How Post Malone Helped Redefine Pop Stardom for a New Decade

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Back when he was still attending high school and bumming it part-time at the Chicken Express, Austin Richard Post was voted “Most Likely to Become Famous” by his classmates. Three years and countless tragic hairstyles later, those same classmates — and millions of other listeners — were telling him “Congratulations.” That’s something to think about as that same artist now plays to thousands a night across the country while on his nearly year-long “Runaway Tour.”

(Buy: Tickets to Upcoming Post Malone Shows)

It didn’t take Post Malone long to become a burgeoning hip-hop star once he uploaded his first single, “White Iverson”, to SoundCloud in February 2015 at the age of 19. He released an accompanying music video in July; within a month, it had amassed more than a million views, and Post signed with Republic Records in August. Star-studded collaborations — including a feature on Kanye West’s The Life of Pablo track “Fade” — and an opening slot on Justin Bieber’s Purpose Tour followed, and by the time he released his debut album, Stoney, in December 2016, Post Malone had arguably become rap’s hottest newcomer. The trap-pop-country hybrid debuted at No. 6 on the Billboard 200, peaking at No. 4 and spawning the diamond-certified single “Congratulations”. It ranked seventh on Billboard’s 2017 year-end chart, eighth in 2018, 24th in 2019, and sixth for the decade, earning a triple-platinum certification from the RIAA.

Most pop artists dream of achieving Stoney’s level of success, but it was just the tip of the iceberg for Posty. His 2018 follow-up, beerbongs & bentleys, granted the rapper his first No. 1 album, smashing streaming records and yielding the chart-topping singles “Rockstar” and “Psycho”. Last year’s Hollywood’s Bleeding extended his No. 1 streak, earning the second-biggest debut of the year behind Taylor Swift’s Lover. But Hollywood’s Bleeding won the long game, beating out Swift, Billie Eilish, and Ariana Grande to become the best-selling album of 2019.

In less than five years, Post Malone has graduated from a sentient composite of Keystone Light, Cheeto dust, and Call of Duty discs to the second-biggest rapper in the world behind Drake. On one hand, he defied nearly every aesthetic standard set by major-label pop stars at the beginning of the 2010s. Yet, by blending seemingly disparate musical genres into a sugary cocktail of algorithmic pop-rap and releasing his early music without a middleman, Post also helped redefine the modern-day pop star and set a template that will likely endure throughout the following decade.

Part of Post Malone’s early appeal came from his apparent lack of interest in the machinations of the pop music industry. Consider some of the biggest pop and mainstream rap albums of the early 2010s: Katy Perry’s Teenage Dream, Lady Gaga’s Born this Way, Kanye West’s My Beautiful Dark Twisted Fantasy, Taylor Swift’s Red. All received exhaustive, protracted rollouts with extensive interviews and methodical single releases. Their accompanying tours were multi-sensory spectacles, and their iconic visuals became integral components of their overall presentations.

In the beginning, Post Malone couldn’t be bothered with such pristine packaging. He looked like a Lambda Chi pledge who woke up with weed resin on his Rebelution shirt, and his boneheaded bangers made the perfect soundtrack to the previous night’s keg stands. By uploading his music straight to SoundCloud, he avoided major-label red tape and communicated directly with his fans, a strategy later employed by emo- and punk-rap transgressors such as Lil Peep, XXXTentacion, and Tekashi 6ix9ine, all pillars of the “SoundCloud rap” micro-movement. Post’s willingness to communicate with fans as a regular person also translated to Twitter and Snapchat, where the rapper got in on the puns regarding his name and implored fans to “leave me Malone.” These days, artists can harness social media platforms such as Twitter and, increasingly, TikTok to catapult their songs to viral fame, straddling the line between professional musician and part-time shitposter alongside their fans.

Leave Me Malone Mug How Post Malone Helped Redefine Pop Stardom for a New Decade

(Buy: Tickets to Upcoming Post Malone Shows)

Yet, if Post Malone’s self-promotional tools and aesthetic informality were signs of a shift in pop music’s core values, his songs followed a time-honored tradition: appropriating black music and making it more “palatable” for listeners who would otherwise never engage with hip-hop. Despite his supernatural knack for a good hook, Post Malone is not a particularly gifted rapper, nor has he professed to be. Even during his Stoney days, Post expressed a desire not to be pigeonholed as a rapper; according to XXL Editor-in-Chief Vanessa Satten, he did not appear on the 2016 Freshman cover because “we were told by his camp that he wasn’t paying attention to hip-hop so much. He was going in more of a rock/pop/country direction.”

Indeed, Post has displayed a penchant for genre-hopping in his music, from the grungy alt-pop of “Circles” to the aggro-rock anthem “Take What You Want”, which inexplicably features Ozzy Osbourne and Travis Scott. But that proud genre agnosticism belies an unwillingness to fully embrace the genre that made him a superstar. In 2017, he told Polish publication NewOnce, “If you’re looking for lyrics, if you’re looking to cry, if you’re looking to think about life, don’t listen to hip-hop … Whenever I want to cry, whenever I want to sit down and have a nice cry, I’ll listen to some Bob Dylan.” Unsurprisingly, his statements earned swift backlash, and they did nothing to quell accusations that Post was a “culture vulture” who exploited hip-hop for personal gain but would drop it in a heartbeat — much like Miley Cyrus pilfered southern hip-hop and black dance trends on 2013’s Bangerz, only to return to her lily-white country roots on 2017’s Malibu and disavow hip-hop in a Billboard interview the same year.

Post later walked back his comments and emphasized his love for hip-hop. But even if the “culture vulture” designation is harsh, it’s fair to say he’s a musical tourist, touching down in a variety of different musical landscapes, snatching souvenirs, and incorporating them into his own work. He’s not alone: Several contemporary rappers have borrowed from the sound and aesthetic of rock and metal in recent years, from mosh pit grandmaster Travis Scott to Marilyn Manson fanboy Lil Uzi Vert to late emo crooner Juice WRLD. Meanwhile, pop stars continue to sing triumphant vocal hooks over explosive trap beats to maximum effect, from Ariana Grande to Billie Eilish to Halsey to BTS.

As a new decade dawns and social media renders old-fashioned industry gatekeepers obsolete, pop stars will continue flaunting their genre eclecticism to reflect the multidimensional tastes of themselves and their fans. As always, some attempts will be genuine, while others will be bald-faced theft of a music and culture those artists cannot claim as their own. Post Malone has already ridden this wave to incredible heights, and his peak is likely still on the horizon — as long as he lets his music do the talking.

Tickets to Grammy-nominated Post Malone shows can be found here.

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Taylor Swift: ‘Self-hatred sent me into a year of hiding’

Taylor Swift has discussed the self-hatred and unbearable trolling that forced her to go into hiding for a year.

The singer-songwriter is the subject of the new Netflix documentary, Miss Americana, which follows her over the course of several years of her career, documenting her personal and professional successes and hardships.

Throughout the movie, Taylor speaks about her efforts to shed her “nice girl” image from her early years as a country music artist, and choosing to finally state her political views publicly.

“Throughout my whole career, label executives would say, ‘A nice girl doesn’t force her opinions on people,'” the 30-year-old said in footage from the film. “‘A nice girl smiles and waves and says thank you.'”

She added: “I became the person everyone wanted me to be.”

After a string of high-profile spats with celebrities including Katy Perry, Kim Kardashian, and Kanye West, however, the ME! hitmaker went into hiding, admitting, “No one physically saw me for a year.”

While Taylor admitted she did “what I thought they wanted,” she revealed taking time out forced her to “deconstruct an entire belief system” as she figured out who she really was, realising she wanted to be independent and vocal.

Shortly afterwards, the star came out in support of former Democratic Party presidential candidate Hillary Clinton in the 2018 midterm election, having never spoken about politics before, because she wanted to “be on the right side of history”.

“I feel really good about not being muzzled any more,” she commented. “And it was my own doing.”

Taylor has gone on to speak publicly about various issues, urging fans to vote for the Democratic Party in the 2020 U.S. presidential election and slamming record executive Scooter Braun’s acquisition of the masters to her first six albums.

ROSALÍA Shares Video for New Song “Juro Que”: Watch

ROSALÍA has released a music video for a new single called “Juro Que” (which translates to “I Swear That” in English). The video, directed by Tanu Muino, co-stars Spanish actor Omar Ayuso (of the Netflix series Elite), who plays ROSALÍA’s imprisoned boyfriend. Watch below.

ROSALÍA is nominated for two awards at the 2020 Grammys, which take place this Sunday night, January 26. She’s up for Best New Artist and Best Latin Rock, Urban or Alternative Album.

Check out Pitchfork’s “The 200 Best Albums of the 2010s,” featuring EL MAL QUERER at No. 36.

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TV Review: Star Trek: Picard Needs More Than Patrick Stewart To Truly Engage

The Pitch: Fourteen years after 2002’s Star Trek: Nemesis (aka the furthest in Trek’s timeline we’ve been to date), the utopian dream of the Federation isn’t quite what it used to be. After the destruction of Romulus by a freak supernova created a refugee crisis no one wanted to handle, and a terror attack by ‘rogue synths’ on Mars left the planet a burning husk, Starfleet has grown cold and isolationist. It’s what led Jean-Luc Picard (Patrick Stewart) to resign his commission, holing up at his family’s vineyard in La Barre, France to live out the rest of his days with the grapes, some grateful Romulan emigres, and his prized pitbull (whom he names Number One, of course). He’s grumpy, resentful, and still in mourning of his dear friend Data.

But just when he thought he was out, events pull him back onto the intergalactic stage: he’s approached by Dahj (Isa Briones), a mysterious young girl with a target on her back and superhuman fighting abilities that activate at the drop of a hat. Without the help of a corrupted and cynical Starfleet, Picard has no choice but to assemble a small crew of his own (Allison Pill, Michelle Hurd, Santiago Cabrera) to solve the mystery of who Dahj is, where she comes from, and how she might be connected to a crew of Romulan scientists researching a dead Borg cube.

Be the Captain They Remember: Whatever you may think of the show as a whole, Star Trek: Picard is here for one reason only — to get Patrick Stewart back in the pajamas and pips of his most iconic role — and on that front, it delivers mightily. It may have been nearly twenty years since Stewart last played the part, but he eases back into Picard with all the confidence and sophistication that comes with an actor of his caliber.

He’s not an action hero, but a world-weary diplomat and investigator, an old man dusting off his combadge for one last ride. He’s feebler; his voice, once a powerful, reedy tenor, squeaks to be heard through the gravel of age. Years of resentments and burned bridges, however ill-intentioned, have left him a pariah from the very organization he swore his life to, not to mention some of his closest friends.

But even through the weariness of time (and a troubling medical prognosis), Picard’s moral compass still points true, and Stewart plays him with all the noble fragility of a good man dedicated to doing the right thing until his body will no longer let him. It’s a stellar showcase for the actor, and whenever Picard crackle with the energy of its forebears, it’s when Stewart’s on screen.

Starflexit: It’s a good, thing, too, because the Federation of Star Trek: Picard has lost its course in ways that parallel the tumult of the last few years. “I never dreamed that Starfleet would give in to intolerance and fear,” laments Jean-Luc about the cold shoulder the Federation has extended to the now-homeless Romulans; it’s a sentiment many of us in America and Europe have shared about the recent rise of far-right nationalism. At its core, Picard hopes to explore the looming specter of Brexit and “America First” rhetoric.

As well-intentioned as that is, however, too much of Picard‘s story devolves into 24-like conspiracy thriller pablum that undercuts its more progressive points. From the first episode, Picard peeks into a complicated web of organizations competing over Dahj and the mysterious Borg research she may be tangentially connected to, from secret Romulan spy cabals to corrupt Starfleet admirals in the enemy’s pocket. There are all kinds of convoluted deep-state, ‘9/11 was an inside job’ level twists that might grasp at relevancy, but veer dangerously close to Star Trek Into Darkness territory.

Make It So-So: It’s when Picard falls outside the purview of its namesake that it suffers, most notably in the supporting cast. Granted, the three episodes provided to critics only chart the beginning of Jean-Luc’s journey, and we’ve yet to see the much-vaunted return of many of the trailer-teased cast members like Jonathan Frakes, Marina Sirtis and Jeri Ryan.

But apart from Picard’s vineyard staff/wry Garak-like former spymasters Laris (Orla Brady) and Zhaban (Jamie McShane), few of the new cast make a huge impression. Briones gets little to do but River Tam ass-kicking and wide-eyed sleepwalking through the plot, while the normally-great Alison Pill is wasted as a neurotic robot scientist who begs herself onto Picard’s crew. Hurd and Cabrera have potential as, respectively, one of Picard’s old spurned Starfleet friends and a nihilist starship captain with a crew of identical holograms (each with their own ridiculous accent). But so far, only Stewart has the ability to elevate Michael Chabon, Alex Kurtzman, and the writing staff’s clunky, obvious dialogue.

The Verdict: It’s hard to judge an entire season of television off its opening act, but so far, Star Trek: Picard is off to a fine, if not engaging, start. There’s a lot of potential here — Stewart’s triumphant return as Picard, some interesting sociopolitical wrinkles — that’s let down by some convoluted plotting and cringeworthy dialogue. The moment is perfect to turn Trek’s eye inward to the failings of the Federation, especially one that abandons its principles and foregoes responsibility to the others in the galaxy; to tie that into a rollicking last hurrah for science fiction’s greatest adherent to moral principles is an even more inspired idea. It just needs to lose the fat and cut to the chase quickly, or else this one will stall before it can even get out of Spacedock.

Where’s It Playing? Star Trek: Picard puts on a kettle of Earl Grey before lecturing you about geopolitics on CBS All Access Thursdays at 6 PM EST.


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Post Malone and Mark Wahlberg brawl in Spenser Confidential trailer: Watch

Netflix has shared the official trailer for its new action-comedy Spenser Confidential, which boasts a star-studded cast of Mark Wahlberg, Marc Maron, Winston Duke, Alan Arkin, and… Post Malone.

The video opens with a messy prison brawl between a character named Spenser (Wahlberg) and a rowdy crew headed up by Posty. As the trailer unfolds, we learn that Spenser, an ex-cop, is about to be released from jail and intends to leave Boston for good. His plans become derailed, however, when his old boxing coach and mentor (Arkin) convinces him to help train a newbie named Hawk (Duke). Things go further awry after two of Spenser’s former colleagues are killed and he tasks himself with bringing the murderers to justice.

Murmurs of the Peter Berg-directed flick and its impressive cast started back in 2018. Inspired by Ace Atkins’ book, Robert B. Parker’s Wonderland, the film debuts on Netflix beginning March 6th.

(Read: The 50 Most Anticipated Movies of 2020)

Though Post Malone’s cameo in the trailer is brief, it still marks one of the first cinematic roles for the rapper. He isn’t dipping out of the music world, though; Posty is actually on tour right now in support of Hollywood’s Bleeding and you can grab concert tickets here.

Watch the full trailer below.

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Metallica mourning late bassist Cliff Burton’s father

Metallica has paid tribute to Ray Burton, the father of late bassist Cliff Burton, who has died at the age of 94.

Cliff, who performed on the band’s first three studio albums; Kill ‘Em All, Ride The Lightning, and Master Of Puppets, died at the age of 24 in a tour bus crash in Sweden while on the road with the band in 1986.

However, Ray continued to support the group, and joined them for their Rock and Roll Hall of Fame induction ceremony in 2009.

On Sunday, Ray’s daughter Connie Burton announced that her father had passed away last Wednesday, and on Sunday, the rockers posted their own tribute online.

“It is with incredible sorrow that we said farewell to Cliff’s dad Ray Burton last week,” their post reads. “For 38 years, we were lucky enough to have the energy, wisdom and light of Ray in our lives. His eternal youth with his drive, positivity and relentless smile were both incredibly powerful and stirringly honest.”

Current members James Hetfield, Lars Ulrich, Kirk Hammett, and Robert Trujillo went on to explain how Ray had followed them on tour around the world.

“From coast to coast and overseas too, Ray’s beaming face would regularly greet us, offering warmth and anchor to our travels, and when it came to the entire Metallica family, band, crew and fans, he viewed us all as his own,” they added.

Stating that Ray wouldn’t want them to stay upset, they concluded: “So, in honour of him, and the kind of man he was, we also want to truly celebrate the 94 years of life Ray gave everyone, knowing in certainty that a glint of his light, wisdom, and energy will always be with us all wherever we go. We love you Ray, rest in peace.”

Curb Your Enthusiasm’s 10 Most Cringeworthy Moments

Our Sultan of Shrivel, Our Czar of Can’t-Look-Away, Seinfeld creator Larry David returns with the 10th season of Curb Your Enthusiasm this Sunday. For nine seasons between 2000 and 2017, the man who perfected the weeknight sitcom in the ‘90s upped his own ante, taking harrowing discomfort to Herculean echelons Darren Aronofsky could only dream of. If you thought mother! was gruesome, try watching David explain a poorly landed affirmative-action joke to a dinner party full of black guests. Curb Your Enthusiasm took elements of mumblecore, Neil Hamburger, and postmodern anti-comedy, fusing them with Seinfeld’s borscht-belt humor, with David as its perfect conduit, the hapless, self-destructive schlemiel.

The series would’ve been nothing without its rich nuance, though; David genuinely cares for his once, former, and possibly future wife Cheryl, and they had plenty of tender flirtations even after his worst exercises of judgment. Even his occasionally lecherous manager Jeff Greene and his own foul-mouthed, Larry-hating chainsaw of a wife Susie brought profane slapstick to a household that had identifiable relationship elements if not plausible ones. But we’re not here to celebrate those aspects. We’re here to cringe, sigh, gape, perhaps even scream, at the deeply inadvisable and futile efforts of Larry David, a superhero who can leap from one problem to a much, much bigger one in a single bound. It’s a bird, it’s a plane, it’s … a man who respects wood.

Here are the 10 most jaw-dropping instances where our Bald Asshole turned a bad situation into a world-historical ballet of errors.

10. Saying and then not saying the N-word

From “The N Word”, Season Six, Episode Eight

Only with this show would a white protagonist uttering the N-word rank at only No. 10 on a list like this, and that’s due to a couple key factors. One, only the Trump presidency has been building to a moment like this for a longer time – when your uproarious rated-R comedy series gets to a sixth season, there are only so many ways you can still shock your audience. We’d been expecting this ever since Larry confessed in the very first season, “I tend to say stupid things to black people sometimes,” and taking in a displaced African-American family via Hurricane Katrina called the Blacks for the Season Six arc was basically circling the wagons.

And two, Larry was merely quoting a racist on his cell phone that he overheard in a hospital bathroom. As he repeatedly recounts the use of the most vilified slur in America to various acquaintances, the show, by this time, knows we know a black person is going to walk by at that exact second, which sets up the rest of the dominoes, i.e. hearing the word causes Jeff’s black surgeon to shave the manager’s head under duress and postpone the procedure. So, when the show flips the formula in a hearing at the end, where Larry is required to testify what he heard, the walls are instead closing in because he’s already seen the damage the word has done. In his head-shaking anxiety, you can feel the palpable fear in your own embarrassment for the schmuck.

09. Heckling Jeff and Susie’s daughter Sammi

From “The Hot Towel”, Season Seven, Episode Four

Once again, Curb Your Enthusiasm forces one to rewire the standards to which they order decency. For anyone else, scoffing and booing someone’s kid while they sing would be an unthinkable act of self-mortification. But it’s hardly the most damaging thing Larry’s done to a child, or even this particular child, Jeff and Susie’s daughter Sammi – let’s not forget how he inadvertently got her drunk and stole her dog in Season Three. But this is the rare Curb scene where you’re actually fantasizing about being in Larry’s shoes rather than him pilfering nightmare fuel from your deepest subconscious.

After all, wouldn’t you feel miffed if you bought someone a $300 gift certificate to a swanky restaurant, only to have it be overshadowed by your obnoxious friend trying to pass off their daughter’s bad singing as a “gift from the heart.” As such, each beat, from Larry loudly proclaiming, “This is the worst thing I’ve ever heard in my life,” to him prematurely interrupting the song and shutting it down altogether, and to the shocked faces of partygoers and Susie’s somewhat muted rage, is heart-racing for both better and worse.

Of course, no one’s sympathizing with him when he later screams, “Shut the fuck up!”, at the singing teen once again — in her own home, no less, where Susie really gives him what he deserves: “You heartless piece of shit!” And then, he gets his ass kicked.

08. Hoisting Himself On His Own Petard After Trying to Get Cheryl Back

From “Seinfeld”, Season Seven, Episode 10

The seventh season of Curb is a wet dream for Larry David supernerds because it’s a Seinfeld reunion, and it’s also terribly lenient on our leading man, with partner-in-crime Jerry Seinfeld soaking up some of his foibles with empathy and understanding that he only receives from Jeff, like, half the time. What’s more, his plot to try and get Cheryl back by including her in the reunion episode as George’s girlfriend actually looks like it’s working. In fact, just about everything seems to be going well for him finally, save for a minor scruple involving Mocha Joe (don’t ask) and Julia Louis-Dreyfus’ $500 side table (which he could replace without thinking). But, no one stops Larry quite like himself, and after another series of fortunate bones get tossed his way, including Cheryl showing up at his place, he still manages to lose her. Why? Because she doesn’t “respect wood.”

07. The Double Goodbye

From “Porno Gil”, Season One, Episode Three

Only three episodes in is where Curb found its calling as a spinner of anti-fantasies, putting Larry through the unthinkable: the faux pas of breaking a lamp at the party of someone you barely know and being asked to leave, then forced to return again to that murder scene because you left your expensive watch. Sure, maybe that wouldn’t be so horrifying on its own if it were you, but it’s Larry David, who wouldn’t take off his shoes in the house like the hosts requested, and gets chewed out loudly and thoroughly by the woman sweeping up the glass from the lamp.

Cheryl, of course, leaves him to his own devices, even though she wanted to leave the party most of all – the host, Gil (Bob Odenkirk) is a porn actor fond of recounting tales from on the job. Imagine telling someone you just disrespected twice in their own home, “My feet have a tendency to get a little chilly.” At the same time, the audience can feel that tiny silver of justified smarm in their anti-hero’s soft-spoken bullshit when Gil’s wife Melanie shrieks, “He’s psychotic, get him out of the house!”

06. Discussing a nine-year-old’s “pussy rash”

From “The Table Read”, Season Seven, Episode Nine

Do you honestly think Larry is getting out alive when an adolescent girl with a “rash on her pussy” won’t stop texting him? Jesus, Mary, and Joseph.

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Jhené Aiko Shares New Song “P*$$Y FAIRY (OTW)”: Listen

Jhené Aiko has shared a brand new song. It’s called “P*$$Y FAIRY (OTW).” The new single marks Aiko’s first track of the year, and it arrives with an accompanying music video, featuring Aiko and a partner performing a choreographed dance for the song. Check it out below via Def Jam.

In November of last year, Aiko and Big Sean teamed up for a track called “None of Your Concern.” Her last studio album was 2017’s Trip, but she’s released a handful of singles since, including “Triggered,” “Sativa” (with Rae Sremmurd), and more.

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Morrissey is set to play two shows in the UK this March

The former Smiths frontman has announced concerts at Leeds First Direct Arena on March 6, and The SSE Arena, Wembley in London on March 14, in support of his upcoming 13th solo record, ‘I Am Not a Dog On a Chain’.

The European run also sees the musician perform at the Palladium Cologne on March 9, and the Salle Pleyel in Paris on March 11.

The new tour dates come after the Mancunian released new single ‘Bobby, Don’t You Think They Know’ from his upcoming follow-up to 2019’s ‘California Son’.

Morrissey recruited Grammy-winning Motown star Thelma Houston for the epic duet, who said: “One of the biggest joys for me in this business is getting the opportunity to collaborate with other top artists.

“I love the challenge to see if what I do can work with what they’re doing. Sometimes it works, and sometimes it doesn’t.

“I think the blend of what Morrissey is singing and what I’m singing really works on ‘Bobby’.

“And it was a lot of fun working with M in the studio too!”

The ‘Mute Witness’ singer’s long-time producer, Joe Chicarelli, teased that the upcoming album, which is released via BMG on March 20, is “the boldest and most adventurous” record ever recorded by Morrissey.

He added: “I have now produced four studio albums for Morrissey.

“This is his boldest and most adventurous album yet.

“He has pushed the boundaries yet again – both musically and lyrically.

“And once again proving that as a songwriter and singer, he is in his own category. In truth, no one can be Morrissey but … Morrissey!”

The 60-year-old musician previously described the collection of tracks, recorded in Saint-Rémy-de-Provence in France, as: “The very best of me … too good to be true … too true to be good.”

BMG are also re-issuing remasters of several Morrissey records.

The planned re-releases – ‘Southpaw Grammar’, ‘Maladjusted’, ‘You Are The Quarry’, ‘Ringleader of the Tormentors’, ‘Years of Refusal’ and ‘Live at the Hollywood Bowl’ – will all get updated artwork and sleeve notes.

Tickets for the UK gigs go on general sale on January 24 from 9am.

Amazon Studios cancels The Dark Tower series

Amazon Studios has officially passed on The Dark Tower pilot. The studio was in the process of transforming Stephen King’s book series into a TV show. Allegedly they canceled the pilot after challenges with translating the material, reports Deadline.

According to sources, Amazon is shopping two original scripts and picked up the pilot on that basis. Well aware of the infamous struggle to adapt The Dark Tower, Amazon declined doing a straight-to-series production to instead opt for a pilot. In the end, Amazon executives “felt like the pilot was not on the level of other large-scope elevated genre series the streamer has in production/pre-production like Wheel of Time and The Lord of the Rings,” notes Deadline.

Showrunner and executive producer Glen Mazzara hoped to retell the book series in a faithful way, separating the TV series from the 2017 film entirely — in part because the movie was a flop. Last June, Michael Rooker was seen filming on set for the TV series. Sam Strike was supposedly Roland Deschain, Jasper Pääkkönen was The Man in Black, Jerome Flynn was Steven Deschain, Joana Ribeiro was Susan Delgado, and Ana Padrão was Cordelia Delgado, though the cast was never formally announced.

(Read: 50 Most Anticipated TV Shows in 2020)

If your heart is broken upon hearing this news, then you should probably subscribe to The Losers’ Club, our weekly Stephen King podcast that roams through King’s Dominion over long days and pleasant nights. Together, we can demand justice for The Dark Tower TV series we deserve.

Download | Listen via Apple Podcasts | Spotify | Google Play |  Stitcher  |  RSS

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