NGHTMRE & BLVK JVCK Unleash Heavy, Ruthless “CASH COW” VIP - This Song is Sick
NGHTMRE & BLVK JVCK Unleash Heavy, Ruthless “CASH COW” VIP - This Song is Sick |
- NGHTMRE & BLVK JVCK Unleash Heavy, Ruthless “CASH COW” VIP - This Song is Sick
- Notes On The Season: Steven Spielberg On Why ‘1917’ Is “Revolutionary”; Oscar Goes Dialing For Votes; ‘Jojo Rabbit’ Gets Serious - Deadline
- The week ahead in SoCal theater: 'A Christmas Carol' and so many more holiday productions - Los Angeles Times
| NGHTMRE & BLVK JVCK Unleash Heavy, Ruthless “CASH COW” VIP - This Song is Sick Posted: 20 Dec 2019 11:43 AM PST NGHTMRE has comfortably established himself as one of the best producers in the expansive world of electric music. With a massive library of tracks spanning from the fully destructive, to the delightfully vibrant, and a plethora of impressively diverse tracks in between, Tyler Marenyi has proved he his a master of production. Today, he's partnered with fellow trap master, BLVCK JVCK on an deadly rework of the NGHTMRE x Gunna collab, "CASH COW" via Ultra Music The OG version of "CASH COW" was a vibin', bass fueled hip hop cut with some driving background synths – and while this remix starts in a similarly cool and collected fashion, you know NGHTMRE and BLVCK JVCK have something wild in store. Before you know it, the bone rattling bass and build ups fade in and this song takes on a ruthless transformation. Once that drop loaded with searing robotic saws, skittering synths, and concussive bass drops in, its lights out. If you thought the "REDLIGHT" VIP was wild, hang on tight kids, NGHTMRE & BLVCK JVCK are here to blast you into next week with their "CASH COW" VIP. Check out the new VIP below and make sure to catch NGHTMRE on his Portal tour (dates also below). Enjoy! NGHTMRE & Gunna – CASH COW (NGHTMRE & BLVK JVCK VIP)NGHTMRE Tour Dates | Tickets 12/14 – New Orleans, LA – Joy Theater 12/17 – Asheville, NC – The Orange Peel 12/18 – Richmond, VA – The National 12/19 – Pittsburgh, PA – Stage AE 12/20 – Philadelphia, PA – The Fillmore Philadelphia 12/21 – New York, NY – Hammerstein Ballroom 12/22 – Boston, MA – House Of Blues Boston 1/30 – Norfolk, VA – The Norva 1/31 – Baltimore, MD – Rams Head Live 2/4 – Syracuse, NY – Westcott Theater 2/5 – Burlington, VT – Higher Ground 2/6 – Buffalo, NY – Town Ballroom 2/7 – Toronto, ON – The Danforth Music Hall 2/8 – Montreal, QC – Mtelus 2/10 – Cincinnati, OH – Bogart's 2/11 – Cleveland, OH – House Of Blues Cleveland 2/12 – Grand Rapids, MI – The Intersection 2/16 – Columbus, OH – The Bluestone 2/17 – Urbana, IL – Canopy Club 2/19 – Indianapolis, IN – Egyptian Room At Old National Centre 2/20 – Kansas City, KS – Arvest Bank Theatre At The Midland 2/22 – Broomfield, CO – 1st Bank Center 2/25 – St. Louis, MO – The Pageant 2/26 – Tulsa, OK – Cain's Ballroom 2/28 – Dallas, TX – South Side Ballroom 2/29 – Houston, TX – Stereo Live 3/5 – San Diego, CA – SOMA 3/9 – San Luis Obispo, CA – Fremont Theater  |
| Posted: 20 Dec 2019 03:10 PM PST  Universal Pictures A column chronicling conversations and events on the awards circuit. It is now just two weeks and counting until ballots go out to Oscar voters. Except that with the speed of this shortened season, which will bring us on February 9 the earliest Oscar show ever, a lot of Academy members just getting into holiday-break mode don't know what is going to hit them once the New Year's ball drops in Times Square. Just one day later, on January 2, they will be told they can access their ballot and will have just five days to choose nominees for the 92nd annual Academy Awards. As I have noted here recently, so many members I speak to don't realize they have virtually no time to see these movies. One member, usually pretty engaged in the process, emails us: "I'm struggling to watch films. Between work and (kids) and not wanting to start them late so I fall asleep I'm way behind." They are not alone. Related StoryOscars: Academy Releases Shortlists For Nine Categories Including Documentary, International Film, VFX, Song, Score & ShortsThe Academy knows that better than anybody and has formulated a fairly relentless information campaign designed to inform members repeatedly whether by text, email or now live phone calls that this is indeed a shortened season and they better get their acts together. The Academy has prided itself with the onset of online voting about the record-setting turnout they have gotten, but there is deep concern members just haven't been focusing on how little time they have this year. Some who are out and about at screenings tell me they are making an effort to see as many films as possible, but that it is daunting. Perhaps that is why I keep hearing from them about the live phone calls they are receiving urging them to pop in those DVDs, or visit the new digital screening portal, or get out to theaters. This is a first as far as I know — not a robocall, but a real person calling members directly. Sources at the Academy tell me they outsourced this to a firm that is expert in doing these kinds of calls, and that no personal information will be at risk since those making these calls are under NDAs and other security measures to make sure the phone numbers don't get out. When the call comes in it has the Academy's Beverly Hills headquarters number; those calling aren't there, but rather spread out over the U.S. One member told me they asked where they were calling from and was told "Minneapolis." Another told me they heard from someone in Texas. It is an all-out effort by AMPAS to leave no stone unturned in getting out the vote. The Academy has already started the process leading up to the nomination announcement January 13 by putting out shortlists this week in nine categories including International Film, Documentary Feature and Documentary Shorts, Special Visual Effects, Make Up and Hair, Song and Score. Taylor Swift's and Andrew Lloyd Webber's new song from Cats, sung halfway through the end credits, didn't make the cut of 15 contenders despite its earlier Golden Globe nomination. But last-minute entry Cats did make the semifinalist list of 10 movies still standing for Visual Effects — primarily due to its groundbreaking work in digital fur enhancement in turning the likes of Judi Dench into a cat. It seems that while critics, if you look at Rotten Tomatoes, largely think the technique and the film itself is beyond creepy, the Academy clearly begs to disagree, equating the feat of putting whiskers on Jennifer Hudson to the effects wizards who lopped 30 years off Robert De Niro in The Irishman, or the massive work in Avengers: Endgame and Star Wars: The Rise of Skywalker. But will the critical pile-on and lethally wicked reviews keep Cats from making the final five nominees, or does Oscar even care what these sourpussy critics standing in solidarity against the Jellicle set think? I know I don't — I had a great time with the movie. At least one high profile Academy member I know was at the New York premiere on Monday and went back to see it again the next day. Take that, Rotten Tomatoes. Universal released Cats, which lists Steven Spielberg's Amblin and also Working Title among its production entities. Amblin is on there because it held underlying rights to the iconic Andrew Lloyd Webber musical and at one time intended to make an animated film. Those plans changed and director Tom Hooper and Working Title, which had made Les Miserables with Universal, stepped into the driver's seat and developed the new technology that has gotten it this far in the Visual Effects contest. STEVEN SPIELBERG HAS HIGH PRAISE FOR SAM MENDES Spielberg may not be involved anymore in Cats, but this week, on the eve of his birthday, he turned up at the Landmark Theatres Annex on Tuesday for a reception and screening of the DreamWorks film 1917, also from Universal. I spotted a number of Academy members in the crowd at this one, there to meet and greet director Sam Mendes and his filmmaking team including producers, cinematographer Roger Deakins and film editor Lee Smith, and castmembers George McKay and Dean-Charles Chapman before the film rolled. I sat through it again, seeing it for a second time, which was just as powerful an experience as the first. One Oscar-winning actress told me afterwards that it moved her so much she was going to put it in the No. 1 position on her ballot. Others seemed to concur. Another well-known actress told me she thought Shia LaBeouf's Honey Boy was great among recent movies she has seen, but now was blown away by this intimate yet epic World War I-set movie like no other. Spielberg felt the same thing. "This is such a revolutionary and groundbreaking film and I am so proud that the little boy fishing in the half moon gets to be a logo on this picture. I am just so honored to have been the company that co-financed this film," he said. "But also in a way this is more of a homecoming for me and us at DreamWorks, because in 1997 I was making a film in London and saw a great musical there directed by Sam Mendes. A couple of years went by and I got this script, American Beauty… I sent the script to Sam and asked if he would be interested in making this his first movie. And that's how our relationship began, and it was his very first film and he won his very first Oscar, and won DreamWorks our very first Oscar for Best Picture. "There are scripts I read, and then there are scripts that I can get lost reading. The experience pulls me so deeply into it, and that was how I felt when I read Sam and Krysty Wilson-Cairn's script for 1917," he continued. "The screenplay was extraordinary. It was a real story in three acts and it put me right back into a period that I am very personally interested in, World War I, but also it is a moral story, a human story, a story about survival, about brotherhood, and it is a story I think with a lot of qualities to aspire to. I just thought it was extraordinary. "This is a movie where the images and the words are together, where the images are interchangeable with the words," he added before praising the cast and crew. "The other thing I want to point out is that when Sam gave me the script he said and 'Oh by the way, as I indicated in the pages, I am going to shoot this entire picture in one shot.' And I said, 'Sam this is not Birdman. This is outside, this covers miles and acres, and it is under a sky and its day and night and day.' And he explained about the concept of one shot — that it is not to show off, it isn't to show how inventive Sam is as cineaste. It is literally to make the audience that third character trying to get from A to Z in this amazing, amazing survival trip. It really makes you feel like you are watching something in real time. It's not a gimmick, but a way to deeply involve you and press all your empathy buttons. This is one of the most revolutionary motion pictures I have ever seen, and one of the greatest examples of filmmaking I have really ever experienced." The film is one of the last to be released this year, platforming on Christmas Day and then going wide January 10, the weekend before Oscar nominations are announced. I think you can safely say there will be more than a few for this one. And for DreamWorks and Universal, it puts them right back in the center of the Best Picture race, just a year after winning with Green Book, yet another movie Spielberg championed behind the scenes. A second consecutive win in Oscar's top category would be pretty remarkable, but don't count it out. 1917 is the kind of film that shows off the craft of movie-making that filmmakers themselves can instantly recognize. It had its official AMPAS screening last weekend and observers not connected to the film told me the applause was the most they had heard at these Academy screenings this season. One thing for sure, this is a movie that should be seen in a theater. JOJO RABBIT PROVES THERE ARE MORE THAN LAUGHS WHEN IT COMES TO OSCAR CAMPAIGNS Another movie in the mix is Fox Searchlight's Jojo Rabbit, director Taika Waititi's comedy that has rabid fans but has divided some critics and audiences who feel that Hitler and the atrocities of Nazi Germany are not proper subject matter for a comedy. It has become a real contender, though, with key Golden Globe, Critics' Choice and SAG nominations, as well as landing on AFI's prestigious Top Ten Movies list. Although the first posters for the release of the movie were quite comical, steering away from any serious subject matter, a new campaign as Oscar-nomination balloting nears aims to show the importance of the film and Waititi's stated goal of using humor in making a movie featuring Hitler, the Nazis and the Holocaust that he wants to reach a younger generation with, a movie he hopes in a new period of rising Nazi sympathizers will remind people of this horrific time and get their attention in ways perhaps a preachier, more serious approach would not. Thus this week new ads and posters have been creeping up with quotes emphasizing the film's message, as well as a series of new ad lines including "Never Too Soon For Peace," "Never Too Soon To Love," and "Never Too Soon To Teach." Searchlight has been expert in the past coming up with newly refreshed campaigns and more pointed messages aimed at voters, such as the second phrase they devised for their Best Picture Oscar winner, 12 Years a Slave: "It's Time." Or for another of their Best Picture winners, The Shape of Water, with "Choose Love." Jojo Rabbit launched at the Toronto Film Festival in September and pulled a big surprise when it won the People's Choice vote, a huge indicator of Oscar success for many films before it. Searchlight hasn't let up since, and with a shortened season this year isn't even waiting for Phase II to shake up their campaign. On Thursday, they took it even further by announcing the studio is partnering with the USC Shoah Foundation on a new education initiative aimed at teens. "USC Shoah Foundation's Jojo Rabbit education initiative will bring together the powerful anti-hate message of the film with Holocaust survivor testimony from the Institute's Visual History Archive (VHA). Through a robust suite of resources for educators, classroom-ready activities incorporating clips and content from the film and a dedicated landing page on the Institute's IWitness website, these educational resources will help students understand the peril of prejudice, anti-semitism, and bigotry as well as the power of individual agency and resiliency. The partnership will leverage the historical aspects of the film, such as the power of propaganda and depiction of how the Hitler Youth and Nazi fanaticism brainwashed millions of children in Nazi Germany, to make relevant important lessons of the past to teenagers today," the release said. Comedies don't always have it easy with Oscar voters, but serious-minded movies dealing with the Holocaust and Nazi Germany often have. This new campaign looks like a way to give Jojo Rabbit more visible gravitas as voting draws nearer, something Fox Searchlight has proven time and again they know how to do. NETFLIX SPREADS CHRISTMAS CHEER Finally, this is the last Notes on the Season before that other season kicks into high gear as Christmas arrives Wednesday. There aren't a whole lot of new Christmas movies in theaters, but Netflix put one out for an Oscar-qualifying run a few weeks ago and now the animated Klaus is streaming on the service. It's a truly heartwarming origin story of Santa Claus, an idea that surprisingly hasn't been done before, or least in films I can think of. Director Sergio Pablos has done a terrific job with it, enlisting a great voice cast including J.K. Simmons, Rashida Jones and Joan Cusack among others. The other night at the Landmark I moderated a panel with producer Jinko Gotoh and Netflix VP Original Animation Melissa Cobb for an industry crowd. The film, which is beautifully done in the old fashioned 2D, hand-drawn style, has received seven Annie Awards nominations included Best Feature — a real dark horse in the race against juggernauts Frozen 2, Toy Story 4, How to Train Your Dragon 3 and perennial favorite Laika's latest Missing Link. For Netflix it was a big deal as this is its first original animated production. They are putting the money behind it and have created a special, and very Christmas-y, exhibit open all this week at the Landmark Annex. Check it out. I found some free cookies, and it all just might put you in the holiday mood. And speaking of that, have a great one.  |
| Posted: 20 Dec 2019 04:32 PM PST  Here is a list of theater openings, Critics' Choices, etc., for Dec. 22-29. Capsule reviews are by Charles McNulty (C.M.), Philip Brandes (P.B.), F. Kathleen Foley (F.K.F.), Margaret Gray (M.G.) and Daryl H. Miller (D.H.M.). OpeningsBallad Staged reading of Roxie Perkins' musical drama about a mother and daughter coping with intergenerational trauma. A Noise Within, 3352 E. Foothill Blvd., Pasadena. Sun., 6:30 p.m. $10-$20. (626) 356-3121. anoisewithin.org Carols of the Belles Holiday show with jazz vocalist Barbara Morrison, et al. Neighborhood Church, 301 N. Orange Grove Blvd., Pasadena. Sun., 5 p.m. $20-$30. (626) 296-9843. jazznpaz.com David Broza & Friends: From Haifa to Havana The Israeli singer-songwriter and guitarist, his band and special guests perform a Hanukkah celebration. The Broad Stage, 1310 11th St. Santa Monica. Sun., 7:30 p.m. $47 and up. (310) 434-3200. thebroadstage.org Irish Christmas in America: The Show Traditional music and step dancing. Garry Marshall Theatre, 4252 W. Riverside Drive, Burbank. Sun., 7 p.m. $80 and up. (818) 955-8101. GarryMarshallTheatre.org Advertisement The Sounds of the Holidays Ebony Repertory Theatre presents Terry Steele & Friends in a musical salute to Luther Vandross, Whitney Houston and more. Nate Holden Performing Arts Center, 4718 W. Washington Blvd., L.A. Sun., 6 p.m. $40. (323) 964-9766. ebonyrep.org Drumline Live Holiday Spectacular Stage spectacular inspired by the 2002 Nick Cannon movie about show-style marching bands. Cerritos Center for the Performing Arts, 18000 Park Plaza Drive, Cerritos. Fri., 8 p.m. $60-$85. (562) 916-8500. cerritoscenter.com Jackie Beat: Illuminati or Nice? The drag artist spoofs the holidays. Cavern Club Theater, 1920 Hyperion Ave., Silver Lake. Fri.-Sat., 8 and 10 p.m.; next Sun., 7 p.m. $27.50. (800) 838-3006. brownpapertickets.com PJ Masks Saves the Day Live! Family-friendly adventure tale based on the children's animated series. Fred Kavli Theatre, Thousand Oaks Civic Arts Plaza, 2100 Thousand Oaks Blvd., Thousand Oaks. Fri., 2 and 6 p.m. $35.50-$65.50. (800) 745-3000. ticketmaster.com Advertisement The Dina Martina Christmas Show The drag artist celebrates the season with song, dance and comedy. Wilshire Ebell Theatre, 4401 W. 8th St., L.A. Sat., 8 p.m. $30-$75. dinamartina.com Holiday Magic With comic and magician Chipper Lowell, quick change and magic act Stoil & Ekaterina, and illusionists Kadan Bart Rockett & Brooklyn Nicole Rockett. El Portal Theatre, 5269 Lankershim Blvd., North Hollywood. Sat., 2 and 7 p.m.; next Sun., 2 p.m. $25. (866) 811-4111. elportaltheatre.com Straight No Chaser The a capella group performs. Cerritos Center for the Performing Arts, 18000 Park Plaza Drive, Cerritos. Sat., 8 p.m. $60-$90. (562) 916-8500. cerritoscenter.com All I Want for Christmas Is Attention Drag artists BenDeLaCreme and Jinkx Monsoon from "RuPaul's Drag Race" celebrate the season. The Montalbán Theatre, 1615 N. Vine St., Hollywood. Next Sun., 8 p.m. $35 and up. (323) 461-6999. themontalban.com Neil Hamburger Live Comedy-variety show with Tim Heidecker, Open Mike Eagle, et al. The Satellite, 1717 Silver Lake Blvd., L.A. Next Sun., 8:30 p.m. $8. thesatellitela.com A Magical Cirque Christmas Acrobats, aerialists, etc. perform in this family-friendly show. Fred Kavli Theatre, Thousand Oaks Civic Arts Plaza, 2100 Thousand Oaks Blvd., Thousand Oaks. Next Sun., 7 p.m. $46-$126. (800) 745-3000. ticketmaster.com Critics' ChoicesBob's Holiday Office Party This long-running yuletide parody of small-town eccentricity thrives on the qualities that have made it a staple of the L.A. theater scene for over two decades — it's irreverent, crude and devastatingly funny. (P.B.) Atwater Village Theatre, 3269 Casitas Ave., L.A. Ends Sun., 7:30 p.m. $25, $35. (800) 838-3006. bobsofficeparty.com A Christmas Carol Amid many worthy area stagings of Charles Dickens' immortal classic, this deftly performed, meta-theatrical edition stands out for fidelity to text, witty stagecraft and heartfelt embrace of message. There are fleeting oddities, but only a die-hard humbug could remain unmoved by so charming a Yuletide treat. God bless us everyone. (David C. Nichols). A Noise Within, 3352 E. Foothill Blvd., Pasadena. Sun., 2 and 7 p.m.; Mon., 7:30 p.m.; ends Dec. 23. $25 and up; student rush, $20. (626) 356-3100. anoisewithin.org Advertisement Disposable Necessities Neil McGowan's play is set in the not-so-distant future, when society's privileged have become essentially immortal, able to download their identities into new "modules" — i.e., bodies of the recently deceased — while have-nots must content themselves with providing premium carcasses for the affluent. Director Guillermo Cienfuegos and a lively cast nail down the laughs – or, conversely, the pathos — in this richly imaginative world premiere, which challenges our expectations at every twist of its deliciously disturbing plot. Just don't lay bets on where the story ends up. You'll lose. (F.K.F.) Rogue Machine Theatre, Electric Lodge, 1416 Electric Ave., Venice. Next Sun., 7 p.m.; ends Feb. 3. $25, $40. (855) 585-5185. roguemachinetheatre.com Elijah Set in a Texas TGI Friday's during raging hurricane Elijah, Judith Leora's play commences on a deceptively polemical note, as the pro- and anti-death penalty activists who had gathered at a nearby prison for the execution of a notorious serial slayer are forced to shelter in place for the duration. In this case, patience is a virtue. Leora's initial didacticism deepens into a beautifully realized, classically structured drama that subtly illustrates what can occur when individuals are forced out of their ideologically ossified "tribes" to seek a common humanity. Never striking a false note, director Maria Gobetti takes us on a journey that accelerates to a shattering emotional whirlwind. Among the superlative performers, Molly Gray particularly stands out in her raw portrayal of a woman coping with a sad and shocking legacy that will forever define her. (F.K.F.) The Big Victory Theatre, 3326 W. Victory Blvd., Burbank. Ends Sun., 4 p.m. $28-$40. (818) 841-5421. thevictorytheatrecenter.org JitneyRuben Santiago-Hudson's Tony-winning revival of August Wilson's "Jitney," a triumphant melding of acting and drama, puts the audience in the unique position of eavesdroppers on the colloquial music of life. This early Wilson play, the first to be written in his 10-play cycle exploring the 20th century African American experience, takes place in the 1970s at a gypsy cab station threatened by Pittsburgh's urban renewal program. Wilson takes us inside the drivers' lives to reveal the way history has challenged and changed their destinies. What was once dismissed as a minor Wilson drama is now considered major. And it's not because our standards have plummeted. Rather, it's that the play, when fully realized by a company of actors working in communal concord, satisfies our growing hunger for complex and compassionate character truth. (C.M.) Mark Taper Forum, 135 N. Grand Ave., downtown L.A. Sun., 1 and 6:30 p.m.; Thu., 2:30 and 8 p.m.; Fri., 8 p.m., Sat., 2:30 and 8 p.m.; next Sun., 1 p.m.; ends Dec. 29. $25-$110. (213) 628-2772. centertheatregroup.org  |
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