Archive for July 7th, 2019

Garth Brooks Announces 7-Date Dive Bar Tour – Taste of Country

July 7th, 2019

Garth Brooks is taking “Dive Bar,” his new song with Blake Shelton, literally. Coinciding with National Dive Bar Day, the superstar singer unveiled dates for his Dive Bar Tour during a special edition of his live show Inside Studio G on Sunday (July 7).

Brooks is set to visit seven dive bars around the country, starting on Monday (July 15) in Chicago. Though he was unable to reveal the location of the Chicago concert or the other cities and dive bars he’ll be performing in just yet, Brooks encouraged fans to turn to their local country radio stations for ticket information and other upcoming details.

Garth Brooks and Blake Shelton’s “Dive Bar” Is a Big Surprise

“Sometimes that’s your church,” Brooks says of his love of dive bars. “A church is people who are like you that are searching, and just sometimes need a shoulder to lean on, and that’s what a dive bar is.”

Brooks teamed up with Shelton for a duet that Brooks calls a “summertime anthem” that he co-wrote with “Ask Me How I Know” writer Mitch Rossell and Bryan Kennedy. The country stars will perform the song live together for the first time when Brooks and Shelton unite at Albertsons Stadium in Boise, Idaho on July 19 — a performance that’s set to be filmed. The show is part of Brooks’ three-year Stadium Tour that has already broken attendance records in several cities, including Denver, St. Louis and Minneapolis.

The remainder of the Dive Bar Tour dates will be announced on July 15, the same day Brooks plays a dive bar in Chicago and releases “Dive Bar” to Amazon Music as part of Amazon Prime Day.

Another Legend Could Have Cut Garth’s Biggest Hit!

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2020 C8 Mid-Engine Corvette: This Is Probably The New Rear End – Jalopnik

July 7th, 2019

2020 C8 Mid-Engine Corvette: This Is Probably The New Rear End  Jalopnik

Speed. Exhilaration. Performance. Leaking on the internet before the official debut is supposed to happen. These are the hallmarks of the Chevrolet Corvette …

View full coverage on Google News

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Apple could make iCloud sign-ins easier with Face ID and Touch ID – TechRadar

July 7th, 2019

Ohio State Highway Patrol investigating fatal crash involving 2 motorcycles – News 5 Cleveland

July 7th, 2019

OAK HARBOR, Ohio — The Sandusky Post of the Ohio State Highway Patrol is investigating a fatal crash involving two motorcycles Sunday evening.

A 2007 Suzuki GSX-R was traveling westbound on state Route 105 when the driver failed to negotiate a right-hand curve, went left of center and struck a 2017 Harley Davidson CVO Electra Glide that was traveling eastbound on SR 105, according to troopers.

The driver of the Suzuki struck the Harley head-on. The Harley went off the side of the road and overturned, troopers said.

The driver of the Harley, later identified as 54-year-old David Snoke, of Findlay, was thrown from his motorcycle as it overturned, according to troopers.

Snoke died from his injuries, troopers said.

The 20-year-old driver of the Suzuki suffered incapacitating injuries from the crash and was transported to a nearby hospital by Promedica Lifeflight, according to troopers.

Troopers said alcohol is not suspected as a factor in the crash.

Snoke was not wearing a helmet at the time of the crash, troopers said.

The crash remains under investigation.

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Super Mario Maker 2 Review – Niche Gamer

July 7th, 2019

Euphoria Recap: Cowardly Hearts – Vulture

July 7th, 2019


Shook One Pt. II
Season 1 Episode 4
Editor’s Rating 3 stars *****
Photo: Eddy Chen/HBO

In the classic ’90s hip-hop track for which this episode is named, Mobb Deep opined that “there’s no such thing as halfway crooks.” That’s clearly meant as a bit of side-eye from Euphoria to its junior miscreants, who think their bad behavior won’t catch up with them. But it’s also a criticism easily leveled at the show itself, which is the definition of a halfway crook. Is Euphoria a thoughtful, necessarily lurid meditation on the Way We Teen Now, or is it high-budget Riverdale with actual booze and drugs? It’s hard to say after this episode, which plays at offering the former and then mostly delivers the latter.

Most of the nuance and sensitivity in “Shook Ones”’ comes from the backstory-of-the-week cold open, which centers on Jules as a tween. Like Rue, she struggled with crushing anxiety and OCD-like tendencies, to the extent that her parents decided to put her in a mental hospital. In grand Hollywood tradition, the facility is depicted as a hellish prison, full of distant, unfeeling adults and near-constant threats of violence and assault. Jules responds proportionately by slitting her wrists with a torn strip of soda can.

The sequence leading up to Jules’s suicide attempt is effective and chilling, using the show’s editing trickery to convey her mounting fear and stress. Yet Euphoria seems entirely uninterested in the details of Jules’s recovery (all it has to say post-suicide is that she “got better”), or how her mental-health issues still affect her now. Her gender dysphoria is blandly described as “hating her body” (with a brief “get it?” shot of her entering a boys’ bathroom), and her decision to start transitioning gets five seconds total of airtime, with none of it framed within the context of her mental-hospital stay.

The sequence left me conflicted. On the one hand, transitioning kids are more than their transition — Jules should be able to have the same struggles with mental health as a cis kid, without a clichéd plot about her being institutionalized by heartless parents for being trans. On the other, the sequence feels like it’s strip-mining Jules’s story for its most lurid elements (namely, her sexual licentiousness), while simultaneously skimming over what being trans actually means to her. As with Rue, Jules’s diversity feels surface-level: She could be a cis girl with body dysmorphia, and the script would barely budge.

“Surface-level” is a criticism that kept coming up for me in the remainder of the episode, which was written and directed by series creator Sam Levinson. Set over one night at a school carnival, it takes visual cues from Vincente Minelli’s Some Came Running (shown briefly in a scene between Jules and her mom) and Michael Mann’s neon-soaked SoCal fantasias, interpolated with fireworks exploding off characters like stray hormones. The episode’s desperation to impress is clear from its three-minute, full-cast intro, which is clearly gunning for this year’s True Detective Honors for Showy Tracking Shots.

But despite its good looks, the episode’s storytelling is weak and full of empty teen-drama clichés. In a first for the show, it’s almost entirely free of Rue’s pithy, self-aware narration — which only serves to prove how narratively bland Euphoria is without it.

The biggest offender is once again Nate, who continues to be more of a jumble of types — confused queer kid, toxic-masculinity-poisoned daddy’s boy, budding psychopath — than a fully realized character. Nate physically abusing Maddy then breaking down into tears over how “confused” he is should have a raw, James Dean–like quality, but instead, Jacob Elordi’s acting pushes it perilously close to camp.

It’s the same with Nate’s big reveal that he’s actually Jules’s texting buddy, “Tyler.” Nate’s attraction to Jules, and his decision to blackmail her to protect his dad, should come off as noirish, charged with equal parts sex and danger. Instead, the scene feels erotically tone-deaf, like a better-shot scene from The Room. Hunter Schafer does her best to make Jules’s distress and steely resolve feel authentic, but Elordi is about as menacing as a toothpaste ad.

The other plotlines are equally generic. Kat finally starts to warm to Ethan, but after spotting him chatting with a hot girl from a distance, she petulantly seduces a conveniently placed older bad boy, complete with the requisite accessories of cigarette and bandana. McKay refuses to call Cassie his girlfriend because she’s slutty, so she decides to drop Molly — then loudly, publicly orgasms on a carousel, ensuring even more slut-shaming. There’s a long, tedious “Gia’s gone missing!” sequence that ends in Rue finding her smoking weed, setting off a hefty dose of sibling guilt.

The best scenes of the episode, as usual, are between Jules and Rue, especially a charged sequence where Jules realizes that her Dominant Daddy is Nate’s actual daddy, and tries to prove it to a skeptical Rue. The whole thing feels authentically teenage, from Jules’s heedless rush into a potentially dangerous situation to her plaintive, sidelong glances at a horrified Rue as things spiral out of control.

The scene highlights Zendaya and Schafer’s talents at portraying the eager kids that lie just under their characters’ jaded teenage facades. Yet the show doesn’t trust them to deliver in the clutch, burying Jules and Rue’s climactic kiss under flip-flop visual effects that rob it of its delicate power. In a similar fashion, the entire episode is underscored with a bombastic classical “mischief” score, adding an element of mockery to the soulful performances that Barbie Ferreira and Sydney Sweeney are endeavoring to deliver.

In the chorus of “Shook Ones,” the members of Mobb Deep call out the “cowardly hearts” of wannabe gangsters. But to me, the teens of Euphoria seem far less cowardly than their creators, who are eager to dramatize the consequences of their bad behavior without doing the much harder work of getting into the reasons behind it.


‘Euphoria’ Star Hunter Schafer on What That ‘Completely F–ed’ Nate Twist Means for Jules – and Rue – TheWrap

July 7th, 2019

(Warning: This post contains spoilers for Sunday’s “Euphoria”)

The fourth episode of HBO’s “Euphoria” finally slipped in to actual euphoric territory Sunday, when the ending saw Rue (Zendaya) and her best friend Jules (Hunter Schafer) kiss while romantic, instrumental music swelled.

And this kiss, unlike the one from the previous episode — which was initiated by Rue and caught Jules completely off guard — was an act of mutual affection that occurred as the two 17-year-old girls held each other in Rue’s bed after an installment packed with trauma, both in the past and present.

But what does this mean for the BFFs — and possibly lovers — going forward, seeing as it occurs just after Nate (Jacob Elordi) has revealed himself to be Tyler, the boy Jules was falling in love with over a dating app, and threatened to ruin her life if she tells anyone she slept with his father, Cal (Eric Dane)? Schafer says “something really exciting.”

“I think Jules, from the first episode, knows Rue is there for her and would do just about anything for her,” she told TheWrap. “And while I don’t think she necessarily suspected a romantic side of that from the beginning — that we first get a glimpse of in Episode 3 and even before that — I think after her heart is broken in this moment with Nate. She knows Rue is there and that Rue loves her on multiple levels, and so of course that’s who she turns to.”

“And in some respects, I think this is such a beautiful moment for Jules, because I love this idea of her turning away from this really repetitively toxic relationship she has with men and that she turns to her best friend,” Schafer continued. “And she finds something really beautiful and meaningful and intimate, and somewhat physical, with one of the people she feels closest to in life, who happens to be a femme person. And I think that’s really exciting for how it might affect her vantage point on her own sexuality and sense of romance.”

And that beautiful moment comes when Jules is in a very fragile state, having learned “Tyler” is actually Nate, a guy who has been out to get her since he found out she slept with his father — one of many married, older men she’s had sex with since hitting puberty.

Oh, and Nate tells Jules he’s prepared to turn her in for distributing child pornography — her own nude selfies, that she sent to “Tyler” — if she reveals Cal’s infidelity and act of statutory rape. And this move is “completely f–ked,” according to Schafer.

“I think more than anything, Jules was so excited to delve into a romance that felt real and was more than just some hookup in a motel room,” she said. “And I think she’s never really had much of an opportunity to experience that before, or even let herself experience that. So the fact that she’d gotten this far with Tyler was really exciting for her. And then to find out that Nate was catfishing her or playing her was heartbreaking just by itself.”

“And then he goes on to explain why, like, his intentions behind this, and it’s completely f–ked,” she continued. “So I think it’s another pretty traumatic experience as far as really letting her guard down with this person and for them to expose themselves to be different from who they were portraying them to be. And it’s a major turning point for the character.”

That twist comes toward the end of an episode in which we learn Jules’ childhood was riddled with dark moments, including her own mother driving her hours away from home and tricking her into being admitted into a facility due to Jules (whose gender at birth was male) starting to identify as a girl.

Schafer told TheWrap this storyline of Jules’ time spent at this center where she slices her wrists open after the doctors try to “cure” her came in part from “Euphoria” creator Sam Levinson’s own childhood experiences.

“From the get-go I could understand how deeply emotional it was, and I was curious as to where it came from and it started to make sense as to why she acts the way she does,” Schafer said. “And the way she’s acting out as a 17-year-old, you wonder where that’s coming from. And so to make that connection with this traumatic, at least one traumatic event in your life, it started to make a lot of sense. And then later on, after I’d been cast, and Sam kind of got into it more with me and we talked about it a bit, it turns out this is a true story for him and this is part of his experience, at least what happened to Jules earlier in her childhood and with her background story spending a lot of time in the hospital. It was really emotional learning the connection between her and Sam and where we’re seeing her now currently.”

“Euphoria” marks Schafer’s first on-screen role, one she “had a really beautiful time delving into” as she, a trans feminine person, was playing another trans feminine person and what was “true to the trans experience.”

“It was really exciting from when I first read the scripts to read about a trans femme girl who is battling battles outside of trans-ness and that she can be trans while exploring a multitude of other facets of her life,” Schafer said. “And I think that’s true to the trans experience. Being trans does influence just about everything in your life, but from a trans person’s perspective, that’s just your everyday and there are so many other parts of life that we struggle with or push through and those deserve stories on their own. So I think it’s really exciting to watch that now and have it be subtle.”

“Euphoria” airs Sundays at 10/9c on HBO.


Google and Dish rumored to be in talks about making a new U.S. carrier – PhoneDog

July 7th, 2019

What Will Power The C8 Corvette? Mystery Solved! – CarBuzz

July 7th, 2019

Ashley Darby: ‘RHOP’ Star Welcomes First Child With Birth Of Beautiful Son – Hollywood Life

July 7th, 2019

Ashley Darby has been so looking forward to the day that she would meet her son and he’s finally here. The ‘RHOP’ star gave birth on July 7 to a beautiful baby boy.

Ashley Darby finally has the baby joy she’s been waiting for. The Real Housewives of Potomac star gave birth to a son on July 7 and she couldn’t wait to share the news with the world. The 31-year-old showed an Instagram photo of her in her hospital bed exhausted from the delivery while her husband Michael, 59, cradled their bundle of joy on a sofa next to her in their birthing suite. This is the 31-year-old’s first child while her husband has two adult children from a previous marriage. 

“I never thought this day would come. When I learned I was pregnant, I started thinking about when I’d feel the first kicks. Then, when I was feeling the flutters, I wanted to know when I’d finally start to show. After watching the bump grow, my mind went to birthing day (WILL THIS REALLY HAPPEN?!) And when the day finally came that this sweet child came into our world, it felt like the sunniest day after a sky filled grey. The most sensational day of our shared life. Mickey and I are savoring every moment with our wonderful son ♥️ ,” she captioned the photo.

On July 2, she posted her final pregnancy pic to Instagram, showing her round and bare baby belly. Ashley wrote next to it, “Anytime now my sweet son, we have made it to the finish line! My darlings, this is the happiest feeling I could ever have right now. Experiencing motherhood and preparing to hold this being in my arms gives more joy to my heart than is conceivable! Thank you for all of the wonderful messages and supportive notes you’ve sent to us. They have been so helpful and uplifting. Much love and light to every one of you ♥️ #40weeks #BabyD #rhop”

Ashley and Mickey married in 2014 but split up briefly between RHOP seasons two and three over fights regarding their Arlington, VA restaurant, Oz.  Congratulations to the new parents!