MF Doom, Prolific Masked Underground Rapper, Dead At 49

Daniel Dumile, the hip-hop artist who performed in a metallic mask under the moniker MF Doom for decades, has died, his family announced on Thursday (December 31). According to a note posted to his social media accounts, Doom died on October 31; no cause was given.

His wife, Jasmine, penned the statement that began, “Begin all things by giving thanks to THE ALL!” and was addressed to “Dumile.”

“The greatest husband, father, teacher, student, business partner, lover and friend I could ever ask for,” it reads. “Thank you for all the things you have shown, taught and given to me, our children and our family. Thank you for teaching me how to forgive beings and give another chance, not to be so quick to judge and write off. Thank you for showing how not to be afraid to love and be the best person I could ever be. My world will never be the same without you. Words will never express what you and Malachi mean to me, I love both and adore you always. May THE ALL continue to bless you, our family and the planet.”

Born in London and raised in New York after his family relocated to New York, Doom spent his early years in music as Zev Love X in the rap group KMD with his brother, DJ Subroc, in the early 1990s. One of his earliest appearances was on 3rd Bass’s “The Gas Face” in 1989. After his brother’s death, Doom reemerged as a formidable underground hip-hop presence, donning what became his signature mask similar to that of Marvel Comics villain Doctor Doom. “A visual always brings a first impression,” he told The New Yorker in 2009. “But if there’s going to be a first impression I might as well use it to control the story. So why not do something like throw a mask on?”

In the annals of music history, Doom is perhaps best known for 2004’s Madvillainy, one of the most celebrated hip-hop albums of all time. A collaboration with DJ and producer Madlib, the duo called themselves Madvillain, and their debut album showcased a panoply of subterranean sounds that, along with fellow visionary J Dilla, helped solidify a moody sonic vocabulary for the genre rooted in unexpected samples and hazy beats. They released a remix album in 2008.

An incredibly prolific artist, his discography went well beyond Madvillainy. He released six solo albums under various aliases, in addition to other collaborations with folks like Danger Mouse, Westside Gunn, Czarface, Jneiro Jarel, and Bishop Nehru, and a series of instrumental albums. A producer as well as an MC, Doom made music for other artists like Ghostface Killah and Joey Badass as well.

Along with Danny Brown, he featured on The Avalanches’s peppy hit “Frankie Sinatra” in 2016. Earlier in December, he released a slightly psychedelic new collaboration with BadBadNotGood entitled “The Chocolate Conquistadors.”

Fellow artists and fans are sharing their love for Doom on social media.

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Miley, Taylor, Dua, And More Proved 2020’s Pop Nostalgia Machine Is Potent As Ever

By Katiee McKinstry

With the release of her latest album, Plastic Hearts, in late November, Miley Cyrus completely reinvented herself as a glam-rock icon, diving into the past as she cleared a path forward in the pop-rock sphere. Expertly wielding the collective power of nostalgia to appeal to even the most casual of listeners — its final tracks include a reworked version of standout single “Midnight Sky” featuring Stevie Nicks and covers of the classics “Zombie” and “Heart of Glass” — Cyrus also mined key moments from her own career to generative new results. And this year, she was not alone.

Prior to the drop of Plastic Hearts, Cyrus announced the launch of MileySpace, essentially an updated version of what her MySpace page would look like in 2020, hosted on her own website. Cyrus relaunched her website to draw attention to the drop of Plastic Hearts, in a MySpace format featuring album art, links to music videos, and album related merch. But ardent fans of the pop star may recognize that MileySpace is more than a savvy marketing ploy; rather, it’s a clever easter egg harkening back to a fans-only experience Cyrus culminated at the end of the 2000s.

In 2009, at the height of her Hannah Montana stardom, Cyrus was beginning to break out as a solo artist, as well, with “7 Things.” During her Wonder World Tour, she unveiled her official fan club, MileyWorld. For $30 a year, fans had full access to behind-the-scenes content and exclusive (and heavily moderated) chat rooms where Cyrus would pop in from time to time to say hello. Every club member would receive an ID card, which featured a toothy headshot of Cyrus as a kid, one of numerous elements from MileyWorld Cyrus evoked in the leadup to the launch of Plastic Hearts. There was also the slogan of the MileySpace relaunch, “a place for Miley’s friends,” referencing how MileyWorld once was. Likewise, Cyrus played on the nostalgia of old school MySpace, changing the mouse image when users scroll, adding music to her “profile,” and loading her “friends list” with collaborators on Plastic Hearts. Well played.

Just as MileyWorld functioned as a promotional avenue for album releases and tours with an quintessentially insider feel — fans would get behind the scenes content from Cyrus’s life, be the first to hear about new album drops and concert promos, one of those cute MileyWorld ID cards, and an overall intimate feel of being Cyrus’s BFF — so, too, is MileySpace. As a Cyrus fan back in the early 2000s, it was so fun to be able to connect with her in a more intimate way through MileyWorld. To see her resurface elements from our childhood brings back warm memories: the glow of the computer screen, for example, as Cyrus responded in a chat room to my question, “What is it like to be a blonde?” (It was “definitely a different experience,” she wrote.)

Similarly, numerous other pop artists plunged into their own archives in 2020 for some artistic archeology. Taylor Swift, Gwen Stefani, Aly & AJ, and Dua Lipa have all dipped into the past (both their personal histories and the shared recollections of pop culture) in their recent respective works, using elements that tug on fans’ heart strings and reward their patience and devotion.

Taylor Swift, in particular, is known for laying out fan-centric clues and Easter eggs throughout her musical and visual work. Her summer surprise album, July’s Folklore and its December sister record Evermore, were littered with self-referential nods. Folklore played on nostalgic elements in its presentation, featuring a stripped-down folk sound harkening back to her earliest country hits, but throughout each song on the album, Swift examines her career in a new light. She finally delves into her relationships and how she used those relationships to shape her music career.

Thus, Swift goes backwards and inwards with Folklore, making fans jump right in as their nostalgia runs high. By releasing Evermore, Swift further utilizes the nostalgia marketing, continuing the introspective look at her career and relationships her fans so closely have followed over the years.

Fans of a certain age probably danced around their bedrooms screaming lyrics from No Doubt’s “Just a Girl” or “Don’t Speak” as teens. In December, Gwen Stefani released her new single, “Let Me Reintroduce Myself,” which plays heavily on themes from her previous records solo and with the band. She adds callback elements of ska as well as a line about “bananas” throughout the song, referencing her 2004 smash “Hollaback Girl.”

Speaking of reintroducing yourself, pop sister duo Aly & AJ have done the same, re-releasing their most popular hit, “Potential Breakup Song,” with a twist. In 2007, the single by the then-teens was a huge pop-rock call-out, but its anger was kept kid-friendly. With this new release, Aly & AJ have reinvented the song, making it explicit with f-bombs and contemporary production, capitalizing on its potency after the song saw a resurgence this year thanks to TikTok.

Nostalgia as a marketing tool is not a new concept, and in fact, Dua Lipa wove it into the very fabric of her latest album itself.  This year’s Future Nostalgia found the pop star immersed in ‘80s dance vibes glossed with a more modern feel. “I wanted to make sure that every song touched on both the future aspects and the nostalgic aspects, to somehow bring something fresh and new to the table, but also something that reminds you of a time,” Lipa told Variety. “In terms of the future, it really is a production, and the lyrics about what’s currently going on in my life. But some of the sonics behind it have that nostalgic reminiscence.”

For fans, this powerful sense of nostalgia lets you revisit your favorite parts of your childhood: younger and simpler times. But for artists, perhaps it is more innately tied to reinvention. Plastic Hearts, while not thematically tied into Cyrus’s past in MileyWorld, is about Cyrus stepping into her power as a rock icon. The past is ever present, and therefore so is MileyWorld — via MileySpace. Now, you can revisit 2009 Cyrus online as you meet 2020 Cyrus via her music. In a year that has forced many people to pause and reflect on their lives, these artists are taking the time to delve into what made them so successful in the first place.

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Kiernan Shipka, Chilling Adventures Of Sabrina Cast On Part 4

This article contains light spoilers for Chilling Adventures of Sabrina Part 4.

Demon kings. Devil worship. Horned-up high schoolers. Across three parts of Chilling Adventures of Sabrina, Sabrina Spellman and her gang of witches and mortals overcame everything from the awkward messiness of first-time sex to going toe-to-hoof with Satan himself. Now, as the series heads into its final installment, the crew faces a new challenge: moving on.

In July, as the coronavirus pandemic forced many shows and films to halt production, it was announced that the fourth part of the Riverdale-ified coming-of-age series would be its last; but not before Sabrina casts a compelling goodbye spell, of course. In this installment, the Eldritch Terrors — ancient and immensely powerful supernatural beings known mononymously as The Weird, The Uninvited, and so on — arrive in Greendale. With the help of her human friends like Theo (Lachlan Watson) and Roz (Jaz Sinclair), as well as her old fling, the warlock Nick Scratch (Gavin Leatherwood), Sabrina must face each creature one by one to prevent the end of all things. You know, normal teen stuff..

For the cast that’s been with the series since day one, the finale drew mixed emotions. “I think it’s such a perfect way to wrap up this epic story that we’ve been telling for the past few years,” Kiernan Shipka, who plays the titular witch, tells MTV News. “I’m going to miss it dearly.” As Part 4 brings the story to a close, the cast of Chilling Adventures of Sabrina — Shipka, Sinclair, Watson, and Leatherwood — reflect on their favorite moments, the most ship-worthy couples, and the joy of getting paid to make out.

MTV News: Knowing that this is the final installment in the Chilling Adventures of Sabrina story, how are you feeling post-filming and going into its release?

Kiernan Shipka: I am feeling bittersweet about it, as I’m sure we all are, but at the same time, I am so, so enthusiastic about Part 4. I think it’s such a perfect way to wrap up this epic story that we’ve been telling for the past few years. I’m going to miss it dearly. So, all in all, optimistic, excited, sad, all the things.

Jaz Sinclair: I’m just going to miss everybody. But, like Kiernan was saying, this next part is really good, and really exciting, and cosmic, and weird. I would love to go back and do another part, but I really think that people are going to be happy with what we’re giving them.

Diyah Pera/Netflix

Gavin Leatherwood: The lovely ladies really covered a lot of it. I mean it, the sentiments are so similar. It is bittersweet. This part is incredibly ambitious and super creative and existential in so many ways. I feel fortunate and grateful to have been a part of the whole damn thing. I’m stoked that the fans get one more part. It’s a pretty bitchin’ one.

Lachlan Watson: It’s ambitious, for sure. Go out with a bang.

MTV News: In Part 4, you’re facing the Eldritch Terrors. Which of the Terrors do you feel is the most terrifying of all?

Shipka: Oh my goodness. I think that ones that were not embodied by people were a little more scary, like The Darkness, when it’s this all-encompassing unknown. The Uninvited was a little scary, but he’s a nice guy off set. So you kind of have a little bit of an association with the people that are playing these Terrors. But when it comes to something like The Darkness, I think that was just such a monumental terror and very, very scary.

Leatherwood: I also thought that The Weird was really disturbing.

Shipka: I love The Weird!

Leatherwood: It’s probably one of my favorite Eldritch Terrors, but seeing you get cut open and having a squid inside you touched on that gory bit. And the squid tongue is just a disturbing thought. That one geeks me out a little bit, to be honest.

Shipka: The squid tongue was so fun. I sent so many selfies to my friends being like, “[I’m] at work!”

MTV News: I thought The Uninvited was kind of hot, to be honest.

Sinclair: Oh, dirty toe nails do it for you?

MTV News: He definitely reminded me of some of the guys I dated in high school.

Watson: If you could compare your dating life to an Eldritch Terror, which one would it be?

Shipka: The Uninvited.

Leatherwood: The Perverse.

Sinclair: The Perverse is scary to me. With the other Eldritch Terrors, everybody knows something is wrong, so you’re like, OK, something’s obviously messed up. We’ve got to figure out what it is and fix it. But with The Perverse, where everybody’s like, no, this is perfectly normal and totally effed up, that’s so scary to me. Like, are we stuck like this forever?

MTV News: Do you think fans will be satisfied with the ending?

Shipka: Yeah. I do, I do. I really think that we approached Part 4 as our last. We wrapped it up. Whether or not people will be satisfied or upset or happy, that is up to the viewer, but I will say that there is a sense of closure. Happy? I don’t know. Satisfied, probably.

Leatherwood: But is Nabrina end game?

Shipka: I don’t know, we’re not going to tell them. They can assume or guess.

Diyah Pera/Netflix

MTV News: Yeah, which couples in the show do you ship?

Watson: Zelda and Mambo Marie.

Sinclair: Yes! Oh, they were so beautiful, just gorgeous to look at. When they kissed, because Miranda [Otto]’s skin is so fair and then Skye [P. Marshall]’s skin is so dark, they exchanged makeup, so Miranda would be brown, and Skye would be all white on her face. It was great. I really like Theo and Robin, though. I really love their romance. I think it is so sweet and endearing, so authentic and wonderful.

Watson: I mean, we might be together for eternity. It’s the ultimate end game when you literally never die.

Leatherwood: I’m happy that Harvey found Rosalind because someone needed to hold his love away from Sabrina. I think that that relationship is damn good.

Sinclair: Well, too bad we have no chemistry, me and Ross [Lynch].

Leatherwood: You guys faked it so, so well.

Sinclair: I know, all the giggles, all the making out — horrible, hated going to work and making out with Ross every day. It was like, oh, y’all don’t pay me enough for this.

Shipka: Tough, really tough.

Watson: Yeah, I did have a couple days where I’d spend 16 hours making out with someone, and I’d be like, I get paid a reasonable amount of money to just show up and make out with somebody. It’s pretty cool.

MTV News: Across all four parts, each of your characters had their own personal challenges that they had to face. What do you feel was the greatest obstacle your character had to overcome?

Shipka: At points, Sabrina genuinely feels like the entire world is resting on her shoulders, and it honestly might be. That’s obviously a big burden for a young woman. I think that her story is, witchiness aside, deeply relatable. It’s about finding yourself within a world that says you have to be one way based on how you were raised. She is just trying to be herself and balance everything she wants in life without being constricted. The way that she has come into her own as a young witch, a young woman, and a friend is really inspiring to me.


Sinclair: Roz started off as just a mortal best friend and was always a little curious about the witchy stuff but kind of terrified, because her dad was super religious. Roz evolved to love that and then eventually become that… which I love, because I’m such a huge Harry Potter fan. I’m working on a film right now [Please Baby Please] with Harry Melling, who played Dudley. I’ve never been starstruck before, and it took me two days to say hi. Every time I saw him, I would gush, leave, and then avoid him for, like, two days. Getting to become a witch and have the scene where they’re like, “You’re a wizard, Roz,” was literally a freaking dream come true for me.

Watson: [For Theo], I think finding their true self and really allowing themself to come into their own, and to be vulnerable, and to break down their little caramel-shell exterior was a really interesting thing. I had a lot of that being a queer kid growing up and having to overcome my own expression of myself. It felt like I could just reach back into time and, and have a little bit of a do-over and do everything right, and to give myself over to the process.

Leatherwood: Nick is learning how to love, for sure, and the difference between lusting after someone and loving someone unconditionally. He was such a big flirt in Part 1, which I loved to play. As he continues, he’s also learning how to love himself. We see him self-destruct in a lot of Part 3, we see him lose his mother figure in Part 2, and there’s always this tension or resistance to fully loving himself and giving himself over to Sabrina entirely.

MTV News: And what was your favorite moment to act?

Leatherwood: I had the most fun in Part 3. I got to beat up Richard [Coyle], I got to beat up Luke [Cook] with brass knuckles — and shirtless, mind you. I got put in chains multiple times, I was painted gold, I was made into a wall, I had a devil foot, I got to yell at Kiernan.

Watson: Well, anytime you get to yell at Kiernan is a good day.

Leatherwood: I don’t know why, but that scene [in the woods during the hair moon episode in Part 3] was just so fun. We got to conjure some crazy energy. It’s not like I want to yell at Kiernan, but having a certain emotional release and feeling something that is not yours come through you is sort of cathartic as an artist. When you have the freedom of a place like set and through a script, you get to go to a certain emotional level that you don’t normally go to in your everyday life. I just really felt like that day was pulsing and alive.

Watson: Theo and Robin have a big climax moment and that scene was really, really brutal for a lot of reasons. There was a battle for closure for everybody, for me and [Jonathan Whitesell] and our characters. We had a hard day, going back and forth between having to be mad at each other and then, off scene, making sure that we were both OK and still functioning. It’s a tough balance, as an actor, keeping your mental health in check and also serving the character.

Liane Hentscher/Netflix

Sinclair: Probably my favorite scene to shoot was with the new weird sisters — me, Tati [Gabrielle], and Skye. It’s the scene where I’m proving that I’m witchy enough for frigging Prudence, after she’s pretending like she doesn’t know who I am. That scene was just so cool because it felt so powerful on the day. We were in this spooky room and we were all just so in the zone.

Leatherwood: You can feel that in the scene too, Jaz. When I watched, I was like, damn, Rosalind is a badass and that scene is super electric.

Shipka: I will always hold that first dark baptism pretty close to my heart. I know none of you guys were actually there for it, which is—

Leatherwood: We didn’t get the invite. Must have got lost in the mail or something.

Shipka: It’s sort of like, I don’t know, a family thing. Anyway, that was one of my first night shoots that I’d done on the show. We were all just delirious and it was hilarious. But Mandrake Sabrina was probably my favorite to play.

Watson: I like that when you had the contacts in, you’d cross your eyes a little bit, too. It was amazing.

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#Find_Your_Style Bohemian Style أعرف أستايلك النمط البوهيمي

M.N.DESIGNER نتكلم في هذة الحلقة عن النمط البوهيمي واللذي يحتوي على قطع اثار متعددة ومتنوعة الالوان والاشكال والتي ليس لها اي محدد الا انه تستطيع معرفة هذا النمط …



14 Albums You Might’ve Missed In 2020

Armani Caesar, JoJo, Wizkid, Westerman, A.G. Cook, and more made MTV News’s albums you might’ve missed in 2020.

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Emma Roberts Reportedly Welcomes First Child With Garrett Hedlund

Was a new rom-com legend born this week? Perhaps, because Emma Roberts has given birth to a baby boy.

The American Horror Story and Holidate star reportedly welcomed her son with her partner, the actor Garrett Hedlund, on Sunday (December 27). The couple has yet to officially confirm the news, but according to TMZ, they have named the baby Rhodes.

Roberts first announced her pregnancy on Instagram in August after rumors began circulating earlier in the summer. At the time, she shared a series of photos showcasing her baby bump and her boyfriend, Hedlund, with whom she was first linked in March 2019. “Me … and my two favorite guys,” she captioned the post with two blue heart emojis.

In an October interview with MTV News, Roberts got candid about how she expects motherhood will affect her future acting and producing projects. “It’s been really nice to reflect on what I do want to do as an actress,” she said. “And now, as I’m about to have a baby, what I spend my time doing work-wise, I want to be much more discerning about, just because it will be taking me away from being a mom.”

Roberts took to Instagram again in December to give fans a sneak peek into the baby’s wardrobe — looks like everything was well-prepared for the arrival of baby Rhodes. Congratulations to the new parents!

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The Best K-pop B-sides Of 2020

By Elizabeth de Luna 

The year of our Lord 2020 sucked (zero out of 10, would not do it again), but somehow, it still managed to be pretty stellar for Korean pop music.

The industry was quick to respond to the pandemic with digital alternatives for in-person meet-and-greets and now stands at the forefront of virtual live concerts and augmented reality technology. BTS climbed even higher into the echelons of global culture, nabbing their first Grammy nomination along the way. NCT pushed boundaries of size and sound with a gargantuan two-part album, Resonance. And the debuts of a handful of impressive new groups propelled the promise of K-pop’s next generation.

It wasn’t all great — parts of the industry (and fandom) still struggled to differentiate culture from costume, failing outright to make Black fans feel welcome. And the ripple effects of corruption were revealed to have upended the careers of dozens of trainees and idols. Despite this, K-pop remained a much-needed source of comfort during an unpredictable year, as most of us used music to cope during quarantine.

We may have had more time to listen to new music in 2020, but it’s always difficult to keep up with the hamster wheel of K-pop releases, especially those that aren’t promoted as title tracks. MTV News put together our annual list of best B-sides with that in mind. Here are 23 songs that weren’t chosen as singles but are nonetheless singular among the thousands of tracks released this year.

23. Weeekly: “Top Secret”

Weeekly’s “Top Secret” is one of the simplest pop songs on this list but, boy, is it catchy. All seven members of the newly-minted girl group have serene voices, but Seoun’s sparkling vibrato and Monday’s soft tone are the stars here. Weeekly debuted in June and quickly carved out a space for themselves with their earnest lyrics about youthful passion and growing up. The music video for their latest single “Zig Zag” is especially charming, with unique choreography that involves the girls pushing large blocks across the stage. Weeekly were recently named Rookie Girl Group of the Year by the Korean public, so keep an eye on them because they won’t be a secret for much longer.

22. JOOHONEY: “Smoky”

JOOHONEY’s powerful delivery is a trademark of his work with Monsta X and it’s also a defining feature of his October mixtape, Psyche. On “Smoky,” he describes stumbling through a world obscured by darkness in a slow buildup to an emo-rock chorus that’s perfect for screaming along. “I want to go back to my childhood,” he raps at the end of the second verse, foreshadowing the choir of children who join him for the poignant bridge. There, he delivers an uplifting message as if speaking from the perspective of a close friend: “Love, pain / It’s all just in the moment / Believe in yourself.”

21. A.C.E.: “Clover”

A.C.E. are generally underrated as a group and underappreciated as vocalists (do yourself a favor and watch them annihilate this Blackpink cover), but in 2020, it feels like they might finally be getting the attention they deserve. Any of the three b-sides on their EP HJZM: The Butterfly Fantasy are worth highlighting, but “Clover” is perhaps the most unexpected. A.C.E.’s lead singles are usually hard-hitting hype tracks, so the heart-fluttering sweetness of lyrics like “I feel like a wave called ‘you’ will hit me” extends A.C.E.’s ample range. Do I also like this song because it reminds me of David Archuletta’s 2008 seminal classic, “Crush”? Maybe. If you’re interested in what else A.C.E is capable of, check out the soothing, worship-music passion of “Stand By You.

20. IZ*ONE: “Open Your Eyes”

“Open Your Eyes” closes out IZ*ONE’s BLOOM*IZ with a bang. It combines the members’ sugary vocals and a killer chorus with influences of tropical house to achieve a surprising intensity. The title is a fun play on the group’s name (pronounced “eyes one”) as well as the formal greeting that the 12 members recite in unison when introducing themselves: “Eyes on me! Eyes on us when we become one!” The group is slated to disband in April 2021, but four months is a lifetime in K-pop. While it’s all but certain that IZ*ONE has more music on the way, their legacy includes some of the genre’s strongest singles of the past two years.

SF9: “Like the Hands Held Tight”

Listening to SF9’s “Like the Hands Held Tight” brings to mind images of outlaws and galloping horses, sunsets and bank heists. Acoustic guitar and distorted trumpets accompany the confessions of someone who knows their actions are irredeemable but begs to be loved anyway. “I’m the bad guy / Dangerous, for you I can endure anything,” the members sing. “Like the hands held tightly, I love you.” Appearing on SF9’s January album First Collection, the release was followed by the June single “Summer Breeze,” whose Wild West whistles and gun-slinging choreography are an even more overt nod to K-pop’s yeehaw agenda.

18. Baekhyun: “Poppin’”

It’s immensely satisfying to listen to the warm, brassy timbre of Baekhyun’s voice as it ricochets up and down. The power-vocalist is a pro at conveying the playful sensuality of “Poppin’” and the delicious single “Candy,” both from his second EP Delight. Delight was the first solo release in South Korea to surpass the sale of 1 million copies since 2001, and if you treat yourself to it, “let’s get this poppin’” will be stuck in your head for weeks.

17. NCT 127: “Love Me Now”

The release of NCT 127’s bombastic “Kick It” was one of 2020’s biggest moments. “Love Me Now” is lighter and sweeter, the sparkling pink-heart emoji to “Kick It”’s black one. The Korean title of the song translates to “Echo” and the lyrics — “My heart keeps ringing it, without a pause / This echo that spreads” — pair with a call and response of “I want you to love me now” in the chorus. The effervescent EDM track was crafted in part by frequent SM Entertainment collaborators Mike Daley, Mitchell Owens, Deez, and VEDO, and it was featured alongside a selection of quality B-sides on the album Neo Zone. The collection sold more than 1 million copies and debuted at No. 5 on the Billboard 200, cementing a stand-out year for NCT 127, whose star was already on the rise at home and abroad.

16. Everglow: “No Good Reason”

Everglow is known for their badass, bruising singles, but they shine just as brightly on a handful of softer B-sides. “No Good Reason” is comforting and surprisingly emotional. The song’s consistent tempo, structure, and composition reflect the compatibility of the couple described in its lyrics. “To me, you’re always spring,” vocalist Mia sings. “I can’t find some good reason to let you go / Seems like even I didn’t know / Your presence in my heart.” “No Good Reason” competes with 2019’s “Hush” for the group’s best B-side ever, and that might have something to do with the fact that the tracks have nearly identical production teams. Like the song says — there’s no need to mess with a good thing.

15. (G)I-DLE: “Luv U”

The four Korean tracks off (G)I-DLE’s April EP I Trust are refreshingly experimental and underscore the group’s signature mix of seduction, power, and calculated restraint. Sandwiched between singles “Oh My God” and “Lion” are the gloomy “Maybe” and the confessional “Luv U.” The percussive tongue clicks and slick production of “Luv U” are particularly compelling, especially when augmented by flirty choreography that walks the line between sexy and sweet. (G)I-DLE have already promised a new album in January, and if it’s anything like I Trust, you can bet we’ll be seeing the group on best-of lists in 2021.

14. WayV: “Domino”

Though WayV is billed as a Chinese pop group, their music is produced by South Korean agency SM Entertainment and they primarily promoted in the country this year as a subunit of K-pop umbrella group NCT, so they get a spot on this list. Listening to “Domino,” a glistening cut off their first album Awaken the World, feels like ascending to another plane. After being lulled by the meditative bass and layered vocals, you’re suddenly elevated by the soaring belts and falsettos of Ten, Kun, and XiaoJun. They describe a love that makes their body ache, like the chill of the wind or cold of the rain, until the bitterness seeps inside them and they concede, “I can feel it in my bones.”

13. SuperM: “Wish You Were Here”

SuperM’s first album Super One is chock-full of banging B-sides, from the sexy, euphemistic “Drip” to the tropical “Big Chance.” “Wish You Were Here” is the catchiest of them all, with a bouncy, lilting chorus that you’ll have trouble getting out of your head, as well as lyrics that sound like a postcard you’d write to an ex from a melancholy beach vacation. This musical style is an exciting departure from SuperM’s solid debut EP, which was more closely aligned with SM Entertainment’s signature R&B and hip-hop-driven sound.

12. ATEEZ: “Horizon”

When ATEEZ dropped their fifth EP Treasure Epilogue: Action to Answer in January, they gave us both the banger “Answer” and one of 2020’s most experimental K-pop tracks, “Horizon.” The latter has an unusual structure — mostly a mix of refrains, pre-, and post-choruses — and is imbued with the kind of expansive emotion and focused intensity that defines Ateez’s nascent career. “Somewhere between the sea and the sky / Now you gonna take me there,” ATEEZ demands before the chorus explodes with all the chaos and distortion of a black hole. The last 50 seconds are especially exhilarating, a climactic resolution to a song that encapsulates why ATEEZ is hailed as a leader of K-pop’s fourth generation.

11. ENHYPEN: “Intro: Walk the Line”

Intros don’t usually make for noteworthy B-sides, but the opening of ENHYPEN’s debut EP is an exception. Australian member Jake narrates the first chapter of ENHYPEN’s story, describing their new destiny of “carving sunrise” between chants of “walk the line.” That “line” may refer to the horizon, or the liminal space between day and night, a nod to the group’s vampiric concept. The lush, nostalgic production ends in a shimmering siren song that definitely deserves a full track of its own. Big Hit, the ball is in your court!

10. Tomorrow X Together: “Ghosting”

“Ghosting” begins with a whisper. “You disappeared / Like a faint ghost,” murmur Soobin and Hueningkai, before the song envelops you in a whirlwind of electric guitar, crisp drums, and twinkling synths, as if to drown out all other thoughts. The lyrics detail the tediousness of drifting apart from a friend and watching them move on. As you get ghosted, you become a ghost of yourself, “ask[ing] in the empty void / What am I to you?” The subject matter is trademark TXT, whose music indulges youthful longing, confusion, and worry, often over a pop-rock guitar riff.

9. GFRIEND: “Labyrinth”

Picking between GFRIEND’s fan-favorite B-sides “Labyrinth” and the epic “Here We Are” is no easy task, but the funky thrills of the former make it harder to resist. There are similarities between “Labyrinth” and the group’s 2017 hit and K-pop classic “Fingertip” — a talkative electric guitar, ever-present drums, and layered synths — which is evidence that their sound has matured without losing its identity. The production team behind “Labyrinth” is also a blend of old and new: It includes frequent GFRIEND collaborator Noh Joo Hwan and Big Hit talents Adora and Frants. Their fruitful partnership reflects the promise of a new relationship between GFRIEND’s home Source Music and Big Hit, which acquired the label last year.

8. Hwasa: “LMM”

Many of the lyrics on Hwasa’s debut EP María read like soul-baring diary entries. “Why are you trying so hard? You’re already beautiful,” she asks herself on the dancey title track. That same introspection is present on the solemn ballad “LMM,” which stands for “Lost My Mind.” The lyrics, written by Hwasa, are sparse and deliberate. “Do you wanna get some more? / Do you wanna go somewhere?” she asks wearily, her voice dancing with violins and piano. It’s unclear whom she’s speaking to, but “LMM”’s music video suggests she is again in conversation with herself. In the video, she walks calmly under a shower of arrows, untouched, until shooting herself in the back.

7. Stray Kids: “Any”

Between their first album Go Live, its repackage In Life, and their Japanese EP All In, Stray Kids has released one of the most consistent discographies of the year. They continue to build upon the biting intensity of their signature sound (“God’s Menu”), experiment with production (“Tortoise and the Hare”) and find new ways to feature member Felix’s husky bass (“Pacemaker,” “Airplane,” and “TA”). Nowhere is this development more apparent than on “Any.” The song’s metallic highs are a natural progression of producing trio 3RACHA’s skilled hand in AutoTune and voice effects, while the play on words (the English title sounds like the Korean word for “no”) highlights their aptitude for bilingual lyricism. The song describes a state of chronic indecisiveness and dissatisfaction, but the production makes it clear that Stray Kids know exactly what they want.

6. Day6: “Afraid”

In 2020, pop-rock band Day6 reached into their chests, pulled out their guts, and laid them bare in their music. On “Zombie,” the lead single off their album The Book of Us: The Demon, they describe the daze many of us have found ourselves in this year. On “Afraid,” they struggle to fight off demons and fear reaching out for help, worried their dark thoughts may dim the light of the people they love. “I’m so afraid that you’ll become like me,” they admit. “I can’t let go or hold on to you / What should I do?” After the album’s release, the group announced they’d be taking a hiatus to allow members Sungjin and Jae to seek treatment for anxiety. Jae has since become a vocal advocate for mental health awareness among teenagers and young adults, making the answer to “What should I do?” very clear: Take care of yourself and ask for help.

5. BTS: “UGH!”

The biggest band in the world released many spectacular B-sides this year (“Moon,” “Louder Than Bombs,” “We Are Bulletproof: The Eternal”), but none feel as cathartic as “UGH!” RM, Suga, and J-Hope growl in repulsion, releasing their disgust at critics who are too swept up in anger to consider the long-term effects of their outbursts. An opening gunshot seems to signal the beginning of a race, but it takes on a new meaning by the end of the track as J-Hope cautions, “I can rage, but if there were to be damage done / To others’ lives, I don’t like [it]… Someone’s rage becomes someone’s life.”

4. Woodz: “Accident”

“Accident” is a cut off Woodz’s Equal, the long-awaited first album from the multi-hyphenate performer also known as Seungyoun Cho. The 24-year-old has worn many hats: a rapper in the currently inactive Chinese-South Korean group UNIQ, a vocalist and rapper in the grievously short-lived X1, and a songwriter for artists like Super Junior-D&E and Suran. On the self-produced Equal, Woodz’s immense musicality is on glorious display. “Accident” stands out for its pop-tinged take on the kind of nocturnal ruminations and soaring falsetto you’d hear from Dean or The Weeknd. At first, Woodz is forgiving of a former lover, telling them “It’s an accident, not your fault,” but after a stratospheric climax, the blame shifts. “It’s not an accident, it’s your fault,” he croons. “You know.”

3. STAYC: “Like This”

Six-member STAYC debuted this year with earworm single “So Bad,” but their superb B-side “Like This” could have easily taken its place. An innocent intro of tweeting birds drops, without warning, into an addictive combination of driving hi-hats and floating staccato synths. The song feels like it belongs in 2010 in the best way, and the alternating sweetness of Sieun and Isa’s vocals with the deeper tones of rappers J and Sumin are a highlight. STAYC is managed by production duo Black Eyed Pilseung, who have created hits for artists like Sistar (“Touch My Body”), Twice “(Likey,” “TT,” “Cheer Up,” “Fancy”), and Chung Ha (“Rollercoaster,” “Gotta Go”). With a debut this strong, STAYC seems primed to follow their lead.

2. Taemin: “Clockwork”

Taemin’s Never Gonna Dance Again: Act 1 and 2 are two of the best K-pop albums of the year, hands down. They’re immaculate from start to finish, but “Clockwork” feels especially meaningful for 2020. The lyrics (by “Top Secret” and “Start Over” writer Lee Su-Ran) describe a world warped by memory and cyclical limbo. “My time is my world / It’s like clockwork / Trapped in this circle,” Taemin sings in palpable despair. The song opens with reflective chords reminiscent of one of the greatest finales in musical theatre, Sondheim’s “Being Alive,” and ends with a similarly emotional release. Taemin wails in frustration as the plodding piano and ticking second hand loom like ever-present spectres of time, marching onward and slowly falling away.

1. BoA: “Start Over”

All hail the queen of K-pop, who celebrated 20 years in the industry this month with her tenth album, Better. The provocative “Temptations” is a top contender for the project’s best B-side, but “Start Over” is the real hidden gem. BoA’s tangy, raspy-edged timbre is a compelling match for the song’s pleading urgency and breathless declarations of “You’re gonna love me, let me start over.” The emotional and musical range between this track and Better’s breakup B-side “Cut Me Off,” on which she deadpans “If we stick together, we’ll get tired / So cut me off / You can do it,” proves that BoA’s still at the top of her game. As if there was ever any doubt.

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اعرف نوع جسمك لضبط تغذيك . صحة لياقة تغذية

انواع الأجسام:نحيف عضلي سمين أتمنى الإشتراك بالقناة وتفعيل جرس الاشعارات ونشر المقاطع في المنتديات والمواقع الإجتماعية .. وتذكروا حديث الرسول صلى الله عليه …



Could Devin Finally Rise To The Top Of The Challenge?

The road from frat paddle to formidable competitor has been a long and winding one for Are You the One? alum Devin, who made his Challenge debut on Rivals III. But after five years on the show and a string of faux pas that have left the notorious pot-stirrer winless, could Double Agents finally be Devin’s game to lose?

On the show’s latest episode, Devin and his partner Nicole tested their brute strength in “Road Kill,” which challenged players — in two-team heats — to knock their opponents off of a moving truck (seriously!) without wearing a harness. The team who bowled over their opponents most quickly would win, and when the dueling-dust settled, it was Leroy and Kaycee who claimed victory, finally bringing Fessy and Aneesa’s winning streak to a screeching halt.

For Devin, who already felt vulnerable to the house’s Crater vote, things quickly went from bad to worse. Because of a shoulder injury Nicole sustained atop the “Road Kill” truck, she was forced to leave the game, rendering Devin an incidental Rogue Agent. And after starting a blowout fight with Josh by jeering “Big Brother sucks!” Devin all but sealed his fate: He was heading into the coming elimination round.

Though the most recent Crater game had been a men’s elimination event, TJ informed the players once they arrived at the elimination-round arena that, once again, two of the game’s dudes would duke it out for a Golden Skull. And Devin’s unlucky streak continued when Double Agents Leroy and Kaycee nominated Devin’s best friend in the house — Wes — into The Crater for a second time.

Still, Devin was determined to pull out a win.

“When you’re in that black sand, no one is your friend,” he said. “It’s me versus someone in the way of a Gold Skull.”

And after a grueling fight, the Gold Skull was Devin’s. In “Snapping Point,” a spin on a reverse-tug-of-war, Wes couldn’t drum up the will to beat his friend and stay in the game, and though he was the odds-on favorite to win, it was Devin — who has a history of taking out huge players — who fought through the pain to claim victory.

“The last time I came on this show, I embarrassed myself,” Devin said. “I knew if I came back, I would go all the way.”

And some of Devin’s fellow competitors were convinced.

CT noted that “Devin’s looking tough, while TJ observed: “Devin, that is the best performance I have ever seen [from you].”

And Challenge newbie Amber put Devin’s success into perfect perspective: Don’t sleep on a party boy.

“He drinks a lot of beer, but do not let that fool you,” she said.

Though Devin’s victory meant he could easily snatch up Natalie, Wes’ former partner and one of the game’s strongest players, he decided, instead, to shake things up and steal his arch-nemesis Tori away from Cory. This, Tori noted, would likely make her game tremendously more difficult.

But can Devin keep his winning ways in motion, or is stealing Tori a disservice to his own game? And can Devin finally push through to the end of the competition and win? Share your thoughts, and be sure to check out Double Agents Wednesday, January 6 at 8/7c!

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At-Home Livestreams Are So 2020. Bigger, Bolder Concert Experiences Are The Future

By Deepa Lakshmin

Lightning strikes. There’s a web of tangled branches, a flash of sequins; Misterwives frontwoman Mandy Lee emerges from the darkness of a blank computer screen, mic in hand, and a booming thunder in her voice as she launches into “Over the Rainbow.” Even for a virtual concert during a pandemic, the performance’s stage design had to measure up to the band’s bigger ambitions.

“We wouldn’t be able to bring like 30 trees on tour, you know?” Lee tells MTV News over a video call about the various theater sets the band and their crew built over the past four months: a skyline of clouds, a lonely bedroom, a poppy field in full bloom, a bubblegum-pink disco party. Each installation got its turn in the spotlight in The Live Dream, Misterwives’s ticketed virtual concert that streamed earlier this month on Moment House — the event startup that took home $1.5 million in seed funding from backers like Scooter Braun, Troy Carter, Jared Leto, and Kygo’s Palm Tree Crew.

In truth, “virtual concert” doesn’t do The Live Dream justice. The blink-and-you-missed-it costume changes, the sheer volume of sets, and the expansive choreography wouldn’t make sense on the intimate stages Misterwives came up playing in their hometown of New York City. But on campus at Rochester Institute of Technology — where they rehearsed and filmed the show over multiple days before editing it down and streaming the recorded set — they had the time, space, and resources to go bigger and bolder with their production. It’s a “silver lining,” Lee says, because it wouldn’t have been possible to pull off such a grand performance if their original 2020 tour plans had panned out.

Moment House founder Arjun Mehta tells MTV News over the phone that terms like “livestream” or “virtual show” are “limiting” or “feel inferior.” They prefer “moments.” The startup advises artists to focus on what they can deliver digitally that they could never create in real life. “You’re not supposed to compare the two,” Mehta adds. “This is supposed to be an entirely new unit, not a replacement.”

Though much of Moment House’s funding came after the onset of COVID-19, the company was founded in late 2019 with a 10-year product vision that hopes to keep the events rolling after the pandemic ends. With the live-music industry on hold since March, artists have nonetheless kept the connection alive, first with intimate at-home performances, then eventually with scaled-up concerts in proper venues. Moment House feels like the next logical step in that evolution.

Artists using Moment House — among them Halsey, Yungblud, and Blackbear, plus a Justin Bieber New Year’s Eve performance coming up — set their own ticket prices and pocket 100 percent of that revenue, and the startup charges an additional 10 percent service fee to cover operating costs. Selling tickets, besides paying the bills, also filters out casual listeners, Mehta points out. You’re left with core fans who are often eager to find their people. Pre-recording The Live Dream meant that Lee could join Moment House’s live chat during the show and interact in real time with these “Instawives,” the title of the Instagram DM group started by fans. A Discord server soon followed.

“I thought it was going to be like a movie, and it was going to be weird,” Misterwives super fan Jireh Deng tells MTV News over the phone. “Actually, it was really fun, and I felt like I was still part of a community as I was watching it online, even though we weren’t there physically in person.”

Audiences tune in from across the globe, and if they don’t live near a tour stop, this could be their only shot to see their favorite band perform. It’s a dilemma that BTS, with their worldwide Army, were working to solve even before COVID-19. Last June, the megastars broke the Guinness World Record for most viewers for a music concert livestream on a bespoke platform. A whopping 756,000 fans logged on for their virtual performance broadcast by Kiswe, a cloud-based company founded in 2013 that offers AR and XR technologies and multi-camera perspectives, among other tools, to make at-home viewing more engaging.

“It’s like a blank canvas,” Kiswe CEO Mike Schabel says over video about stages that are intentionally designed for digital audiences instead of arenas. In the BTS set, for example, “everything was a pixel — from the top, the bottom, the sides.” When you’re surrounded by LCDs and running video beneath your feet, the possibilities become endless. During a second Kiswe livestream in October, the K-pop group employed multi-view capabilities to tell six different stories running in parallel across four stages, so fans could pick their favorite. With augmented reality, they were even able to watch and hear fans react in real time. (According to a Kiswe report, BTS was “happy to see you, even if it’s through a screen.”)

Adam, Jack, and Ryan Met — together known as the New York-based pop band AJR —  are currently gearing up for their own Kiswe livestream, One Spectacular Night, airing on Saturday, December 26. They tried out drive-in shows first, and now they’re planning a “virtual concert that really blows up the idea of what a virtual concert can be,” Ryan says over video. Fans expect big spectacles at their performances; on tour last year, they did a step-by-step recreation of how they produced “Don’t Throw Out My Legos” based on the snare of The Beatles’s “Penny Lane” and the sound of Jack dropping his keys, then closed out the night with a parade of simulated drummers pulled from the light-up suits they wore onstage.

Now the trio is letting their imagination run wild and collaborating closely with Kiswe to bring their vision to life. While an in-person tour stop might have eight or so impressive feats, this show will have one for practically every song, from Jack walking in midair thanks to wire automation, plus laser and LED tricks that look like magical illusions.

“It’s weird because we’re living in a world where this idea of the livestream and what it could be is being built as we’re doing this,” Adam says. With tours, you know how much money, how many lights, and what kind of stage you’re working with, but “there hasn’t really been a box put around what a livestream can be yet.”

Yet the number of livestreams grows every day, according to data from Bandsintown, which has been aggregating livestream music events across genres and hosting platforms since March. The website registered over 62,000 livestreams in nine months. In June, 1.9 percent of music livestreams on Bandsintown were ticketed; that skyrocketed to 50.7 percent by the end of November, with 80 percent of fans on the site willing to pay for access. Fabrice Sergent, managing partner of Bandsintown, projects that artists could “double their income” in the future if they incorporate ticketed livestreams into their traditional tour strategy to reach fans globally. Over video chat, he compares it to the evolution and profitability of physical records: “That change happened over 10 years. The switch to livestream happened over 10 months.”

Bandsintown’s heat map of livestreaming data, shown below, proves that audiences across the country are tuning in, albeit in less concentrated groups far away from major cities. Now the concert industry is finally catering to those underserved markets and, as a result, becoming more inclusive of and accessible for fans everywhere.

Courtesy: Bandsintown

“When you’re touring and the money machine is well established, you repeat the money machine. You turn that crank,” Schabel says. “Well, unfortunately the industry got decimated this year… so you have to rethink a new money machine, and this one was sort of sitting there in the wings.”

For AJR, it’s been cool to see how many fans they have in Southeast Asia and South America — places they’ve never played before — so they can consider those locations for tours down the line. Up until now, social media was the main way to connect with such audiences. Though there’s always appreciation for unscripted Instagram Live or Twitch sessions straight out of an artist’s living room, both AJR and Misterwives welcomed the creative challenge to step outside their comfort zones and build something entirely brand new for their fans.

“I feel like it’s like putting out your album and then putting out the demos or sharing your voice memos,” Lee says about sharing cozy videos of herself playing by her Christmas tree. “You can have this beautiful polished product but… seeing the inner workings of us doing it ourselves, or ‘this is what it sounded like stripped down,’ I feel like that resonates so much more, even [when] you put everything you’ve got into the bigger production stuff.”

Each form of musical storytelling works hand-in-hand with another; the large-scale livestreams that are timed down to the second complement spontaneous posts, just as they’re expected to complement in-person concerts when they return. “I do think it’s nice to pull back the curtain,” Lee continues, “and be like, we’re all the same here.”

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