Eminem SLAMMED for Saturday Night Live Performance!

Eminem slammed for saturday night live performance

It’s official: Eminem is back!

Well, it’s not like he was ever officially gone — though it’s been four years since he released his last album, he’s recorded a few songs here and there.

But right now he’s preparing for the release of his latest album, Revival. We don’t know exactly when the album will drop, but this month he shared the first single, “Walk on Water.”

To promote the album, he performed the single on this week’s episode of Saturday Night Live, and while Beyonce wasn’t there — she sings on the album track — his longtime collaborator Skylar Grey was.

And since he had a lady singer there with him, he took the opportunity to perform two of his old hits along with his new one — after “Walk on Water,” they did bits from “Stan” and “Love the Way You Lie.”

Considering all that, it should have been amazing, right?

Eminem fans should have lost their collective mind.

But unfortunately, that’s just not what happened.

People were ruthless in their reactions to his performance, and, as always, they took to Twitter to express their displeasure.

“I would rather listen to the woman on the piano sing a dozen songs than try to understand what Eminem is saying for one rap,” one person wrote.

Another said that “As a USED to be fan I checked in to see what was up….. #stfu #wtf was this [poop emoji] #pathetic attempt. Just retire into the trailer park you’re #nothing anymore.”

One person tweeted directly to Eminem, telling him that he is “a washed up hack” and “no one wants to see someone’s dad who can barely grow a beard mumble some ‘rhymes’ on SNL.”

In perhaps the most harsh criticism of them all, one person even wrote “I’m not sure Rihanna could have saved that performance as good as she is.”

Even …read more

Source:: The Hollywood Gossip

The Punisher Is Rooted in American Trauma

The Punisher, Netflix and Marvel’s new 13-episode drama about a superhero whose superpower is killing people with guns, is debuting in a very different environment to the one the character was conceived in. When the vigilante Frank Castle first appeared in an issue of The Amazing Spider-Man in 1974, the American psyche was more preoccupied with serial killers and mob violence than with mass shooters. Punisher, a former Marine Corps sniper, turned the merciless tactics of organized criminals against them, displaying no qualms about executing gangsters. He employed what amounted to an arsenal of military-grade weapons. His accoutrements were guns, guns, and more guns.

In 2017, a dizzying number of disturbed gunmen have given the imagery and mythology of Punisher an even darker resonance. In October, a mass shooting in Las Vegas left 58 people dead, excluding the perpetrator. A month later, a 26-year-old former member of the U.S. Air Force killed 26 people in a church in Texas. It’s a discomfiting news landscape in which to absorb The Punisher, whose opening credits caress silhouetted weaponry as brazenly as James Bond title sequences undulate around women’s bodies.

But the show seems to have anticipated this line of criticism. Compared to the first appearance of Jon Bernthal’s Frank Castle/Punisher in Season 2 of Daredevil—where he executed mob bosses and underlings with brutal, surgical revenge, and tried to provoke Daredevil into committing murder—The Punisher mostly resists fetishizing gun violence. Steve Lightfoot, its creator (and a veteran of the NBC show Hannibal), clearly wants to add shades of gray to his hero’s black-and-white worldview. Frank is a ruthless vigilante who imposes his own, bloody justice on the world, but the show twists itself into knots trying to both critique and justify his moral code. Hardcore fans of the comic-book Punisher, who include a large …read more

Source:: <a href=https://www.theatlantic.com/entertainment/archive/2017/11/the-punisher-review-netflix/546182/?utm_source=feed target="_blank" title="The Punisher Is Rooted in American Trauma” >The Atlantic – Culture

Mavis Staples’s Revolution of Compassion

In 1972, the Staple Singers lodged themselves at No. 1 on the Billboard charts and cemented their place in soul history by singing of a place where nobody’s crying, nobody’s worrying, and nobody’s “lying to the races.” “I’ll take you there,” Mavis Staples and her family promised. As neatly as could be, the song distilled gospel and soul’s deepest yearning: for deliverance.

Over the last 45 years, Mavis Staples has never stopped singing about the dream of a better world, nor has she ignored the political reality that makes such a dream necessary. Her third album with Wilco’s Jeff Tweedy, the nourishing and nuanced If All I Was Was Black, arrives with a retelling from her label about her experiences with prejudice in the ’60s and her participation in the Civil Rights movement. “Nothing has changed,” Staples said this year. “We are still in it.”

Staples’s first album with Tweedy, 2010’s You Are Not Alone, won a Grammy and wide acclaim with a rich, enveloping take on the classic sounds that have long accompanied Staples’s husky and nimble voice. If All I Was Was Black, the first Staples album written as well as produced by Tweedy (and recorded with players from the Wilco extended family), is a more mysterious, rock-rooted work that sees Tweedy balancing his traditionalism and experimentalism and Staples her inspirational and realist sides. Where you’d expect the songs to explode in gospel-glory climaxes, he and Staples often pull back, setting off sparklers rather than sky fire. It’s a technique that, perhaps, reflects the unfinished nature of the political project Staples sings about.

On the opener “Little Bit,” Tweedy lays down a sawing, steady arrangement, mimicking a tight predicament Staples sings about: “Do what you’re told / gotta keep your eyes wide on this long, narrow road.” The guitar …read more

Source:: The Atlantic – Culture

Derick Dillard Breaks Silence on TLC Firing

Duggar and Dillard

Derick Dillard has something to say about his firing from TLC.

Last week, the now-former Counting On star learned that the cable network wanted no part of him, not after Dillard used multiple Tweets to slam Jazz Jennings.

Jennings is the 17-year anchor of I Am Jazz, a series that chronicles her life as a transgender teenager.

As a supposedly dedicated and devout Christian, Dillard doesn’t support such a lifestyle… and he’s been vocal about this stance on social media.

“I pity Jazz,” Dillard recently Tweeted on the topic, adding:

“4 those who take advantage of him in order 2 promote their agenda, including the parents who allow these kinds of decisions 2 be made by a child.”

This was not Derick’s first time going after Jennings, either.

“What an oxymoron… a ‘reality’ show which follows a non-reality,” Dillard, unprompted by anything Jazz did or said, wrote in August.

‘Transgender’ is a myth. Gender is not fluid; it’s ordained by God.

In response to one of the faces of Counting On going after another face of its network, TLC released the following statement on November 12:

We want to let our viewers know that Derick Dillard has not participated in Counting On for months.

The network has no plans to feature him in the future.

We want to reiterate that Derick’s personal statements do not reflect the views of the network.

TLC is proud to share the story of Jazz Jennings and her family and will continue to do so.

So that was that.

Following weeks of chatter that TLC was done with Dillard, executives made it official.

And sides were subsequently taken on Twitter:

View Slideshow: Derick Dillard Firing Prompts Applause, Outrage: Read the Responses!

Now, several days later, Dillard has broken his silence over his official ousting.

“Thank you to all those who have supported us and given us so many …read more

Source:: The Hollywood Gossip