With very little in the way of pure heavy metal at this year's Glastonbury, the sight of three teenage Indonesian girls being one the sole representatives could be looked at as an example of tokenism by cynics. If you're among that number, think again, because Voice of Baceprot easily justify their position on the Woodsies Stage, with a fantastically powerful, and often genuinely moving, set of passionate old school metal.
An impressively large and intrigued crowd gather early in the morning to see the band, and that curiosity has visibly morphed into proper excitement 45 minutes later. The reasons are clear: firstly all three members of VOB have mastered their instruments way beyond their years, bassist Widi Rahmawati doing a mean impression of Steve Harris, galloping up and down her fretboard with impressive dexterity: even a late-set drum solo, standardly the ultimate momentum killer, by Euis Siti Eisyah garners huge roars of approval.
The real MVP though is vocalist/guitarist Firda Marsya Kurnia, who manages to bawl out gorgeous, soaring vocal lines whilst also ripping out riffs that KK Downing and Glenn Tipton at their peak would be proud of.
This is a band that are passionate about the causes they talk about in their music, and even though there is an obvious language barrier, the eco friendly and anti-war sentiment seems to hit harder thanks to the unique perspective they bring. But, even if you choose to ignore that side of the band, this is as rip-snorting a set of Priest, Maiden and Sabbath-inspired metal that you’re going to get this weekend at Glastonbury. The fact that it's delivered by these three individuals just makes it all the more remarkable.
By the end of the set Firda is in tears.
“This is the best gig ever!” she screams, clearly overwhelmed, as Woodsies roars their appreciation. You’d be a stony hearted cynic to disagree.
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Netflix has also benefited from its US streaming rivals back-pedalling from Southeast Asia. Disney+, which raised subscription prices in the region last year, is no longer focused on original content creation. Neither is Amazon’s Prime Video due to shareholders’ demand of profitability over subscriber growth.
At an event in Jakarta earlier this month, Netflix highlighted its new and coming series and feature films from regional creators, which include acclaimed Indonesian director Joko Anwar’s Nightmares and Daydreams, the country’s first sci-fi series.
“We want to make sure that we bring locally authentic stories to our members in each of these countries. That’s why we have our teams on the ground, communicating with local creators on a day-to-day basis,” Minyoung Kim, vice-president of content at Netflix in Asia-Pacific except India, said at the June 13 event.
Joko’s series, which premiered on June 14, went on to become the platform’s fourth most watched non-English language programme globally, gaining 2.1 million views as of Thursday.
The show has also earned praise from Indonesian viewers, who often favour Korean dramas, Chinese series, or Japanese anime over locally produced content.
“It’s not often for me to binge-watch Indonesian series, let alone a sci-fi one. Joko Anwar’s Nightmares and Daydreams is an exquisite, mind-blowing masterpiece,” user Ola wrote on X.
Hikmat Darmawan, an Indonesian film industry observer and producer at Jakarta-based production house Imaginarium Pictures, said “it’s only natural” that Nightmares and Daydreams was popular with Indonesian audiences due to its high production values.
“Netflix’s content has the latest production standards. This has an impact because there is a transfer of technology and a transfer of knowledge to Indonesian filmmakers.
“Joko Anwar is also a proven brand, it’s natural that his TV show is popular,” he said.
Still from the Indonesian zombie film ‘Abadi Nan Jaya’ (WT). Photo: Netflix
Beating K-dramas?
Netflix entered Southeast Asia in 2016 and remains committed to commissioning content in the region, including Indonesia, amid a push in Hollywood to find new growth markets in Asia, according to Hikmat.
“There have also been many strikes in Hollywood from the workforce there, especially writers and actors. A lot of production was hampered, and when production is forced, the results are bad. Market saturation can be seen in Marvel products,” he noted.
Marvel Studios’ 2023 release of The Marvels was its worst-performing film to date, with a box-office run of only US$205 million worldwide. Deadpool & Wolverine is the only Marvel film slated for this year.
Southeast Asian producers are also competing for eyeballs with Korean and Chinese content, which still rules streaming platforms in the region.
According to MPA’s report, K-dramas were the most popular content among Asian viewers on streaming platforms between January 2023 to March this year, with over 40 per cent of engagement, followed by Japanese anime at 18 per cent and Chinese dramas at 9 per cent. Indonesian and Thai-produced content each earned 3 per cent engagement.
Getting as much Korean content as possible has been the playbook for local and regional streamers such as Hong Kong’s Viu and Jakarta-based Vidio, which also focuses on sports and dramas, according to Hikmat.
Still from the Filipino zombie film ‘Outside’. Photo: Netflix
“Viu and Vidio are focused on the K-pop fan market. When dealing with Indonesian production houses, they would say, ‘your content is not Korean enough’. Netflix doesn’t operate like that,” he said.
“Netflix is willing to pay for high-quality local productions, but it’s very selective. So, on one hand, Netflix has boosted the value of our movie industry, but it’s only enjoyed by a handful of elite [filmmakers]. Netflix does not want to take risks with new directors.”
That playbook seems to be working. In Southeast Asia, Netflix leads the region across subscribers and monetisation, accounting for 49 per cent of the streaming sector’s total subscription revenue, according to the MPA report.
The platform also surpassed 10 million subscribers at the end of the first quarter of this year, pulling ahead of local and regional competitors such as Viu, Disney+ Hotstar, Vidio, WeTV and Amazon Prime Video, the report added.
Dhivya noted that Vidio leads over Netflix in terms of subscribers in Indonesia, Southeast Asia’s biggest economy, with a market share of 20 per cent, 9 per cent bigger than Netflix’s.
“However, those subscriptions have very different average revenue per user, of US$5 to US$6 for Netflix and US$2.50 for Vidio,” she said, adding that viewers also spent more hours on Netflix compared with Vidio and Viu.
According to MPA’s report, paid subscriptions to premium video-on-demand services in Southeast Asia reached 48.5 million in the first quarter of this year, up from 47.9 million last year, collecting an estimated revenue of US$381 million.
Still from the Indonesian sci-fi series ‘Joko Anwar’s Nightmares and Daydreams’. Photo: Netflix
Romance and horror
In Southeast Asia, a line-up ranging from Thai dramas to romance and comedy titles and Indonesian horror films is expected to boost viewership, as such content has “the strongest regional impact”, according to Dhivya.
Among the Indonesia-produced Netflix original content scheduled to premier later this year is a horror film depicting a dysfunctional family trapped in a zombie outbreak, tentatively called Abadi Non Jaya, as well as Borderless Fog, about a detective trying to solve serial murder cases along the Indonesia-Malaysia border.
From Thailand, an eight-part show about a sex columnist called Doctor Climax premiered on June 13, while Tomorrow and I, an anthology series exploring the intersection of futuristic technologies and Thai culture, is slated to air in the near future.
Unhinged zombies will also figure into the plot of Filipino-made film Outside, which will premiere on October 11.
Article From & Read More ( Can more Southeast Asian content help Netflix ward off strong local rivals? - This Week In Asia )
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At aespa’s Seoul concert ‘2024 aespa LIVE TOUR – SYNK: PARALLEL LINE’, all four aespa members surprised the audience with rich performances of their new solo songs.
Notably, each member has actively participated in the songwriting process.
Giselle performs the graceful but powerful “Dopamine,” a R&B song in which she has participated in both the song composition and lyrics writing.
Karina performs the bold “Up,” a Hip-Hop song that accentuates her girl-crush vibe, with lyrics completely written by her.
Ningning performs the sensual “Bored,” a groovy R&B song in which she has participated in the lyrics writing.
Winter performs the ethereal “Spark,” an EDM song in which she has participated in both the song composition and lyrics writing.
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The second day of Glastonbury proper and the day broke with sunshine and a clear sky, as revellers still awake from Friday night headed back to their tents across the site. It turned out to be a fine day across Worthy Farm, as acts including Little Simz, Michael Kiwanuka and Cyndi Lauper teed up Coldplay on the Pyramid stage.
Over on the Other stage, there were two great Party bands – the Last Dinner Party, and Bloc Party– plus Camila Cabello and a rampaging Mike Skinner of the Streets before Disclosure closed the stage out.
A Guardian Live event kicked things off for the picture team at The Astrolabe, with Alexis Petridis in conversation with Orbital. “We were a little bit of a bridge between indie and electronic,” said Paul Hartnoll, citing their sound as “prog-rave”. Later on they would honour 30 years since their iconic 1994 festival appearance with a set at the Park stage featuring Tilda Swinton and Mel C.
The crowd of faithful fans brave the midday heat to wait for Cyndi Lauper. The Guardian’s Elle Hunt heralded a performer “looking every inch the rock-chick of yore … It’s a big look, and Lauper has the energy to match it.”
The Last Dinner Party pulled an immense audience to the Other stage on early Saturday evening. Alexis Petridis said they had “sidestepped accusations of hype to become the breakthrough British alt-rock band of 2024 … you can see why things have worked out for the Last Dinner Party. Abigail Morris is a genuinely charismatic frontwoman, the band impressively tight.”
Coldplay took to the Pyramid stage about 10pm, and the Guardian’s David Levene was there for the start of the show; Jonny Weeks stayed to catch the laser show.
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To introduce the surprise guest, frontman Chris Martin took to his guitar and sang a little intro that elicited cheers from the crowd. “Here’s another legendary Michael. One who just totally rocks, with his Chuck Berry riff and the way he punched Biff,” he sang, referencing Back to the Future where Fox’s character Marty McFly covered Berry’s “Johnny B. Goode.” (Fox has also performed the song with Coldplay previously).
The actor joined the band on guitar for songs including “Humankind” from 2021’s Music of the Spheres and X&Y hit “Fix You.” Fox, who has been battling Parkinson’s disease since 1991, performed from a wheelchair during the set.
Earlier in the night, the band also brought out surprise guest Little Simz. The rapper joined Coldplay to debut a new, unnamed collaboration, which features the lyrics “and so we pray.” The song also includes a verse from Burna Boy, Varietyreports, though he was not present during the set. Palestinian singer Elyanna also joined the band on stage for the unreleased song.
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Earlier in the month, Coldplay detailed their 10th studio album, Moon Music, which arrives Oct. 4. Last week, they released the album’s first single, “Feels Like I’m Falling in Love.”
Moon Music, the follow-up to 2021’s Music of the Spheres, will be crafted utilizing “new sustainability standards” that include manufacturing Moon Music’s vinyl and CDs using eco-friendly practices to reduce its impact on the environment. The group has had a longtime focus on sustainability, having so far produced 59 percent less CO2 emissions on their current tour compared with their previous stadium tour.
GLASTONBURY, June 30 — Boy band Seventeen skipped, twisted and gyrated in a high-energy performance on Glastonbury’s main Pyramid Stage on Friday, making history as the first K-Pop group to appear at the iconic music festival in southern England.
The 13-member group, dressed in shades of black, performed highly synchronised dance sequences alongside peppy hits such as HOT, Rock with you and VERY NICE, thrilling thousands of music fans in one of Glastonbury’s most atypical sets.
In Britain and at Glastonbury — which sells out before its line-up is announced — Seventeen may be relatively unknown, but the South Korean group had last year’s biggest-selling album globally.
“Even though the language, country and culture are all different, we can still connect as one through music,” singer Joshua Hong told the crowd after performing SOS.
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Seventeen drew a smaller crowd than proceeding acts on the stage, but many of those who came to check them out sang, waved and danced along even without knowing any of the songs. Loyal Seventeen fans, who are called “carats”, lined the front row.
“It was really good, it was so much fun,” said Kiera Finn, 26, from Liverpool in northern England, who said she had never heard Seventeen before.
“The crowd was so good... It was kind of, like, this is what Glastonbury’s all about, and everyone was just having fun.”
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The K-Pop industry, which involves rigorous training in dance, singing and language skills, has produced bands like BTS and Blackpink who are increasingly appearing at Western festivals, having won international fan followings.
Seventeen’s appearance is another step for Glastonbury away from its traditionally hippie and rock ethos.
This year’s line-up also features Dua Lipa, who headlined the Pyramid stage, Coldplay, R&B singer SZA and country singer Shania Twain, among hundreds of other acts. — Reuters
The Bloodline has shed the last of its old regime. Solo Sikoa and his new soldiers rid themselves of Paul Heyman in a dramatic ending to Friday's episode of WWE SmackDown.
SmackDown concluded with an acknowledgement ceremony. Jacob Fatu, Tama Tonga and Tanga Loa acknowledged Sikoa as their Tribal Chief, but Heyman could not concede Reigns' rule to Sikoa. Heyman's punishment was a brutal attack by the second iteration of The Bloodline.
The blue brand also hosted three Money in the Bank qualifier matches, two in the women's division and one in the men's division.
CBS Sports was with you all night with recaps and highlights of all the action from Madison Square Garden in New York.
The Bloodline brutally attack Heyman
The Bloodline 2.0 arrived at the top of the show without Jacob Fatu. Sikoa, Tonga and Loa made their way to the stage only to be blindsided by Rhodes, Owens and Orton. The fan-favorites benefitted from jumping their opponents with Owens driving Tonga through the table with a senton atomico. SmackDown general manager Nick Aldis and a fleet of security tried to restore order but couldn't contain Rhodes and company. Rhodes shredded The Bloodline on the microphone and the trio only agreed to leave the ring once escorted by police officers.
Later in the evening, Heyman informed Sikoa that the police escorted Rhodes, Owens and Orton out of the venue. Sikoa told Heyman that Fatu was not present because he was too dangerous. SIkoa also admitted it was time to listen to Heyman's advice. Sikoa said he'd officially anoint Heyman as his wiseman.
SmackDown closed with the acknowledgement ceremony. Fatu made a dramatic entrance despite Sikoa's claiming he wouldn't be present. Fatu, Loa and Tanga all took turns acknowledging Sikoa as their Tribal Chief. Sikoa told a teary-eyed Heyman he had one chance to acknowledge Sikoa. The Bloodline's wise man was torn apart as Sikoa revealed Reigns' ula fala necklace and directed Heyman to place it over his head. Heyman refused to support Sikoa's claim to Reigns' throne and was viciously attacked for it. Sikoa dropped Heyman with a Samoan Spike before Fatu flattened him with a top rope splash. Not satisfied with their work, The Bloodline cooperated to drive Heyman through the announcers' table with a powerbomb.
What a dramatic ending! Heyman rarely takes bumps and he took his fair share. Attacking a beloved figure like Heyman so violently is a great way to draw heat for what sometimes feels like a lesser version of The Bloodline. The crowd erupted into expletives pointed at Sikoa so this clearly worked. The opening segment was a nice way of progressing that storyline forward while also preventing the heroes from rescuing Heyman. Great stuff, particularly Fatu's stage presence. Grade: A
What else happened on WWE SmackDown?
Tiffany Stratton def. Candace LaRae and Jade Cargill via pinfall after hitting LaRae with the Prettiest Moonsault Ever. Stratton qualifies for the women's Money in the Bank ladder match.
LA Knight def. Logan Paul and Santos Escobar via pinfall courtesy of an O'Connor roll and a handful of Paul's tights. Knight qualifies for the men's Money in the Bank ladder match. NBA players Jalen Brunson and Tyrese Haliburton intervened on Knight and Paul's behalf, respectively.
Naomi def. Blair Davenport and Indi Hartwell via pinfall after catching Hartwell with a sunset flip. Naomi qualifies for the women's Money in the Bank ladder match.
Austin Theory and Grayson Waller attacked #DIY backstage.
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Article From & Read More ( FULL SEGMENT: The Bloodline attack Paul Heyman: SmackDown highlights, June 28, 2024 - WWE )
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SEVENTEEN made history as the first K-pop group to headline the Glastonbury Pyramid Stage, performing an electrifying set. The 13-member boyband captivated the crowd with hits, expressing gratitude and pride.
Despite diverse languages and cultures, they united the audience through their powerful music, concluding the hour-long performance triumphantly with Very Nice, leaving a lasting impact on the iconic festival.
SEVENTEEN wave their flag at the Glastonbury Festival
On June 28, 2024, SEVENTEEN made history by becoming the first K-pop group to headline the prestigious Pyramid Stage at the Glastonbury Festival in Pilton, Somerset, England. The 13-member boyband delivered a dazzling hour-long performance that left an indelible mark on the iconic festival.
The excitement was palpable as SEVENTEEN took the stage, greeted by a sea of enthusiastic fans waving flags and banners. Their set, accessible only to viewers in the UK, quickly became a social media sensation, with fans sharing highlights and heartfelt moments from the show. The group's members expressed their gratitude and disbelief at the honor of performing at such a legendary venue, raising their own mini-flag.
SEVENTEEN’s performance was a journey through their greatest hits, starting with high-energy tracks like HOT and Rock With You. They seamlessly transitioned to their newer song Headliner from their mini-album SEVENTEENTH HEAVEN, MAESTRO, and more, hinting at their current and future dominance in the music scene.
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The complete setlist included fan favorites such as Ready To Love, SOS (featuring Marshmello), 2 Minus 1, I Don’t Understand But I Love U, Cheers To Youth, LALALI, Clap, and more. The climax of their set featured an electrifying rendition of Aju Nice, leaving the audience in awe. SEVENTEEN’s groundbreaking performance at Glastonbury not only celebrated their own achievements but also highlighted the global reach and impact of K-pop music.
SEVENTEEN’s latest activities
Recently, on June 26, SEVENTEEN was appointed as UNESCO's first-ever Goodwill Ambassador for Youth at a ceremony in Paris. The recognition, conferred by Director-General Audrey Azoulay, underscored their commitment to global youth engagement and cultural exchange through their GoingTogether campaign. SEVENTEEN donated 1 million USD to UNESCO's Global Youth Grand Scheme.
Meanwhile, on the musical front, SEVENTEEN continues to prepare for their 2024 SVT 8TH FAN MEETING in Seoul. Additionally, they are set to headline LOLLAPALOOZA Berlin in September, further cementing their influence as global K-pop icons.
Article From & Read More ( SEVENTEEN script history at Glastonbury pyramid stage with hits Aju Nice, MAESTRO, God of Music, more - PINKVILLA )
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Lisa's solo return after parting ways with YG Ent. The MV, set in Bangkok, celebrates her Thai heritage with fierce English raps and intense choreography.
BLACKPINK member Lisa has made her highly anticipated musical comeback with 'Rockstar,' capturing global attention with her distinctive style and passion. Trending number one on social media, this marks her first song since launching her own label, LLOUD. Earlier this year, Lisa and other BLACKPINK members individually parted ways with YG Entertainment, but they remain committed to continuing their journey with the label as a group.
BLACKPINK's Lisa Rockstar Comeback(LLOUD)
Lisa makes a Rockstar comeback
After a nearly two-and-a-half-year hiatus, BLACKPINK's Lisa has finally dropped her highly anticipated solo track, Rockstar. The song marks a major departure from her usual K-pop idol image, showcasing a bold new hip-hop style. Not only does the track feature signature hip-hop beats but it's also accompanied by a visually stunning music video that further emphasizes Lisa's transformation.
This project holds special significance as it's the first official release under her own label, LLOUD. The video dives into Lisa's Thai roots, embracing the street style of Bangkok. We see a whole new side of Lisa – her English raps are fierce and edgy, and her choreography carries a powerful intensity.
Netizens react to Lisa’s comeback
The music video takes viewers on a vibrant journey through the streets of Bangkok, showcasing Lisa's Thai heritage with undeniable pride. This visual feast has resonated deeply with fans in Thailand, who see it as a potential tourism booster.
As audiences worldwide are drawn to Lisa's daring new path, a segment of K-Pop followers are showing a fondness for her past releases. They miss the distinct K-pop vibes found in tracks like Money, which is clearly missing in this one. Nonetheless, the worldwide influence of Rockstar cannot be overlooked, as Lisa breaks new ground and asserts her artistic freedom.
“It doesn't fit the taste of Koreans... Thai people will love it though. Still, it's cool. There aren't many K-pop singers who can pull off this kind of vibe,” an internet user commented on the video. “It's too short, unfortunately. I'd love to see the choreography video too. Lisa's promotion seems a bit different from K-pop. Please release a dance video,” another wrote.
Few more chimed in. “Not giving K-pop..mhmmmm not impressed,” “I don't understand the lyrics, but the music video and choreography are good. Maybe the silly lyrics are meant for TikTok.” “She is embracing her own culture, that’s good.”
Get World Cup ready with Crick-it! From live scores to match stats, catch all the action here. Explore now!.
Article From & Read More ( BLACKPINK's Lisa rocks Thailand with Rockstar but fails to give ‘K-pop feel’; Korean fans react - Hindustan Times )
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At the time of writing, season 3 currently stands at 91% on the site, which details how many critics gave positive reviews versus mixed/negative ones.
That number is definitely going to change, however, as it has gone from 100% to 86% and back up to 91% in the span of a few short hours. Unlike a lot of shows, critics didn't get the chance to see and review this one ahead of time, so any reviews published after this article are very fresh out of the oven.
The consensus among the positive reviews so far is that this season continues the winning formula of slow-building tension leading up to a rapid-fire release of emotional fireworks.
However, the negative reviews — and even some of the overall positive ones — do note that this season is more of the same and doesn't really take it to new heights. For plenty of people, that kind of consistent familiarity may be exactly what they are looking for, much like the art of the lunchtime sandwich itself.
"I feel like I learned so much from our crew, from our camera department… just from everybody," she said.
"It was really a blast and an honour to get to helm an episode that showcases everything that Liza [Colón-Zayas] can do. I mean, not even everything, like a fraction of the things that she can do. She's such a powerhouse."
Joe Anderton is a freelance news writer and resident Welsh person at Digital Spy, having worked there since 2016.
In his time he's covered a host of live events, interviewed celebrities big and small and crowbarred a countless amount of great/awful (delete as appropriate) puns into articles.
A big fan of TV and movies both mainstream and obscure, Joe's main interest is in video gaming. Although particularly a PlayStation gamer, he plays across Xbox, Nintendo and PC/Steam Deck, and likes to keep tabs on many games he's not got the time to play.
Joe currently does not use Twitter, but he only ever used it to tell people to watch the film Help! I'm a Fish (which you really should do).
