probably an album. I have a single coming out on June 2nd, “Maderas,” a song that I wrote when I took a writing trip out to Nicaragua for a couple weeks. The area was called Maderas.”  

For more on Saint Mesa:

www.saintmesa.com

www.facebook.com/saintmesamusic

www.instagram.com/saintmesamusic

www.twitter.com/saintmesamusic

https://open.spotify.com/artist/0e2fMEJlAuBo3iYh118cKI

Corey Harper

At first listen, you may actually confuse Corey Harper’s perfect tone and pitch for a young John Mayer. When you see him, you may question if he’s actually John Mayer’s younger brother and then after talking to him, you’ll realize that Corey is the more charming, hilarious, sarcastic, better-looking rock star that John Mayer probably wishes he was. Though Corey gives off those California surfer vibes with both his music and his sun-kissed hair, Corey is originally from Portland, Oregon—claiming that all the references about California in his music are due to being in Portland and wishing it would stop raining. Also, the simple fact that “California is a great word. It has great cadence.” He adds, “Have you ever said it like a lot of times?” After hearing a sneak peak of an unreleased song called “No Good Alone” via Corey’s iPhone, rest assured that more of those California vibe-y acoustics are on their way.

Describe your genre.

Corey: It's like going to a house party, and your friend hands you the AUX chord in the Uber on the way, and there's a girl there that you kind of kissed once and you're kind of excited to see her but you only kissed weirdly once. That's the genre.

What are your thoughts on being called “John Mayer’s younger brother?”

Corey: I'm alright with it because I know he felt the same way about Stevie Ray, and so it's kind of a natural thing to be idolizing someone and to want to do their music so bad that you want to get on the same kind of wavelengths as them. And then you fail, because you can't be them. You can't do what they do, but you can try to put yourself together in a way that's going to represent the style that they were inspired by, and then your failure at trying to sound like that becomes your own style.

What’s an interesting fact about you and your music?

Corey: I was too scared to play in front of anyone, so I didn't play for anyone until I was 19. No one knew I played guitar. I played soccer and I surfed. Everyone thought I was going to be a pro surfer, even though I suck at surfing. I've put in a lot of work, hit the grindstone and been humbled a lot of times [with music]. Having moments like playing the main stage at BottleRock and then moments like, sometimes I go home and play by myself and I can't even figure out a simple chord progression.

What is your fave music festival memory?

Corey: I think seeing my mom in the crowd yesterday [at Sasquatch]. I was pretty emotional about it. But seeing her in the audience wearing a Corey Harper merch t-shirt with my brother jumping up and down. [At Bottlerock], it was a bunch of different kind of moments for me. For that 45 minute moment, it all comes together and exists as a frequency out to the crowd. It's like your mind and your instrument are all kind of working together, and it creates a really cool memory for people.

What’s next?

Corey: I’m doing another tour in the south with New Belgium. Florida, New Orleans, St. Petersburg, Atlanta, Dallas, Austin and Bonnaroo.

For more on Corey Harper:

http://www.coreyharpermusic.com/

Instagram| Facebook | Twitter | YouTube | SoundCloud

https://open.spotify.com/artist/24Bq9F6DJfzTaqgmoxT5vm

SWMRS  

Being a rock star who is the child of a rock star may always carry the comparison between kin and parent--but luckily for SWMRS, it works in their favor. If you happen to have been a pop-punk fan in the Blink 182 and Green Day heyday, then SWMRS will definitely be your jam. Drummer Joey Armstrong is the son of Green Day frontman Billie Joe, and lead singer Cole Becker, guitarist Max Becker, and bassist Sebastian Mueller have known Billie for years, and will even be joining Green Day on tour later this summer. But these guys aren’t riding on anyone’s coat tails, that’s for sure--just check out their LP, Drive North, recently re-released on the Fueled By Ramen label.

Why did you decide to re-release Drive North instead of releasing new music?

Seb: There was still life on that album.

Cole: I think we'd only been touring it like six months before we got talking to Fueled By [Ramen] and decided to re-release. People put so many albums out, and it's not like all that music just has a life of a year and it should be forgotten and overshadowed by something else.

Describe what it’s like to see you play live?  

Seb: We like to hit people with a wall of power and fucking energy; the thing that makes it interesting for us is the crowd. It's so much about the symbiosis and the energy flow between the stage and the crowd for us. It's all about getting to know the crowd and getting them to fucking react.

What are the rules for a SWMRS mosh pit?

Seb: No need to be overly aggressive. Mosh pits are about pushing around and having fun and jumping. It's almost like being a little community. But then you get people that just take their aggression out in the mosh pits.

Cole: The problem is we're middle ground between hardcore kids and pop punk.

Seb: What people have to realize is you can't just crowd kill at a show like that because it's diminishing the experience for everyone else.

What other bands would you have at your own festival?

Cole: We do have our own festival, it's called Uncool Fest. And we do two different iterations of it; we do the festival, and we have Uncool Halloween, which is a Halloween party. I would really like to have some young bands headline, to get our friends’ bands, that's what it's all about: PartyBaby, No Parents, Bleached, Bully would be sick. White Reaper. Twin Peaks.”

Who would be the ultimate festival pop-in collab with SWMRS?

Cole: Kendrick Lamar. Like realistically if we could get to a point where we could co-headline with Kendrick Lamar, that would be sick.

What’s next?

Cole: A long time ago [we played as] Emily's Army and opened for Blink 182, for their ten year anniversary. This tour [will be the] first time since then. I'm hyped! It will be cool [opening for Green Day at Hyde Park]; we waited a really long time because we already have a lot of people who draw the comparison. We've always wanted to play with Billie, and we love playing music with him. We've been waiting a long time until we have our own lane of success that we've carved out for ourselves.

For more on SWMRS:

https://www.facebook.com/SWMRS/

https://twitter.com/swmrs

https://www.instagram.com/swmrs/

https://www.youtube.com/swmrs

https://itunes.apple.com/us/album/drive-north/id1162309921

https://open.spotify.com/artist/7dLkuQHF2ijbK6jiLFyIWM

The Heydaze

The Heydaze started as a group of friends playing together in college, as most bands do--but these guys take comradery to the next level. Just try to have a conversation with them, and you’ll realize these dudes are more like brothers-- but just as the level of understood sarcasm is high, so is the talent. While their two current singles, “Hurt Like Hell” and “New Religion,” sound vibe-y on the recording, expect a more amped up rock show at a live performance. Lead singer Jesse Fink will bring you the younger Adam Levine and Gavin Degraw vibes with his performance and vocals, but he isn’t afraid to share the spotlight with bassist Alexander Glantz--dubbed the “king of mashups” amongst the band--who will take over lead vocals for a song or two.

Describe your genre.

Jesse: We go back and forth between rocky and poppy and acoustic--we are kind of a mix between all of those so you're going to see things all over the board.

Tyler: Soulful, anthemic rock music, with a poppy flair.

Alexander: It'll fuck you right up, and it'll fuck you right back down.

Describe what seeing you live is like?

Andrew: I think just end of the day we want to get everyone moving. You only get 40 minutes--and we're gonna give it everything we got. It's a little heavier than the recorded version, so even the way we play “Hurt Like Hell” live is rockier, because we want to bring that energy.

What made you decide to do live mashups and have other band mates sing?

Alexander: We like to catch people off guard and keep them on their toes--just get them going a little bit. We like to throw a few curve balls in the set just to throw people off. We change up what song it is.

Jesse: Stay tuned for Tyler hopping on the mic.

Tyler: Today was a drum solo — next time, an opera solo.

What is your favorite music festival memory?

Alexander: Best festival memory was at Hangout Fest. We got locked in a tent because there was a storm--I can't tell you what happened next but we might tell you when you're all grown up.

Jessie: It's unforgivable.

Tyler:  We did unspeakable things, but we survived.

What’s next?

Jesse: We have been spending time in the studio writing for the last year and a half or so--our plan is to record all summer, and be back on the road this fall.

For more on The Heydaze:

Official Website | Facebook | Instagram | Twitter

https://open.spotify.com/artist/5UWH3rIlO4qbXk6PMFZEbP

James Hersey

Multi-talented singer, musician, songwriter, and producer James Hersey hails from Vienna, Austria, and his influences range all the way from jazz guitar to punk band Flogging Molly. In fact, he used to hang out with Flogging Molly at the age of sixteen when he accidentally ran into them at one of his favorite hang outs. “I pulled out my journal. I was like, ‘Look, this is the cover I'm working on right now of you guys.’ They fell in love and they invited me to every show they did in Vienna.”

Perhaps that was his first foray into collabs--since he’s now known for his 129 million streams with “Coming Over,” a collab alongside EDM musician Dillon Francis, with other versions by Kygo and Filous. His live performance features a combination of live musicians and live looping, but you can always expect stellar lyrics no matter what the production is--as his songs often start as poems. With his new EP Pages out, James jokes that his future EP may be called Chapters, and a subsequent album may be called Book of James. For now, you’ll have to spin Pages on repeat until later this year, when James plans to release his second EP.

Describe your genre.

James: It's like a progressive singer-songwriter--like modern folk because it's really folk songs. It's folk songs in the way that I structure everything; I love to produce as well and keep it up-to-date.

What were your thoughts on hearing the Dillon Francis version of “Coming Over?”

James: I like how those guys approach the track. They added a whole new part to it that sounded really big, and that opened a lot of doors for me. I come from Vienna, Austria. There's no real industry there, and yet I've played Coachella twice with that song. Closing the stage with Dillon Francis and with Kygo two years before. When I'm at a party, I don't put on my original.”

How does it feel to have millions of spins with one of your first singles?

James: What it means to me is just that people love to listen to the song. When Spotify hits us up they're like, "It's unbelievable how low your click through rate is. They can see all the statistics, people skipping the song. Nobody skips that song, because they want to hear it--it's great that people love my writing.”

How do you go about writing your songs?

James: I studied jazz guitar for two years, and I learned really to improvise. The first instances don't have lyrics. I'm just sitting there like looking for what fits in--bopping and scatting. First, I find out what's the vibe of the song, what's the vibe of the instrumental, and then start writing lyrics. The song “Pages” from the EP was a poem, that I turned into a song.

What’s next?  

James: I just was working on some songs today, testing them out [at BottleRock] and seeing how people react. I wrote another EP that I'm going to release this year. Instead of doing one album, I wanted to do two EPs this year. I'm doing an album next year. I've written eight new songs, and something like five or six will go on the next EP. It’s all about lyrical aesthetic for me.

For more on James Hersey:

https://www.facebook.com/jamesherseymusic/

https://twitter.com/JamesHersey

www.jamesherseymusic.com/

https://www.instagram.com/jameshersey/

https://open.spotify.com/artist/0lzV2CiahHRiGd6qpADtPS

Hippo Campus  

The very essence of Hippo Campus is like seeing the music video for Green Day’s “Walking Contradiction:” on the surface, they seem like a group of stoner kids who can barely hold in their sarcastic jokes, but really they’re highly trained jazz musicians who draw from deep metaphors and scientific theories like “the halocline.” Their music is mellow and vibe-y on a sonic level, but punk rock lyrically--as many of their songs are often about not wanting to “grow up” in the ways society says it should be done. Their biggest hit currently is “Suicide Saturday,” a song which lead guitarist Nathan Stocker says is about “doing your own thing, not worrying about feeling obligated to hang out with people.”

While most of their antics during conversations come off like the friendship of a group of frat boys, their live performance includes heavily melodic guitars and vocals that will make you wonder just how these four made it through music conservatory school without getting kicked out.

How do you describe your sound?

Nathan: Personally, I would describe it as a “floundering about” of sound. An exploration in the way that we do things, in the way that we operate. Both as individuals and in a relationship to each other in a band.

How would you describe your live performance?

Zach:  I know I have fun and all of these guys have fun. I've heard the people in the audience have fun. No substantial proof that this is in any way true…

If there was a Hippo Campus wine or drink at a festival, what would it be?

Jake: Mezcal. But we don't drink before shows.

Nathan: Tequila. After the show, we drink copious amounts of alcohol.

Jake: Playing drunk is not that great for anybody.

What would be your ultimate music festival line-up?

Nathan: Elephant Revival would be fun. The New Pornographers, Star Fucker, Stars, they're great.

Whistler: We wouldn't collectively have the same choices.

Since the fest has them scheduled at the same time, who would you choose: Foo Fighters or The Roots?

Zach: A thousand times, The Roots.

What’s next?

Nathan: I'm trying to buy a car.

Zach: I'm trying to buy a house.

Jake: I'm going to Disneyland. 

We're playing some festivals this summer, then in October we're going over to Europe and we're gonna play a bunch of shows over there.

Nathan:“We're currently writing, trying to experiment with where we want to be at when the time comes for recording.

For more on Hippo Campus:

Website | Facebook | Twitter | YouTube | Instagram

Tour dates: http://hippocampusband.com/shows/

https://open.spotify.com/artist/1btWGBz4Uu1HozTwb2Lm8A

A R I Z O N A

Originally a group of three producer friends from New Jersey, A R I Z O N A joked about becoming their own band--but the jokes on them, because according to their 9.5 million monthly visitors on Spotify, they’re apparently a really good band. Their debut album GALLERY was released earlier this year, and is literally a hook-filled jam fest with songs like “Electric Touch” and “Where I Want To Be”--just try to listen to one of their singles and NOT sing along. Though their album sounds pretty heavily produced with some cool synths and sounds, you can rely on their live show to be more of a loud, rock n’ roll, face-melting experience where sometimes the fans even start a mosh pit. These guys can go anywhere from acoustic to electric and everywhere in between, and they are no doubt a band you should experience both streaming and live to enjoy the extent of their talents.

Tell us a funny story about being on tour.

Zac: New York's like a hometown for us, and we were going into that show with zero merch. We were completely out of shirts, and we were like, "How are we gonna go to a show with no merch?" So we went to Chinatown that morning and had a [bunch] embroidered.

Who were you most excited about seeing at BottleRock?

Nate: I went to go check out Modest Mouse. It was cool seeing Modest Mouse play the stage we played on. Modest Mouse is a band I've been listening to forever.

Zac: There's no way I'm leaving before Foo Fighters.

Since The Roots and The Foo Fighters are set to play at the same time on different stages, who are you gonna go see?

Zac: It's a sick joke. I'm torn, I might bounce back and forth…

Describe what seeing you live is like.

Zac: It starts with unicorns, and it ends with fireworks and rainbows. It's interesting--a lot of people know us just from the studio records. I think most flattering things that people have come up to us and said after the show has be like, “Man, you guys sound better than your studio records." We want to make sure that live, when we play it, it feels like you're at a concert, that you're seeing a band. So, lots of headbanging.

Who would be your ultimate festival surprise pop-up collab to perform a song with you?

David: Kenny Loggins on the first song.

Zac: Because we're from New Jersey, we love Jersey artists, so one of the jokes we always make is to have a Jersey show with us and Bleachers and Fetty Wap and all the Jersey cats.

What’s next?

Zac: We're finishing up a tour with Coin right now, then we'll be opening for Andrew McMahon in The Wilderness in July, and in September, we're hitting up our own headliners. As tour starts to wind down, I don't think we're going to be wasting any time with getting back into creating cool visuals because we do all of our own visuals. Also jumping right back into the writing process; album two's got to get done.

For More on A R I Z O N A:

thisisarizonamusic.com

twitter.com/arizona_music

facebook.com/thisisarizonamusic

instagram.com/thisisarizonamusic

https://atlantic.lnk.to/galleryPR

https://open.spotify.com/artist/7hOGhpa8RMSuDOWntGIAJt